Craft Design Collaborations in Interior Architecture Practices by Meghana Deshpande

Craft Design Collaborations in Interior Architecture Practices: Process, Impacts and Models

Guide: Jay Thakkar Co-guide: Rishav Jain Submitted by

Meghana Deshpande PD002114 International Masters in Interior Architecture and Design (Craft and Technology) Faculty of Design CEPT University, Ahmedabad

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GRADE REPORT (Provisional)

FACULTY OF DESIGN

NAME OF THE PROGRAM : MASTER OF INTERIOR ARCHITECTURE & DESIGN NAME OF THE STUDENT : MEGHANA DESHPANDE STUDENT ROLL NO. : PD002114 SEMESTER : MONSOON STUDENT NAME : MEGHANA DESHPANDE YEAR : 2015-16 COURSE CODE & TITLE

CORE/ ELECTIVE

CREDIT

MARKS

GPA/ NGPA

GRADE

GRADE POINT

2524 TITLE - Developing a Thesis: Proposal C 4 in Interior 60 GPA B Practices: 3.0 THESIS Craft Design Collaborations Architecture 2526 - Research Processes Process, Impacts C and Models 8 75 GPA A3.7

REMARKS PASS PASS

2534 - Independent Research

GPA

A-

3.7

PASS

2507 - Cultural Anthropology

GPA

3.0

PASS

GPA

2.0

PASS

GPA

3.0

PASS

APPROVAL 2528 - India 1800-1947 4548 - Environment & Quality of Life

The following study is hereby approved as a creditable work on the approved subject carried out and TOTAL presented inEARNED the manner, sufficiently warrant acceptance CREDITS - 21satisfactory SEMESTER to GRADE POINT its AVERAGE : 3.3 as a pre-requisite CORE 15 to the degree of International Masters in Interior Architecture & Design for which it has been ELECTIVE - 6 submitted. GPA - 6 NGPA SCHOOLthat is SUMMER/WINTER to be understood

- 0 - 0 approval,

It by this the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Name of the Guide: Jay Thakkar Signature Name of the Co-Guide: Rishav Jain

Dean

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Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name Code No. Signature

: Meghana Deshpande : PD002114 Date:

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Acknowledgments It is with the support and encouragement of my mentors, family, and friends that this thesis has been kept on track and been seen through to completion. It is a pleasant and much awaited moment to express my thanks to all those who contributed to the success of this study and made it an unforgettable experience for me. I would first like to thank my Dean, Prof. Krishna Shastri for her comments during my initial stages to arrive upon a topic, and the motivation she gave me to pursue a subject that I believed in. My guide and mentor, Jay Sir, has been encouraging of my interest in Crafts even before I started developing my research topic. This acknowledgment cannot be complete without thanking him for introducing me to the field of Crafts, and guiding me through at various points in time which has helped me form my own perspective and viewpoint. Iâ&#x20AC;&#x2122;ve been amazingly fortunate to have him as my guide, he gave me the freedom to explore on my own, and at the same time his inputs helped me to recover when my steps faltered. My co-guide, Rishav, was always there to listen and give advice. I am deeply grateful to him for the long discussions at stages where I was absolutely confused, and for helping me take my work in the right direction. I would like to thank KP Sir for his inputs which helped me look at my research from a completely different lens during the critical stage of analysis. I would like to thank Srivatsan Sir for his critical comments on my work, the door to his office was always open whenever I ran into a trouble spot. I would like to thank Mahavir Acharya, Hardika Dayalani, Sibanand Bhol, Ritu Varuni for lending me their valuable time and information, my case study interviews with them escaped the factor of time and the experts complied. I would like to extend my thanks to all the library staff, Munna bhai, KD and Chandraben, their patience and help during crucial times of panic and submissions will never be forgotten. My parents and mentors, Canna Mam, Sujit Sir, Neha Mam and Chipalkatty Sir, have been extremely encouraging and supportive of my interests and choices as a professional and their presence has always motivated me to achieve more than what I thought I could. This accomplishment would not have been possible without them. Thank you. Meghana Deshpande

9th June, 2016

Content

Research Situation • Abstract • Research Questions • Scope and Limitations • Chapterization • Establishing a Framework for Case Studies

Chapter One Craft and Design in the Indian Context 1.1 Evolution of Crafts 1.2 Introduction of ‘Design’: A byproduct of Western Influence 1.3 Craft and Design: Concerns

Chapter Two Craft Design Collaborations 2.1 Approach and Potential 2.2 Interior Architecture Practices 2.3 Craft Design Collaboration: The Process

1 2 3 3 4 6

17 C 18 29 32

39 C 40 45 50

Chapter Three Case Studies

59 C

3.1 Hunnarshala Foundation 3.2 Collective Craft 3.3 E’thaan Design Studio

60 94 130

Chapter Four Conclusions

159 C

4.1 Access to Opportunities 4.2 Way forward

160 164

• Glossary

166

• Bibliography

167

• Illustration Credits

172

• Appendix

180

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Research situation

Research Situation

Introduction This section creates a background for the research. It explains in brief the need for this research and how it is placed theoretically and practically, followed by research questions, scope and limitations of the study and a brief description of how each section of the study is linked to one another. The section concludes with a detailed framework that that will be used to study the case studies and find answers to the research questions.

Research situation

â&#x20AC;˘ Abstract The modern day practices have seen birth of designers and architects who have set the wheel in motion for crafts by integrating them in their practices. The use and applications crafts has found in the commercial market are varied like the objectives behind integrating them. This has showed 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 together, craft and design, in this sense, can be seen as an emerging approach of design. The end product that is either a space, surface or an object, is a result of a process which has multiple layers and stages which stem out of issues, objectives, requirements, etc. The way the process is conducted is significantly important to the collaborators, project and all the other factors that are involved, as each one is participating with an objective. That is why it becomes increasingly important to study the process and its trade offs. This study dwells into the different Craft Design Collaborations, with an aim of establishing models for collaboration and studying the impacts they have on crafts, design and the stakeholders involved. These collaborations offer a wide range of approaches, each one having different impacts. For any impact, negative or postive, the process plays an important role as that is when designers and artisans collaborate and give shape to the nature of the project. It is also necessary to understand the factors and steps taken by the stakeholders that facilitated impacts. To be able to identify models for collaboration, it is first necessary to understand the process and its various stages and reasons behind decisions taken by stakeholders. Each situation and collaboration requires particular innovation, as the primary aim of this study, it is necessary to analyze and extract information from different collaborations in a way that it can be applied elsewhere. Developing an understanding of different aspects of the process such as objectives, communication, issues, synergies and opportunities, etc

Abstract

Research situation

Research questions | Scope and limitations beyond the interface between craftspeople and designers is crucial as that is what will shape the nature of collaboration and will reflect directly in its impacts.

• Research Questions Primary question: What is the process and impacts observed in a Craft-Design collaboration? Secondary questions: a) What is the inherent meaning of craft, and design as separate identities and what are the similarities and differences between them? b) What are the different reasons behind Craft and Design collaborations? c) What factors constitute a Craft-Design process? d) What are the probable models of collaboration that can be used as a reference while collaborating?

• Scope and Limitations The primary focus of this research is to study the collaborative process that follows when the design sector of designers meets the sector of crafts to achieve an output. The study is largely divided into three segments. First part will be studying the evolution of crafts and design and their meaning with reference to India. The study looks into the influences that brought about the evolution of these two terms. Defining ‘Crafts’ or ‘Design’ do not fall under the scope of this study. The study is limited to understanding their meaning and perception in India’s context. In order to understand the collaborative process, it is first necessary to understand what happens when there are participants from different backgrounds taking part in the process and how that makes a collaborative process different from the Design process. To study examples of Craft and Design collaborations, the study will be limited to practices in the realm of Interior architecture, their scale ranging from products to built forms which involve craft and design.

Research situation The research is strictly concerned with crafts of India that have their application in Interior Architecture in India where a designer and craftsperson are both involved and the collaboration has been a conscious effort. The collaborative process in case study will be studied to extract information and inferences on impacts of collaboration and establish models to suit different aims and objectives.

• Chapterization The research is divided into four main chapters. The first chapter begins with understanding ‘crafts’ through its history and establishes the journey of crafts in India. How crafts was perceived and the way it functioned was always changing in terms of its market, scale, profession, etc. This section looks into evolution of crafts in India and studies the factors that have influenced the sector till present day. The part which discusses introduction of ‘Design’, draws to attention how the two sectors of craft and design came to exist and studies the changes and concerns that were followed in the way each sector functioned. The second chapter studies how the two sectors of craft and design interact with each other. It looks at the different organizations working with crafts and design with an objective that addresses the many concerns that sector of crafts faces today. It talks about craft and design collaborations as an emerging approach in Interior architecture practices through illustrative examples of projects. The coming together of these two sectors creates a need to understand how they function together. Participation of people from different backgrounds in these collaborations changes the process that is otherwise followed in an architectural or design project. It is hence required to know what a participatory process means theoretically, only then can the research proceed to study examples of current practices. This part develops a theoretical base for the need to study a collaborative process. It focuses on how studying such a process will allow stakeholders to have a framework or model of a process they can refer to and modulate according to different projects and needs. The third part is based on the current practices that are seen collaborating with craft and design. A total of three case organizations, each with a different scale of projects, have been chosen for studying their collaborative process. Each organization is studied through a framework which has been explained in the next part of this section.

Chapterization

Research situation

The fourth and concluding chapter focuses on learnings about craft and design collaborations and their process. It talks about how and if craft and design collaborations facilitate opportunities for both the sectors, the approach and role the primary stakeholders, that is designers and craftspeople have to play and concludes with the scope this research creates to further study a collaborative process.

Theoretical background

Case studies

Learnings

Chapter One: Craft and Design in the Indian context

Chapter Three: Case studies

Chapter Four: Conclusions

1.1. Evolution of Crafts

3.1. Hunnarshala Foundation

4.1. Access to opportunities

1.2. Introduction of ‘Design’

3.2. Collective Craft

4.2. Way forward

1.3. Craft and Design: Concerns

3.3. E’thaan Design Studio

Chapter Two: Craft and Design collaborations

2.1. Approach and potential

2.2. Interior Architecture Practices 2.3. Craft Design Collaboration: The process

Fig 1: The figure shows the four chapters that the research is divided into. The first two chapters form a theoretical background for the entire research followed by case studies which are of organizations that practice craft and design collaborations. The last chapter is a synthesis of the researcher’s learnings and the presents the scope this study carries.

Establishing a framework

Research situation

â&#x20AC;˘ Establishing a Framework for Case Studies1 Data collection

A. Information about the organization

Analysis

Inference

B. Craft Design Collaboration: Process

C. Establish a Model

Fig 2: The framework for case studies is divided into three major segments. The first segment is data collection and the latter two are with a focus on analysis of the data.

Data Collection Approach for Conducting Interviews To be able to study the process in craft and design collaborations, it is first necessary to note the range and variety of parameters and factors that are going to be a part of it. To know what happens in a process, the most effective approach would be to engage in a dialogue with participants themselves. To generate this information about a Craft and Design collaborative process, a qualitative approach with the method being interviews has been selected. The selection of participants involves designers from three organizations that have worked with crafts and design. A small and limited number is with an intention to enable in-depth information about the organizations and their process in different projects. The grounds for choosing the organizations have been already mentioned in scope and limitations of this study. Giving the researcher scope to interpret and understand intervieweeâ&#x20AC;&#x2122;s experience of the collaborative process, and to not influence or channelize the intervieweeâ&#x20AC;&#x2122;s data in any one direction, the nature of interview chosen is open-ended, with no questions written beforehand. Each interview aims to develop itself as it proceeds, using the information that is being shared as a reference point for the next question. 1 The approach has been researched about and then developed from references from Doing research in design. Oxford: Berg.by Crouch, C., & Pearce, J. (2012).

Establishing a framework

Research situation

A. Information about the organization • ‘Why’ This subhead explains reasons for studying the organization and its projects.

• Interview Details Interview details give information about the interviewee

• Project Details Project details give information about all the projects that were referred to during case study interview. These projects will be used in analysis to prove certain points and extract information about the process of collaboration. A Data collection

Approach to data collection

Interviews with Designers

A. Information about the organization

• ‘Why’

• Interview Details

Each case-study Open-ended nature interview aims to of interview. develop itself as it proceeds, taking into account the information that is being shared • Project Details as a reference point for the next question.

Fig 3: Interviews with designers who have worked with crafts and design will be used for data collection and gathering infromation about the process of Craft Design collaboration.

Establishing a framework

Research situation

Analysis Approach for Analysis To observe the data collected from interviews and to map a process out of observations and then establish a model, an inductive approach for analysis has been employed. An inductive approach means there will be new theories/ findings proposed to answer the research questions as opposed to a deductive analysis that seeks to test existing hypotheses. Because of the open-ended nature of this inquiry, the analysis will proceed in a manner where the researcher will induce and generate a hypothesis or working theory, in this case in terms of a process and model of collaboration.

B. Craft Design Collaboration: Process This segment is divided into four steps. The first step allows one to understand the data in three layers: how the intention of stakeholders was seen reflecting in how the process was implemented and then evaluating how intent and implementation were instrumental in the impacts the collaboration had. The scond step is to map all the actions and activities that form the process. Once the process has been mapped, taxonomy will be used to see the interrelationship between all the actions, activities and factors that form the process and categorize them into stages. The last step is to understand factors that dictate the process and how decisions were made around such factors.

B Analysis

B. Craft Design Collaboration: Process

• Triangulating segments: I³; Intent, Implement, Impact

• Mapping actions and activities and factors

• Taxonomy

Fig 4: Segment two, Identifying the Process, is achieved through a two step process.

• Understanding the factors

Establishing a framework

Research situation

• Triangulating segments: I³; Intent, Implement, Impact As discussed before, the scope of inquiry that such collaborations of craft into built forms have is wide and diverse, ranging from social, economic to utilitarian needs. To understand the evolution of different inquiries in collaborations, it is crucial to study different reasons and objectives behind collaboration and impacts it followed, as they are bound to correspond with one another. Craft and design amalgamate to create new platforms for design, crafts, designers and craftspeople. However, the objective of any project directly influences and dictates the process and nature of collaboration followed. It has a close knit relationship with the process and how it changes. Thus, it is essential to assess the data by triangulating the intent with which the collaboration was initiated, how was the intention seen through in its implementation, and its reflection in impacts seen on four domains: design, crafts, designers and craftspeople.

Triangulating segments: I³; Intent: Will talk about ‘Intents’ that is the reasons, aims and objectives with which a collaboration is initiated.

Triangulating segments: I³; Implement: Will talk about how the Intents are manifested through their way of working.

Triangulating segments: I³; Impact: Will study the Impacts that are a result of the organizations aims and way of working.

Triangulating segments: I³; Intent, Implement, Impact: Will establish a link between Intent, Implement and Impact and study how they are overlapping.

Intent

Intent Intent

Intent

Implement

Impact

tnetnI Impact

Implement

Fig 5: Triangulating the three segments through which the collaborative process will understood to establish a model.

Establishing a framework

Research situation

• Mapping Actions, Activities and Factors The key areas of investigation in a collaborative process are knowing all the actions, activities and factors that form the process. Once the data has been understood through I³, all the activities, actions and factors observed will be mapped in an order that suggest their flow and how they form the process. Actions: Stakeholder’s process of doing something. Activities: The conditions in which actions are happening or being done. Factors: A circumstance, fact, or influence that contributes and has its effects on neighbouring actions and activities. Cost

Resources

Site

Materials

Client brief

Execution

Scale

Region Drawing

Prototyping Crafts

Designer Design

Climate End user

Approach Discussions

Craftsperson Maintenance

Revisions

Time

Fig 6: The figure is an explanatory representation of the different actions, activities and factors that form a design process.

Establishing a framework

Research situation

â&#x20AC;˘ Taxonomy A Craft and Design process of collaboration has many avenues that are unknown in terms of its impacts, approaches, etc and reasons behind them. Drawing interrelationships between different actions, activities and factors of the collaboration as observed from the case study interview will allow one to categorize them sequentially and offer a hierarchy and structure for the process. A clearer understanding of collaborative design issues and how they affect the flow of information in the design process is necessary. This is to allow practitioners to have more control over how they work, and open up possibilities for participants to develop the process in ways that would better reflect the collaborative effort. This step aims to develop a taxonomy of factors (stages, actions, communication, distribution of authority, design approach, information, and the nature of the problem, etc.) influencing the collaborative process. Taxonomy is to facilitate building a collaborative design model that describes the flow of information in the process and clearly identifies factors that one, introduce resistance to the process and two, which act as synergies. By identifying these areas of resistance, betterdirected tools for collaborative process can be developed. Taxonomy is an initial step towards the creation of a better understood collaborative process which will form a base to understand reasons behind every action, and how they were reflected in the process and impacts. More significantly, the taxonomy provides a valuable way of organizing the factors in a back and forth and organic collaborative process that are at present dispersed across many stages.

Research situation

Establishing a framework

Fig 7: The development of a collaborative design taxonomy is believed to aid in the identification and organization of collaborative design issues. The taxonomy may be used to illustrate and extract the relationships and dependencies among the factors, especially in developing experimental studies of the collaborative design process. The solid lines in the figure indicate the direct hierarchical relationships between the factors as found in the taxonomy. The dashed lines indicate the indirect relationships between factors across axes in the taxonomy. (Ostergaard and Summers, 2009, p. 58, 59, 61)

Establishing a framework

Research situation

• Understanding the influences Many stages in the process are highly dictated by certain presets that sometimes limit or open up new directions in the process. It is up to the stakeholders to plan and work around these presets in order to be able to plan and manifest ‘intent’ and ‘impact’ through ‘implement’. The purpose to look at the process and each activity and identify these influences is also to understand the strategies and systematic and deliberate approach undertaken by stakeholders which has allowed them to modulate the way they ‘implement’ as per their intent and impacts. Different modes of collaboration involve different strategic trade-offs. Verganti and Pisano (n.d.) To be able to plan strategies, it is necessary to know these presets and influences. These presets/ factors can be studied by their dimensions of openness and governance. This will make one able to know the influences that are changeable or fixed and the order of importance given to each which shapes the decision making process during that activity or stage. Collaborative processes are bound to differ fundamentally in their form of conduct. The model to study these presets and their impact on the conduct and activities has been derived from Verganti and Pisano’s (n.d.) “The Four Ways to Collaborate” where the framework reveals two basic approaches to understand any factor of influence: Open or Closed and Flat or Hierarchical. • Open: Open suggests the variables that are changeable and it is in the participants capacity to use them according to what they want. • Closed: Closed suggests the variables that act as presets and limit the factor in a way that the participants need to plan activities aroud this limitation. • Hierarchical: Hierarchical suggests that the decisions made at that point follow a certain order for approval. • Flat: This approach suggests the decisions made are not governed by any hierarchy of participants but are made according to their relevance to the project.

Establishing a framework

Research situation The research uses these approaches to study influences that dictate actions, activities and factors as seen in the process. This reveals four basic possibilities that will determine the nature of any actions, activities or factor: a. Open and hierarchical b. Open and flat c. Closed and hierarchical d. Closed and flat

Open

Closed

Hierarchical

Flat

Fig 8: The influences or presets Factors under Open/ Closed

Stakeholders under Hierarchical/ Flat

that decide the nature of any action, activity and factor will be categorized into the four categories

mentioned

above.

Inference C Inference

C. Establish a Model

• Role of Designer

• Role of Artisan

• Model of Collaboration

C. Establish a Model This section summarizes the observations made and infers a Model of Collaboration which reflects the core values of the Craft Design Collaborations and expands on the role that Designers and Artisans have to play in such a participatory process.

• Role of Designer • Role of Artisan • Model of Collaboration 14

Fig 9: The third and the last segment is establishing a model of collaboration which is a juxtaposition of all the stages followed in analysis and suggests the process followed by the organization with respect to I³.

Establishing a framework

Research situation

Chapter Three: Case studies

Data collection

A. Information about the organization

Analysis

Inference

B. Craft Design Collaboration: Process

C. Establish a Model

A Data collection

Approach to data collection

Interviews with Designers

A. Information about the organization

• ‘Why’

• Interview Details

B Analysis

B. Craft Design Collaboration: Process

• Triangulating segments: I³; Intent, Implement, Impact

• Mapping actions and activities and factors

• Taxonomy

C Inference

C. Establish a Model

• Role of Designer

• Role of Artisan

• Model of Collaboration

• Understanding the factors

Fig 10: This figure is to show and give the reader a macro level view point of how the three main stages, Data collection, Analysis and Inference will be used to understand and analyse the case studies.

Craft and Design in the Indian context

Img 1: Exterior of a Bhunga house form, Kutch

Craft and Design in the Indian context

Introduction

Chapter One Craft and Design in the Indian Context

Introduction To be able to understand a concept, it is necessary to know its history, background and development. Crafts in India go a long way back, they have always been an integral part of life and there is a definite evolution in the understanding of crafts as a concept and activity. This chapter focuses on how crafts in India evolved as a concept and what were the factors that were instrumental in it’s evolution. ‘Design’ is not a very old concept for India, it was a century ago that changes in politics and economics impacted the social structure of the society which led to the introduction of ‘Design’. It is however necessary to know how the Crafts sector was introduced to the formally defined sector of Design and how the two began to interact.

Craft and Design in the Indian context

1.1 Evolution of Crafts 1.1.a Crafts as a Way of Life In case of India, it’s history shows that the very basic and day to day activities and surroundings constituted the element of handmade, including objects and dwellings. As Chattopadhyay (1980) explains, craftsmanship though not peculiar to India relates to a physical function, a manual performance. The scale at which craftsmanship began was very personal. It was when man was creating something for himself, for the household: purposeful but non-commercial. She further elaborates on how there is a different force at work where man is creating something for himself. The growth of crafts in society was the sign of the cultivation of sensitivity and the stirring and mellowing of humanism. It stood for man’s endeavor to bring elegance and grace into an otherwise harsh and drab human existence. (Chattopadhyay, 1980, p. 1) Craftsmanship was an indigenous response to their daily needs. It was a reflection of their region, materials, joys and festivals. Such objects were a direct expression of man’s creativity and were not bound to time or any specifications. With farming being the main activity, craftsmanship was developed in the background and thus there was no professional caste of craftsmen or women. Each one of them was a maker and creator. These communities were self-contained, they produced for themselves and each other. The craft or craftsmanship was never for produce or sale. There was no commercial value associated with it. The involvement of craftsperson to his community was deep and significant. The essence of his vocation was in sharing an inherited tradition which embraced the entire life of the community. As the communities grew in size, so did the number of crafts and craftspeople, making it a profession, followed first by individuals and later by social groups. The crafts were now an important and specialized sector reciprocating to people’s needs. This gave them the nature of consumer goods and a rise in value of a craftsperson due to the skill, knowledge and tradition he possessed.

Evolution of Crafts

Craft and Design in the Indian context

No commercial value

Practiced at a personal scale

Household objects

Dwellings

Agriculture

Crafts

Primary occupation

Secondary occupation

Represented region and communities

Acted like a social fabric Fig 11: Figure 11 shows how crafts was placed in the society. It began as a secondary activity in an agrarian environment and developed at a very individual level, with no commercial value associated to it.

Img 2 : Interiors of the Bhunga house form in Kutch, showing handmade storage units and mud and mirror mural craft, traditionally known as Lippan Kaam, used as a surface decorative element.

Img 3: Low hanging roof shields the walls against the sunlight in the Bhunga house form in Kutch, thus responding to its climate. The exteriors are hand painted by local artisans.

Evolution of Crafts

Craft and Design in the Indian context

Rise in size of community

Rise in number of:

Craftspeople

Crafts

Practiced as a profession

Rise in value of craftspeople

Objects acquired the nature of consumer goods: commercial value

Social activity

Fig 12: Figure 12 shows rise the relationship between communities and crafts and how demand for the latter grew with time and it acquired commercial value and craftspeople started practicing their craft forms professionally, responding to the communityâ&#x20AC;&#x2122;s needs.

Rise in number of:

Crafts

Craftspeople

Improved tools and technology Training and education

Increase in scale

Nature of an institution Fig 13: Change in perception and scale of crafts as a profession reflected in terms of better tools and technology to meet quality and needs. Inception of Guru Shishya system of learning saw Crafts acquiring the nature of an institution.

Craft and Design in the Indian context

Evolution of Crafts

1.1.b Rise as a Profession The shift in the role of crafts along with their exposure to different people and their needs called for improved tools and technology. Tools and technology, seen as extensions of the hands, helped craftspeople overcome human limitations and reach a new scale. There was acceleration in craft activity, the rapid growth in the craftspeople, and scale of the craft. This turnover had to be maintained by providing training and performance outside the limited family circle. The young were now progenies to master-craftspeople. The Kusa, Narada and other Jataka smritis give detailed information on this institution. The preparation of the overall design and the ultimate execution of a project was in the hands of the Elders, Theras as they are called, ‘gifted with six high faculties and most wise’, who directed the entire project. In addition, whole scenes of craft operation were carefully etched on the walls of the buildings constructed, so vivid, so alive, as though moving on a screen. The master-craftsman is shown actually creating some object while the apprentices watch intently. Entire process in progress, from gathering of the raw material, even quarrying are shown. There is also a full display of the complete set of tools needed for each planned object and it’s operation, and finally the finished article. The ever burgeoning immensity of art activity compelled the build up of experts and specialists, not only to maintain standards but also encourage and guide experiments. (Chattopadhyay, 1980, p. 12) The instructor was to educate the trainees by sharing problems, solutions and varied experiences that would enrich the student’s personality. The teacher was not to keep any worthwhile knowledge as a trade secret from his pupil. (Chattopadhyay, 1980, p. 12) This acquired the nature of an institution. This process of training was professionalized, resting on the old Indian model of guru-shishya. The presence of such a hierarchical process shows that traditionally the craftspeople played the role of creator and maker, taking responsibility of all stages of the project and it’s management. These craftsmen and their communities were encouraged to live together in cities or villages. With a substantial amount of people engaged in crafts, their special organization was seen through. This was how craft guilds came into being. They occupied a very high position in the socio-economic life of people and talk of the crucial position crafts occupied in the society.

Evolution of Crafts

Craft and Design in the Indian context Sundeer (n.d.) who has studied the organizational set up of traditional craftsmen and explains how the crafts guilds were composed of many families, all related to each other, living together and practicing the traditional professions assigned to them. In the case of guilds which received royal patronage, its members were always traveling places, in association with the construction of temples, palaces and other structures. The craftsmen were always associated with creative endeavors.

No middleman Social activity

Jajmani system Creator and maker

Craft guilds

Nature of an institution

Craftspeople Crafts

Commercial value

Hierarchical process

Fig 14: The sector had gradually expanded to form its own communities, known as craft guilds. The craftspeople would get work from surrounding communities or even royal families. this made them the creator and maker, both. The rise in scale of projects and craft forms had craftspeople following systems and processes within themselves.

Img 4: social map of Raghurajpur which is a heritage crafts village in Puri district, Odisha. It is known for its master Pattachitra painters, an art form which dates back to 5 BC. Even today it comprises of only artisan families who practice Pattachitra painting along with a few other art forms.

Craft and Design in the Indian context

Evolution of Crafts

Img 5: Raghurajpur has two primary streets that are laden with artisan houses. The work spaces attached to their homes are an extension of the house which open out in the street.This space allows the artisan families to display their work and interact with the community. The families use these spaces to show their festivals like marriages or other social ceremonies. These spaces are a reflection of the family and the work that it does.

Img 6: A painter is seen practicing just beyond the threshold of his house: allowing him to sit in the shade while he can still interact with neighboring artisans and passers by on the street.

Craft and Design in the Indian context

1.1.c Colonization and the Dwindling Image of Crafts However, as Sundeer (n.d.) goes on to explain, the life and social setup of the traditional craftsmen underwent a drastic transformation with the colonization of India. If we analyze the historical past of the Indian arts and crafts, then during the medieval times, the kings and the rulers of the land had given patronage to the crafts and the artists were supported by them. Even Jajmani system worked well for the artists. But after that, the British period in India proved to be a complicated time for this sector. (Jena, 2010, p. 130) Techniques and technologies that were products of technological advancement made in their lands saw themselves in the country. The older generations of craftspeople had work spaces attached to their homes, where they had the liberty to work as per their wishes, there were no restrictions. That was also the scale at which crafts had started, in peopleâ&#x20AC;&#x2122;s homes. The age old techniques and knowledge possessed by the craftspersons made each piece unique. Not dictated by time, the craftsperson and his craftsmanship was never compromised. Before colonization, they were an integral part of the village set up. As compared to the old generations, the newer one had to seek employment under the Britishers and it came with rules, limitations and specifications. This brought about a change in the social framework of the traditional craftspeople. McGowan (2009) states how the industrial reformers of 19th century had hopes of artisans adopting modern technologies and embracing novel forms of industrial organization to better compete with factory goods. This was the point in time when the idea that crafts and industry were different began showing its presence. By 1880s, however, public leaders increasingly ignored the possibility of an easy transition from crafts to modern industry, highlighting instead the essential difference of crafts from Western style factory production. (McGowan, 2009, p. 73) The contrast started showing an impact that was not in favor of crafts: artisanal production was at an individual and small scale as compared to factory produces which provided centralized management and efficiency; the people working in factories were exposed to new methods and technologies which was considered progressive as opposed to artisans who continued their traditional ways of production.

Evolution of Crafts

Craft and Design in the Indian context

Colonization

Foreign technologies

Vast difference in way of production

Indigenous methods and production at small and individual scale

Factory produced goods manufactured at large scale

Change in social framework of craftspeople

Crafts

Industry

Fig 15: The introduction of foreign technologies due to colonization brought into the market goods and objects that threatened the need for crafts. The vast difference in production lead to growth of sector of crafts and industry in opposite directions, changing the social framework of craftspeople.

The situation gave rise to two ideologies amongst people. There were Craft idealists1 who believed that growing commercialization, poor quality and western alternatives was leading to extinction of Indian crafts and craftsmanship in spite of its aesthetic and social benefits. On the other hand, Craft modernizers2 found artisans to be conservative and stubborn to make necessary changes and adjustments with time which led to their poverty and the nations as a whole. Either way, all agreed that the changes that had happened had not improved anything; artisans had either succumbed to commercial impulses at the expense of traditional styles or defensively retreated into age-old habits instead 1 Term used to describe an ideology that was supporting and working towards Crafts. Source: McGowan, A. (2009). Crafting the nation in colonial India. New York, NY: Palgrave Macmillan, p. 74. 2 Term used to describe an ideology that was in favor of commercialization and factory made produce. Source: McGowan, A. (2009). Crafting the nation in colonial India. New York, NY: Palgrave Macmillan, p. 74.

Craft and Design in the Indian context of enthusiastically embracing new opportunities. (McGowan, 2009) (p. 73) Either way, artisans appeared in reform literature to be in desperate need of help, they had proven unable to adapt successfully to the modern world. In fact, they were looked at as too conservative, backward, stubborn, or uneducated. The obvious solution, then, was to bring in outsiders better versed in the structures and requirements of colonial society: educated elites. (McGowan, 2009, p. 74, 75) The differences between crafts and modern industry continued to occupy larger spectrum of debates. Through government surveys and other writings the similarities between crafts and modern industry progressively disappeared. This saw the sector of crafts emerging as a distinct sector, which was separate from all other parts of economy, this with the on going number of leadership claims by outsiders imposing their own visions only highlighted the differences between crafts and modern industry. Crafts was looked upon in very poor light, with the notion that it needed help to sustain. If the fact of artisanal difference meant that the solutions offered could not too closely mirror those of modern industry, it also meant that artisans could not be trusted to direct future developments. Thus attempts to intervene in crafts operated on the basic idea of difference. (McGowan, 2009, p. 75)

Img 7: Mahatma Gandhi seen using and promoting Charkha (the spinning wheel) during freedom struggle as a symbol of self-reliance and source of income for the rural population.

Evolution of Crafts

Craft and Design in the Indian context

Evolution of Crafts

With the introduction of industrial schools that offered to teach modern ways of production, mechanization, not all from artisan communities attended these schools and very few had an exposure to become aware of the reality through other channels. The result, as the president of the 1910 Indian Industrial conference at Allahabad, R. N. Mukharjee argued, was that no matter how intelligent artisans might be, “being universally illiterate and thus shut out from a knowledge of any improved methods in their respective trades, they make no advancement on progress throughout their lives and are content to continue working on lines that for generations have become obsolete.” (Cited by McGowan, 2009, p. 87) Alfred Chatterton who had great knowledge on the subject and the author of ‘Industrial Evolution in India’ agreed and further pointed out that lack of education did not just close artisans off from new ideas, it also kept them from properly understanding existing practices. The most important need for artisans was to know their process enough to be able to adapt their existing skills to new products or situations, this requirement was considered missing. (McGowan, 2009) The adverse effect of industrialization was large scale production and ignorance towards quality of product. McGowan (2009) speaks about Gandhi and how, back in May 1919, he had complained that not enough attention was being paid to Indian crafts. According to him, the industrialization had deteriorated public taste and the demand for cheap alternative products was more than for genuine, handcrafted products. Degraded taste led, in turn, to a decline in the quality of craft themselves. (McGowan, 2009, p. 1) Scholars from the field too agreed that the changing market and exposure to other substitutes was the biggest shift which led to a difference between crafts and its use. Perhaps the most obvious shift has been that of a transformed market. (Chatterjee, 2014) With the growing gap between the social hierarchy of the society and being a producer of “native goods”, crafts was often a part of development debates. Being in the public domain allowed even outsiders to establish their authority over crafts. With more and more writings surfacing and surveys being conducted about craft processes, the believe that artisans had little to offer in terms of leadership strengthened. (McGowan, 2009) This had led people to look at craftspeople as people who did not know enough about the scientific principles underlying their techniques or the microeconomic principles shaping their working conditions. (McGowan, 2009) This understanding shaped the belief that only the outsiders would be able to understand craft processes and organization and only they would

Craft and Design in the Indian context be able to turn local practices to meet market demands. It was thus believed that it was necessary for outsiders to step in and help artisans take their practice at a level to offer solutions to the world and their future development. The term â&#x20AC;&#x153;craftâ&#x20AC;? as understood in India is different from its western connotation, where skilled hand-work is most often a studio or museumoriented activity outside the mainstream of of mass-produced goods and systems of everyday use. Yet, it is observed that in the Indian craft regeneration agenda of transition from tradition to modernity, the essence of crafts as a everyday function ans service- physical, psychological, literal and symbolic- is lost in sight. (Cited by Sankaran, 2011, p. 7)

Evolution of Crafts

Introduction of ‘Design’

Craft and Design in the Indian context

1.2 Introduction of ‘Design’: A byproduct of Western influence Man’s first act of design took place when he consciously acted upon the natural environment to transform and mold it. (Vyas, 2000, p. 15) It is after this that it is realized how far back in history the human ability to design goes. It reflected man’s ability to respond to and understand his surroundings and his consciousness about nature’s laws and nature’s materials. Ranjan (2013) too explains how Design is a very old human activity and it started when mankind attempted to change their environment for their well being and to enhance their ability to protect themselves. Vyas (2000) poses a very relevant question while talking about modern perception of design. If the search is limited for a one-to-one Indian equivalence to the modern perception of design, the way to begin would be by asking: “Does there exist, or did there ever exist, an approach equivalent to what we recognize today as design?” What does the term Design mean in India’s context and how was it introduced? In most traditional societies, design evolved somewhere in the interaction between the artisan and the patron or commissioner; a professional designer as a middleman between the artisan and the client did not exist. In traditional contexts, the artisan was usually famaliar with the aesthetic and socio-cultural requirements of the client and designed an appropriate object accordingly. (Designers meet artisans, 2005, p. 4) As discussed earlier, the craftsmanship and crafts in India were an indigenous response to their daily needs. From what Vyas (2000) states, the primary attribute of an act of design is that it is a need-based activity. Craft and Design, based on the above understanding, can be called synonymous in India’s context.

Fig 16: The relationship craftspeople had with patrons and commissioners was direct and without the interference of any other body of people. The craftspeople developed and made the craft form all by themselves. ‘Design’ is thus seen as a part of craftsperson’s ability and skill set.

Craftspeople

Patron/ commissioner Interaction

Crafts

Design

Outcome

The process of making

Man’s ability to respond, predict and plan for an outcome or event

Introduction of ‘Design’

Craft and Design in the Indian context However, as Vyas (2013) shares, there were no designers and no design profession as recognized today, separate from the glorious tradition of master craftsmen and handwork production. The fundamental concept of designing was also a result of man’s ability to predict and plan for an outcome or event. What we call today as the problem solving process was back then perceived as an inherent human ability. It is now that this has come to be recognized as the design process. A point which bears repetition is that in context of many old cultures, especially of the third World countries, the traditional design process and modern planning tool would coexist and constantly interact. (Vyas, 2000, p. 24) As these artists and craftsmen also created artifacts of everyday use, no separate term was needed to distinguish the plastic arts from the crafts, or from the problem-solving attitude of the ‘designer’. Art, craft and design were integrated as one inseparable concept in the minds of both maker and user, unified in a single word kala. The name for any art or craft is silpa. The Indian craftsman was, therefore, artist, designer and technician, working to serve users’ needs. He was a source of both inspiration and problem-solving, functioning always at the core of society. (Vyas, 2013) It becomes increasingly important to then understand that it was due to the growing difference between Crafts and Industry that initiatives were being planned to bring back crafts. As discussed in the previous section, there was felt a need to bring in outsiders to bridge the gap between Crafts and the market to make it’s presence felt. At the same time, the seeds to formally differentiate between art, craft and design were planted when a group of learned people, mainly English and German, who insisted on perceiving a clear distinction between the art and craft activities of India. This was because in the

Impact on crafts, their sustenance and livelihood

Craftspeople

Lack of access to:

{

Effects of Colonization, Industrialization, and Globalization

Urban market knowledge

Funds

Technology

Channels of distribution

Fig 17: Colonization, industrialization and globalization impacted the sector of crafts at multiple layers. The figure shows how the factors which lead to growing gap between craftspeople and the market impacted their sustenance and livelihood.

Introduction of ‘Design’

Craft and Design in the Indian context

18th and 19th century Europe, art and craft- and design were already distinct concepts and activities which denoted a separation of thinking. Vyas (2000) As discussed in the previous section, one can understand how with the shift of paradigm in the life of craftspeople during colonization and industrialization, there was felt an emerging need for a facilitator to step in and bridge between the larger social fabric and that of the artisans and communities. First with colonization, followed by industrialization and eventually globalization, Indian crafts and the entire industry experienced a large shift in terms of it’s market, livelihood and sustenance. At that time, introduction of ‘Design’ as a term further increased the gap in how Crafts were understood. The snapping of the link between the creative impulse and livelihood, that is the inevitable outcome of mechanization; and the introduction of an alien concept of designer as distinct from the craftsman has only destroyed further the craftsman’s natural response to good form. (Cited by Adamson, 2010, p. 197) Changes happening in education system were inevitable. ‘Design’ was inclined towards a formal way of learning and was perceived as a process of thinking and problem solving. It wasn’t necessary for a designer to possess skills or techniques that crafts demanded. Design was seen an interface between old and new, taken up with the notion to bridge gaps. As Sankaran (2011) puts it, the outlook towards ‘design’ has been well entrenched in the concern of of balancing tradition and modernity. (p. 7, 8)

Fig 18: With the existing gap and difference between crafts and industry, there was felt a need to have a body of people who would merge the gap between crafts and the market. Western interference at the same time differentiated Crafts, art and design as different concepts which lead to ‘Craft’ and ‘Design’ as entities that different from each other.

Crafts

Industry

Foreign influences and interference

Need to formally differentiate between art, craft, design

Crafts

Design

Craft and Design in the Indian context

Craft and Design: Concerns

1.3 Craft and Design: Concerns Today, an argument, an attitude faces crafts and artisans in India. This is the argument of economics, of sustainability, of marketability, which is the argument of financial survival. (Cited by Kapur and Mittar, 2014, p. 2) Handicraft is the second largest source of employment in the country, after agriculture. Yet Indiaâ&#x20AC;&#x2122;s hand industries are in a crisis of misunderstanding. (Cited by Kapur and Mittar, 2014, p. 1) Crafts and craftspeople, in a huge number, use indigenous modes of production, traditional skills and techniques. While some may be doing this due to lack of exposure, being away from technologies or inadequate funds, many craftspeople prefer sticking to the age old traditions and techniques consciously. For them, it is a living identity and expression of their community or culture. With increased globalization, however, products are becoming more and more commoditized and artisans find their products competing with goods from all over the world. (Kapur and Mittar, 2014, p. 1) The goods that the craft products are competing with are mass produced, factory made and are pushing away the deep-rooted and traditional products out. Also, one of the biggest issues in India is that our markets do not recognize the true value of craft. When this value is recognized, and if people are willing to pay a higher price for craft based products, this should translate into higher wages for weavers and craftspeople and act as a boost to millions of rural-based livelihood opportunities associated with this sector. (Kapur and Mittar, 2014, p. 1) The era of economic reform and liberalized market saw India open her doors to multinationals. It is not only the economies that often meet in the global market sphere, but also the people and cultures, which bring a new dimension to the multi-cultural setting. (Jena, 2010, p. 120) Both traditional handicrafts and modern mechanized production are seen in the Indian economy. True, industrial capitalism has brought machine-based mass production. But keeping pace with tradition, the Indian handicrafts industry still shows its importance. (Jena, 2010, p. 120) He continues by stating the most important and also the biggest problem that in our Handicraft industry, the village craftsmen remain concerned that with free trade and mass production, hand-made

Craft and Design in the Indian context

Craft and Design: Concerns

products from other parts of the world will out price the products of their hard labor. However, the crafts sector of India faces many challenges while withstanding changing market needs and mass produced goods,.

1.3.a Exploitation Craft workers who have little formal education and are rarely organized are subject to many exploitative work conditions. (Jena, 2010, p. 130) It is due to these reasons that we see that the historical artisanconsumer relationship has broken down, and largely been replaced by traders. This has rendered artisans’ knowledge and skill, acquired over generations, virtually useless and made crafts an unsustainable source of livelihood. (Kapur and Mittar, 2014, p. 3) As there has been the evolution of the modern market economy, the artisans have lost their holds over the old patron-client business network and Jajmani relationship. (Jena, 2010, p. 130) The artisans are dependent on middlemen and traders to get clients or sell their products. The traders some times do not pay the artisan a fair wage. The user of what the village artisan makes is now a distant, most often unknown entity located in the cities of India and the world. To understand her and to influence her choices requires a range of ‘middleman’ functions: access to market knowledge, to design, technology, finance and channels of distribution. Sometimes, the middlemen take advantage of artisan’s lack of knowledge about market and his values which creates an opportunity for exploitation.

1.3.b Change in profession A large section of the artisan population in India is illiterate and is devoid of formal education. Poverty again makes them become more vulnerable. (Jena, 2010, p. 130) With no security of a regular income from their hereditary profession and exploitation in case of any income, artists are now a days choosing to shift to other professions. Propelled by loss of markets, declining skills and difficulty catering to new markets, a large number of artisans have moved to urban centres in search of low, unskilled employment in industry. (Kapur and Mittar, 2014, p. 1) However, there are many artists who wish to continue with their craft and skills by adapting to market demands. (Jena, 2010) mentions how many artists while personally interacting with him say that they don’t

Craft and Design in the Indian context

Craft and Design: Concerns

understand why they shouldn’t behave according to the behavior of the market, by continuing to stick to the traditional form they will have to search for their bread somewhere else.

1.3.c Hand v/s Machine Preindustrial artisans were skilled craftspeople who used locally available materials to create products and generate income. As similar products manufactured with alternative or new materials were introduced to the market the demand for traditional craftsmanship sharply declined. (Tung, 2012) Craftspeople from villages and other rural areas are concerned about how they will compete with machine goods. They are worried that their crafts and it’s form can be replaced by machines and can be produced all over the world, out pricing their own crafts. As K. Basu emphasizes: “though globalization has so far served the handicrafts sector well, there is no denial that some of these products will come under attack and India will not be able to word that off.” Plastic sandals are replaced by the leather made chappals, clay pottery items are being replaced by plastic plates, jugs etc. A local newspaper report reveals that nowadays in Orissa various small scale industries have been facing enormous problems and have failed to compete with the Chinese companies who have intruded into the Orissan market with their low cost products . The precarious condition of the artisans and the crafts is again highlighted when globalization has separated the crafts from the actual artisans. For example various factories in China as said by T.J. Scrase, now mass produce and market ‘sari’ cloth, based on Indian designs, therefore making a ‘virtual artisan’ where the craft itself survives in a hybrid form that may or may not be produced by the original workers (Cited by Jena 2010, p. 131)

1.3.d Appreciation and Value One of the biggest issues in India is that our markets and citizens do not recognize the true value of craft. When this value is recognized and appreciated, people will be willing to pay a higher price for craft based products, this will largely help in craftspeople not compromising on the workmanship and quality of their craft product. Otherwise, to produce more in less time, they ignore a few traditional stages which require more time and are probably the essence of that craft.

Craft and Design in the Indian context

Concerns Craft and Design: Concerns

The export of Indian handicrafts should not be seen as the only parameter of development of this sector. There should be a push from the domestic market, too. (Jena, 2010, p. 131) There is a definite change in the market place, too. The key characteristic of todayâ&#x20AC;&#x2122;s global market is the speed with which the demand for a product and change in its style, design, and color, offer greater opportunities as well as threats to producers. (Kapur and Mittar, 2014, p. 4) Some times the artisans are not able to adapt to rapidly changing demands in design and most of the times are not even aware of the change in taste of the consumer because of the disconnect between him and the market. Mechanization is not an option for many artisans and as said before, many do not prefer to use any, this has led to factory produced goods being preferred due to the economics of sale. The nature of the crafts sector and challenges faced by artisans reduces their ability to compete with machine-made products. (Kapur and Mittar, 2014, p. 4) Although India adapted to liberalization policies in early nineties, the handicrafts sector continued to get state intervention. Handicrafts being a state subject defined in our constitution, the development and promotion of crafts are the responsibility of the respective state governments. The Central government through various developmental schemes plays the role by supplementing their efforts. (Jena, 2010, p. 130, 131) The biggest challenge while implementing these developmental schemes is making sure the implementors are aware of and have knowledge about the craft they are working for. While working on these schemes, it is crucial for the craft to flourish and not succumb to the challenges and problems. The true and ultimate value of craft lies not in the artifact but in the process by which it comes to be. (Botnick and Raja, 2011) And it is this process which seems to be getting lost as the artisans are trained in the art forms by their ancestors over generations and craft was not about making a simple product. Rather, it was about a historic legacy of generations and centuries, a tedious brutal labor and a proud skill, a battle between tradition and industrial modernity, an expression of unique style and a vision of revival, all connected to the heart and spirit of each individual artisan. (Soteriou, 1998) How can it be made sure that the implementation and efforts are headed in a direction that suffices the basic purpose of them? It is

Craft and Design in the Indian context

Craft and Design: Concerns

necessary to have an objective behind working with crafts. Have we asked the right questions to lead and implement any initiatives for solving conflicting tenets of sustainability through responsible and strategic design innovation which integrates the social, economic, ecological and cultural aspects?

Craft and Design in the Indian context

Concerns

Key Notes

• At social and cultural levels, crafts evolved as a need based activity and grew in size and eventually was practiced as a profession. With ith India undergoing various shifts: politically and economically, they were seen reflected in the framework of crafts multiple levels. • The sector experienced a shift when India was colonized: the influence of Industrial revolution offering factory produces to people; a strong parallel and competition to craft products. • At the same time, ‘Design’ and its introduction showed its impacts on crafts that brought about distinctions between the two, also giving rise to Design as a profession and sector.

Craft Design Collaborations

Img 8: The mud-mirror work incorporated as a decorative wall finish at Cafe Lota designed by Studio Lotus at The Crafts Museum of New Delhi

Craft Design Collaborations

Introduction

Chapter Two Craft Design Collaborations

Introduction One of the approaches after the two sectors began to interact are Craft and Design collaborations. The study aims to look into their process and impacts. To begin to understand them, the study will first dwell into how Crafts and Design work individually and what are their processes. The chapter also looks into how collaboration and participation of different concepts and people respectively changes the nature of the process. The concluding section talks about the framework through which collaborations will be studied.

Craft Design Collaborations

2.1 Approach and Potential If one looks back into history, the artisan was the designer and the maker. Looking at the present day situation, it is seen that today the artisans while practicing traditional skills with traditional technology, are faced with fewer demands from clients and are under the pressure of competition and performance to sustain their craft and livelihood. They are increasingly faced with the problem of diminishing orders and are hemmed in by the competition. This disfranchisement has moved them further from their markets, both literally and figuratively. (Designers meet artisans, 2005, p. 4) Apart from government initiatives, there are many bodies of people and forums that seek to address the state of crafts in India today, one of them being Designers who work with crafts and bring both, Craft and Design, on the same platform. Interaction between designers and craftspeople is a an approach to expand the craft vocabulary and tap contemporary markets. It is through craft that one connects to their history and develops a relationship and dialogue with nature and their environment. There is a constant debate in the intellectual circles about craft design collaborations. The topic is looked at with diverse opinions and preconceived notions, and is evaluated in terms of the impacts these collaborations have. From questions like what the role is of a designer when he works with crafts to how can these collaborations mediate between tradition and change, the approach to have craft and design collaborations, demands answers. Design or being a designer has emerged to be a cross-functional activity that encompasses many disciplines and connects them to each other. As Mortati and Villari (2013) state, it is considered capable of making sense of social challenges while devising strategic and holistic solutions to support competitiveness. They mention how it is considered a fundamental ingredient in business innovation through its ability to shape ideas and translate them into practical and appealing propositions for users, while improving national performance.

Approach and potential

Craft Design Collaborations

Approach and potential

However, just working with crafts does not address the concerns that exist. The most important is to have an objective and an intention to work with crafts, to address what is crucial and then think of the secondary advantages or reasons for working with crafts. Back in 1958, while designing a program for what would be the countryâ&#x20AC;&#x2122;s first school of design, Charles and Eames (1958) elaborate and stress on how, while leaving the institute, the students should be trained not only to solve problems â&#x20AC;&#x201C; but more importantly, they should be trained to help others solve their own problems. One of the most valuable functions of a good industrial designer today is to ask the right questions of those concerned so that they become freshly involved and seek a solution themselves. Charles and Eames (1958) Collaborations are a process that involve both, the designer and craftsperson. They are to work together and design new products, redesign existing products, make them adaptable to market demands or create a product powerful enough that the market demands it. Applying traditional skills to meet new opportunities and challenges and the craft production to the needs of modern living, collaborations have the potential to be an interface between old and new, traditional and modern, handmade and machine-made, and answer these dualities with an approach from which all collaborators take away something beneficial for themselves.

Approach and potential

Craft Design Collaborations

Crafts

Design

Designers

Impact on crafts, their sustenance and livelihood Lack of access to:

Effects of Colonization, Industrialization, and Globalization

{

Urban market knowledge

Funds

Access to:

Technology

Channels of distribution

{

Craftspeople

Fig 19: With the existing gap and difference between crafts and industry, there was felt a need to have a body of people who would merge the gap between crafts and the market. Western interference at the same time differentiated Crafts, art and design as different concepts which lead to ‘Craft’ and ‘Design’ as entities that different from each other.

Anantaya is committed to the development of innovative ideas through understanding the importance of preserving traditional crafts. Anantaya Anantaya, Jaipur, redefines existing local craft traditions and artisan communities by Rajasthan providing design, technology, capital, and creative collaboration. (Anantaya Decor, n.d.) Img 9

Collective Craft is a collaborative of Architects, Designers and Artisans

Collective Craft, working towards promoting customized and handcrafted design New Delhi and applications. We engage in traditional crafts skills in contemporary product and space design and work towards creating environmentally Odisha responsible design solutions. (Mahopatra and Bhol, n.d.) Img 10

CraftCanvas, Ahmedabad, Gujarat

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CraftCanvas is a link between artisan communities and the urban consumer, translating an ages old craft into something contemporary. We offer a range of handicraft products from across India, hand-painted wall mural services, custom hand-crafted furniture, soft furnishings, tribal/ folk paintings and accessories and craft workshops for children and adults. (Craft Canvas, n.d.)

Craft Design Collaborations

Approach and potential

Design Innovation and Crafts Resource Centre, CEPT University, Gujarat

DICRC funtions as an research centre for the development and understanding of Indian Crafts (SMC- Space Making Crafts and Surface Narrative Crafts) of Traditional and Vernacular Buildings of India. It functions as an interface between creative persons, artisans and the industry, interlinks all sides to create the basis for the implementation of innovative idea in the filed of crafts within the current interior architecture education as well as practice. (DICRC, n.d.)

E’thaan Design Studio, New Delhi

E’thaan stands for creative contemporary Indian design rooted in traditional skills but infused with a new spirit. We work with the many exciting and varied Indian craft traditions from Nagaland to Kashmir and seek to create an Indian identity that we can call our own. (::e’thaan the craft shop:: New delhi india handicraft Wood Craft And Carpentry Architecture and interiors furniture, n.d.).

Hunnarshala, Kutch, Gujarat

Hunnarshala Foundation works with objectives to promote ecofriendly construction practices, low energy building designs & technologies which are scientifically validated through research initiatives. These technologies have glimpses of local culture and aesthetics. The knowledge of these technologies is transferred to the local artisans who further link it to the contemporary market. (Hunnarshala Foundation, n.d.)

Rajeev Sethi Scenographers

Rajeev Sethi Scenograpphers is a provate limited company offering wideranging design services marked by an inter-disciplinary process spanning craft skills, performance arts, new media, liberal arts and architecture in a way as to best utilise the heritage resources of this country towards cutting-edge design-led entrepreneurship. (Rajeev Sethi’s Website, n.d.).

Rhizome, Ahmedabad, Gujarat

Rhizome sees the gap between craft and industrial products as an opportunity for design, market and sustainability. Ourphilosophy is to achieve this by designing products based on the craft tradition, that can be made from locally available, renewable/ upcycled materials, produced equitably by local communities, in line with commercially viable markets- making them culturally, ecologically, socially and economically sustainable. (Sustainable Design Consultant Ahmedabad, India, n.d.).

Sangaru Design Studio, Bangalore, Karnataka

Sandeep Sangaru is a multidisciplinary design studio that has the talent to manipulate materials, appreciates technology and combines engineering with craft to deliver unique solutions. Since its inception in 2004, the studio has been actively involved with the Craft Sector, working with local people and local material to create global products. Craft has always been a need-based process from ages and using design to interface skills of the artisans is something that we strive for. (Sangaru Design Studio, n.d.)

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( J h s

Craft Design Collaborations

Img 18: Raas, Jodhpur by Lotus Studio, New Delhi

Approach and potential

Craft Design Collaborations

Interior Architecture Practices

2.2. Interior Architecture practices The modern day practices have seen birth of designers and architects who have set the wheel in motion for crafts by integrating them in their practices. This has showed the way to craft-design collaborations where the designer and craftsperson work together to design and produce something. As Wilson (2007) states in his book, India Contemporary, the style of Architecture in India represents a mixture of distillation of the past, interaction with the present nationally and internationally, and the understood need and instinctive desire to look and plan for the future. Craft-design collaborations address this style and are hence a vital way of crafts sector and Interior Architecture practices working together to add character to the contextual language of Interior Architecture. Efforts to collaborate are with multiple intentions that resonate at different levels. While designing, one is designing for future experiences of people, communities and cultures. (Sanders and Stappers, 2008) There is always a need for new approaches to Design that meet the needs of that time and context. Consequently, new disciplines of design have begun to emerge. A few examples are ‘Interaction design’ which was first introduced by Bill Moggridge and Bill Verplank. Interaction design is just now beginning to be offered as a field of study in the curricula of design programs at universities. ‘Service design’ started to receive attention in 2006 with the advent of the first service design conference, Emergence 2006, that was put on by Carnegie Mellon University’s School of Design. ‘Transformation design’ was introduced in 2006 in a White Paper by that name published by the UK’s Design Council. Each of these new disciplines incorporates several of the traditional design disciplines within it. (Sanders and Stappers, 2008, p. 10) A conscious effort of collaborating the two segments together, Craft and Design, in this sense, can be seen as an emerging approach of design. The diverse crafts of India are true to their form, function, techniques, context, and materials that have been practiced and passed on for generations. The knowledge of making any craft is deep-rooted and sometimes, limited to the craftsperson. With Interior Architecture in India undergoing constant changes, the advancements in building technologies and innovations have reflected in changing consumer demands. However, in today’s global market, the folk artist is paradoxically more disconnected from consumer needs and tastes and can no longer assume, as in the past, the combined role of a designer, producer and marketer. (Cited by Padilla, 2013, p. 11) It is with respect

Craft Design Collaborations

Interior Architecture Practices

to that that the designer is looked upon as a bridge. Though, at what point do the two bodies of people take over or how does their work and involvement overlap? Where does a designer stop and when does the work of a maker begin? As Risatti (2007) rightly explains in the book, A theory of Craft, there exist parallels in the way a craftsman and a designer operate and that it would be inaccurate to conclude that there activities do are absolutely foreign to each other. At this point, many critical issues complete for our attention, but the bigger question which encompasses all the other ones is â&#x20AC;&#x2DC;how?â&#x20AC;&#x2122; How do the designer and craftsperson collaborate, keeping in mind factors like client requirements, scale, cost, etc? Architecture and Interior practices in India and the built environment are a direct reflection of region, culture and development. Interior architecture today provides a platform for craft practices and has the potential to integrate crafts. Crafts too have created a niche for themselves in the building sector and are visible in a wide variety of projects. One of the intangible yet important aspects behind integration of crafts in Interior Architecture is their aesthetic appeal. Both Plato and Aristotle considered aesthetics, which they understood as the science of sensory impressions, to be an important feature throughout life. (Corse, 2009, p. 1) The question that arises is whether the aesthetic appeal is limited to visual comfort or has a broader meaning as Corse (2009) later elaborates, aesthetic experiences are not only pleasurable, they are fundamental to our understanding of the world. This triggers a query to find out the different reasons behind integration of crafts in Interior Architecture than mere aesthetic appeal. Re-emergence of crafts and its significance today is not a result of just one factor, but multiple, ranging from its association to our countryâ&#x20AC;&#x2122;s cultural history, its contribution in social and economic sector, contemporary significance, and as continuing tradition. Craft traditions in India continue to reflect diverse regional and socio-cultural profiles of the country. Frequently, craft traditions communicate important cultural concepts and function beyond their basic role of ornamentation and cultural expression. (International Centre for Indian Crafts, ICIC., n.d.) With a common vision of charting a future for crafts, the work of architects and designers has brought into light issues in the crafts sector that are at micro level as well as macro level. Venkataraman (2010) while talking about crafts and how Indian artisans need to

Interior Architecture Practices

Craft Design Collaborations

go global, mentions that pioneers like Rajeev Sethi believe that to be ecologically sustainable, traditional knowledge needs the crucial interface with design to reposition itself and enter the global market, and in the absence of this facility, time honored traditional skills in India are dwindling or are lost. This shows the role designers play when they work with crafts does not simply end with the project. It has long range and profound effects at all levels.

Pazasi Rajaâ&#x20AC;&#x2122;s Tomb by Eugene Pandala

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Raviâ&#x20AC;&#x2122;s House in Mud by Eugene Pandala

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Raas, Jodhpur by Lotus Studio, New Delhi

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Kainoosh, New Delhi by Lotus Studio, New Delhi

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Interior Architecture Practices

Craft Design Collaborations Spice Route, New Delhi by Rajeev Sethi

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India Pavilion Wold Expo 2010, Shanghai by Sanjay Prakash

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Mud House, Ahmedabad by Aniket Bhagwat

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Desert Resort, Rajasthan by Revathi Kamath

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Amanbagh, Rajasthan by Ed Tuttle

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Interior Architecture Practices

Craft Design Collaborations Aman, New Delhi by Kerry Hill

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The Oberoi Udaivillas, Rajasthan by Nimish Patel and Parul Zaveri

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Lisbeth House, Auroville by Shama Dalvi

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Bamboo House, New Delhi by Pradeep Sachdeva

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Devi Art Foundation, Gurgaon by Aniket Bhagwat

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Craft Design Collaborations

Craft Design Collaborations: The Process

2.3 Craft Design Collaboration: The Process The concept of Design as we know is very old, perhaps as old as humanity itself. (Vyas, 2009, p. 113) Of course, the idea of design, as said earlier, was synonymous with the idea of craft and its activities. It was during the early days of Modern Movement, when art, craft and design were being differentiated to be defined, that the perception and activity that encompasses Design was given shape to again. The dramatic change of image of Design mentioned is very much associated with the philosophy of the Bauhaus and its education program that were instrumental for design being accepted, for the first time in history, as a profession. (Vyas, 2009, p. 114) Both the processes of Design, one which is seen as the instinctive human ability and two, which is a formal and conditioned approach of problem solving, exist in India and represent the craftspeople and the design professionals respectively.

2.3.a Understanding the differences Talking about Craft Design collaboration, these two concepts of Design processes are seen interacting with each other. However, Adamson (2010) states how Design and craft have both evolved considerably since their nineteenth century redefinition in the immediate wake of industrialization. The two being different on practical and theoretical grounds, it is necessary to understand nature of each one of them. Vyas (2009) calls the primordial process as an ‘evolved’ design process one and refers to the post industrial approach as a ‘learnt’ design process. Evolved Design Process

Table 1: This table is to highlight the three major differences between the ‘Evolved’ and ‘Learnt’ Design Process as explained by Vyas (2009)

Learnt Design Process

Final design solution evolves gradually, spread over a long time

Design solution and the process is timetelescoped and encapsulated

It is organic, unselfconscious, unstructured. Cannot be learnt in a structured academic environment. It is to be learnt in age-old, time tested master-disciple tradition.

It has been self-consciously acquired at a special seat of learning and in a specified period of time. It follows that whatever employed has to be methodical and deliberate.

It is an outcome of collective contributions of many anonymous designers who represent several generations from past. The process involuntarily accumulates major concerns and aspirations of each generation.

This process by its very nature is very individualistic. Each designer’s or team member’s contribution is individually acknowledged by others. It shuns the idea of anonymity.

Craft Design Collaborations: The Process

Craft Design Collaborations

Fig 20: In India, once can see both, the Evolved Design Process and the Learnt Design Process being practiced by Artisans and Designers, respectively. The figure shows the factors in an hierarchical order which lead to the formation of these processes. Thus, we can see both, Artisans who are designers too and ‘contemporary’ designers, practicing in India.

Primordial times

Man’s ability to respond, predict and plan for an outcome or event Evolved Design Process Crafts

Innovating

Craftspeople

Making

Selling

Colonization

Industrial Revolution in 18th Century Europe which lead to introduction of mechanical production

Vast difference in way of production

Crafts

Industry

Learnt Design Process

Need to formally differentiate between art, craft, design

Crafts

Design

Craft Design Collaborations: The Process

Craft Design Collaborations

Gathering examples from our immediate environment, it is seen that craft is integrated at different levels, and for different reasons. The scope of inquiry that such collaborations of craft into built forms have is wide and diverse, ranging from social, economic to utilitarian needs. There is a guaranteed change in order when design and craft meet. The informality of the latter versus the orderly systems of the former combine only to form an intangible process. Collaboration brings multiple voices, ideas and inputs from different people to the table. The output however is tangible, it being a space or product. The great difference between them is that while the craftsman ends with a finished, functioning object, the designer does not. He or she ends with a drawing or some other type of abstract notation that may, at a later stage, be made into an actual object; until it does, it remains an abstract sign- the term “design” itself comes from the Latin “signum,” meaning sign. Thus, designing, as the making of a sign, is the first stage in what I have called a two-stage process’ only in the second stage is an actual object made. (Risatti, 2007, p. 171)

Evolved Design Process

Learnt Design Process

Craft

Design

Collaboration

Designers

Participatory Process

Space/ Object

Intangible, back and

Tangible output

forth, organic in nature

Craftspeople

Fig 21: Projects stated in Figure 4 and 5 also classify craft-design as the emerging approach of design that architects and designers are following to meet different goals. The diverse approaches, variety of people and other factors alter and change the design process and a non-linearity can be observed in such participatory processes.

Craft Design Collaborations

Craft Design Collaborations: The Process

2.3.b Co-design The definition of Co-design quite explains a participatory design approach that is in discussion. Co-design is a shorthand phrase used to cover a variety of design activities that all share the basic principle that the design process includes other participants, either individuals or communities, in the process of designing a solution to a problem. (Crouch and Pearce, 2012, p. 27) It further explains that co-designing has an impact on the roles of the players in the design process, in this case: the designers and craftspeople. This is due to involvement of people from different backgrounds, each coming with their specialization and having to respond to each otherâ&#x20AC;&#x2122;s needs. This goes to show that bringing co-designing into design practice is bound to cause a number of changes. Sanders and Stappers (2008) state that it will not be limited to a factor or two, but will change how we design, what we design, and who designs. It will also affect the tools and methods that the new teams of co-designers will use. With a non-linear process and looking at the differences in bodies of people involved, it is significant to examine how craftspeople and designer conceive the idea, go from initial idea to itâ&#x20AC;&#x2122;s to its realization as a tangible object. Each stakeholder coming from the background that he has, will be accustomed to certain set of tools, technologies and methods to go about in a project. In this participatory process that is made up of a variety of factors, what factors constitute and represent Craft and Design? With its organic nature and all the different factors that each segment brings with itself, it becomes increasingly important to have a work flow that constitutes all the different factors: a work flow in terms of an established order that can be referred to during the process. In a collaborative process, ideas come from multiple sources. The process of design in any project is acutely divided. Every designer and architect has his/her own unique way of communicating with different teams that of site supervisors, structural engineers, layman, contractors, etc. While in a design process where designer is the sole authority in decision making, the communication is between people from less varied background. The question of communication arises when designer and craftsperson interact. For any craft to flourish, the communication between people working in that craft is as important as its materials, skills and techniques. It becomes important to have effective communication in order to meet the project needs, however, how is it implemented?

Craft Design Collaborations: The Process

Craft Design Collaborations

The organic nature of such a participatory process also stems from different ways of working by different bodies of people involved. The doubt raised in the Designer meets Artisan (2005) that goes to ask if we should instead be teaching artisans the formalized design process, clarifies the fact that the design method used by designers and artisans is different. While talking about change in ways of working and poroduction, do changes in skills, techniques and materials work against the possibility of continuation of tradition? Tradition and innovation in construction are both essential and complementary parts of the built environment

Designers

Craftspeople

Participatory Process

Co-design

Impact

Craft

Design

Requires a concept of a framework for work flow/design development process Models for collaboration

Production

Stakeholders

Process

It will have an impact on the roles of the players in the design process

Scope of inquiry that it addresses: social needs, economic needs, utilitarian needs, etc.

It will affect It will change how we design, what we design, and who designs

the tools and methods that the new teams of co-designers will use.

Fig 22: Participatory design which essentially means co-design (designing with different bodies of people)changes the way a design process functions and shows its impacts at multiple levels. It shows the need for developing a framework for its process which can act as a reference point.

Craft Design Collaborations

Craft Design Collaborations: The Process

continuum. While these seemingly opposite sectors have different skills sets and requirements, they sit side by side and can and must learn from and respect each other. (Traditional Building Crafts Skills, 2008, p. 3) No matter the different ways of working, modern design and craft need to correspond to each other’s needs. Tradition and innovation can coexist through this approach but when it comes to a craft-design process, how does tradition continue through innovation and does it come across as limitation or opportunity? Craft has a different attitude towards its own traditions and histories than other forms of art; crafts by definition derive from methods and materials employed for centuries. Many modern craftworks alter, question or reinvent these traditional materials, but they always refer to them in some way. (Corse, 2009, p. 2) Similarly, Behne argues, “Skills are not necessarily ‘lost’; rather they are redistributed in new ways and through new forms”. (Cited by Frayling, 2011, p. 90) How do craftspeople adapt their knowledge or redistribute and even communicate about their skills as stated above. More so, how do the craftspeople and the designer narrow down upon an approach which answers tradition and innovation, both? Sociologists distinguish between formal knowledge and tacit knowledge, the kind that can be found in books and is easily articulable, and the kind that cannot since it can never be articulated in verbal terms. (Frayling, 2011, p. 71) The tacit knowledge cannot be articulated, but is it also non-transformable? How do craftspeople communicate this knowledge and how does the translation of this knowledge take place in a craft-design process? Designer becomes the channel through which Crafts can see applications in Interior and Architecture and meet a commercial scale. At a time when globalization is linking areas spatially but disconnecting pasts everywhere, the designer is an important mediator between discontinuous realities. Designers are thus an interface between tradition and modernity, helping match craft production to the needs of modern living. (Designers meet artisans, 2005, p. 4) Design plays a major role in empowering the crafts and crafts persons, both as an enabler and a value provider. Knowledge empowerment and efficient multidisciplinary networking can lead to cutting edge advantage to Indian crafts. Attributes of Indian handicrafts have a great potential to contribute in this direction if hand held properly. (International Centre for Indian Crafts, ICIC, n.d.) How is it that the process enables and maximizes the potential of this platform for crafts and craftspeople?

Craft Design Collaborations

Craft Design Collaborations: The Process

Each situation and collaboration requires particular innovation, as the primary aim of this study, it is necessary to analyze and extract information from processes of such collaborations in a way that it can be applied elsewhere. During the process, it is certain that the designer and craftsperson faces challenges, the question that arises is what are the different positions they take in order to meet the targeted outcome? Thus developing an understanding of how these two different processes work after being juxtaposed becomes important. An understanding of different aspects of the process such as objectives, ways of communication, issues, synergies and opportunities, etc beyond the interface between craftspeople and designers is crucial as that is what will shape the nature of collaboration and will reflect directly in its impacts. Looking into different factors of the process and understand how they have a role to play will allow emergence of reference points in this organic process. This will give an outline of work flow that gives a structure and yet leaves room for unexpected associations, connections and innovation. The diverse factors of a process can be then put together, allying themselves to create and adapt to different models that will cater to commercial, social, cultural, educational, etc aims.

Craft Design Collaborations

Key Notes

• There are many bodies of people and forums that seek to address the state of crafts in India today, one of them being Designers who work with crafts and bring both, Craft and Design, on the same platform. Applying traditional skills to meet new opportunities and challenges and the craft production to the needs of modern living, collaborations have the potential to be an interface between old and new, traditional and modern, handmade and machine-made, and answer these dualities with an approach from which all collaborators take away something beneficial for themselves. • Bringing co-designing into design practice is bound to cause a number of changes. Sanders and Stappers (2008) state that it will not be limited to a factor or two, but will change how we design, what we design, and who designs. It will also affect the tools and methods that the new teams of co-designers will use. With a non-linear process and looking at the differences in bodies of people involved, it is significant to examine how craftspeople and designer conceive the idea, go from initial idea to it’s to its realization as a tangible object. • Each situation and collaboration requires particular innovation, as the primary aim of this study, it is necessary to analyze and extract information from processes of such collaborations in a way that it can be applied elsewhere.

Case studies

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Case studies

Introduction

Chapter Three Case Studies1

Introduction A Craft Design process is a reflection of the organizations beliefs, scale of the projects it does, the stakeholders involved and various other factors that influence it. In order to understand these factors and how they change the collaborative process, each case study has been chosen with respect to the scale of projects the organization does, starting with architectural projects, interior spaces and products which have their applications in interior and architecture. Each case study aims to bring out the process the organization follows in their craft and design collaborations and concludes with a model that highlights the primary aims, approaches and impacts of the organizationâ&#x20AC;&#x2122;s craft and design collaborations. 1 The order in which the case studies have been presented follow the sequence in which they were conducted.

Case Studies: Hunnarshala Foundation

Information about the Organization

3.1 Hunnarshala Foundation, Gujarat 3.1.A. Information about the organization • ‘Why’ Based out of Kutch, Hunnarshala as an organization is home to many different bodies of people. It focuses primarily in two areas: Community empowerment, Artisan empowerment. The in-house artisan school unit offers education and training to young college drop outs with an aim of turning unskilled labor into skilled one by one year of formal training to learn carpentry or walling systems followed by a year’s training in a company, where they can apply the skills and knowledge they have acquired as an Artisan. Developing green potential of a traditional technology and technological interventions drive the Artisan empowerment unit at Hunnarshala. The artisans and architects/ designers work together to develop designs and details. This exposes the artisans to the market needs and demands. The community empowerment unit works along the same line, at a community level however. The projects that fall under community empowerment try and incorporate the local people and their skills, indigenous technologies and materials. In both cases, the artisan and architects work together at a common platform and bring to table different ideas and designs that are backed with experience, skills and technical knowhow of materials. This collectivism, apart from promoting artisan-ship, also creates a sense of ownership of designs and products among the artisans. The focus of this case study is to understand the working of Hunnarshala as a common platform for both, designers and craftspeople. After its collaborative nature, the reason for studying the process observed by Hunnarshala in these projects was the scale at which it works. This study will allow one to observe a collaborative process which is a

Case Studies: Hunnarshala Foundation

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Case Studies: Hunnarshala Foundation

Information about the Organization

amalgamation of work methods of an architect and artisan, thus making it a one of its kind process which is implemented at a certain scale and reflects socio-economic and cultural factors at multiple layers.

Note: To understand the process, the case study begins with interviews with Designers form Hunnarshala. The projects mentioned as examples in the case study are to explain certain points and situations and are of collaborative architectural projects, each with its own specifications of materials, region, client requirements and resources, etc. The other examples which are not with respective to any project are from the interviewee’s experience of working in craft and design collaborations.

• Interview details Interview 01 Maintain anonymity: No Organization: Hunnarshala Foundtion Name: Ms. Hardika Dayalani, Program Coordinator Date: 6-10-2015

Interview 02 Maintain anonymity: No Organization: Hunnarshala Foundtion Name: Mr. Mahavir Acharya, Managing Director Date: 7-10-2015

• Project details Project 01 Khamir Craft Resource Centre Kachchh, Gujarat Status: Completed in 2005 Architect: Ar. Neelkanth Chhaya

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Case Studies: Hunnarshala Foundation

Information about the Organization

Project 02 Shaam E Sarhad Village Resort Hodka, Gujarat Status: Completed in 2005 Architect: Hunnarshala Foundation

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Project 03 Mass Housing project Muzaffarnagar, Uttar Pradesh Status: Completed in 2015 Architect: Hunnarshala Foundation

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Project 04 Panchayat Sarkar Bhavan Bihar Status: Unbuilt Architect: Hunnarshala Foundation

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Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

3.1.B. Craft Design Collaboration: Process • Triangulating segments: I³; Intent, Implement, Impact

Triangulating segments: I³; Intent In a collaboration where individuals are from different professional backgrounds, it becomes increasingly important to know why each one of them is a part of the collaboration and what they wish to bring to the table. All stakeholders are significant and more importantly have the capacity to impact the collaboration through their objectives. Hunnarshala, along with its focus on alternative building materials and technologies and sustainable designs, also focuses on building architecture that is socially responsible and viable. This objective that Hunnarshala has is best encouraged when their target audience, the communities and people it designs for, are involved in the process of a project as they understand the need and situation of the project the best. The participatory approach paramount in Hunnarshala’s projects addresses the socially responsible and viable part as Hunnarshala capacitates architects and craftspeople to work together with a focus on craft and design, the exploration of which involves communities, local resources, indigenous technologies, micro climate, traditional and local crafts, etc. This makes every project unique in terms of its problems that need to be addressed, keeping in mind available skills and resources of the community and artisans they are going to work with. Each project and its participants are hence different in terms of its resources and backgrounds respectively. Capacity building, which is also the organization’s core objective, requires assessment of the potential and limitations of all the participants. Once they are understood, the team of designers, through their designs, makes sure the strengths which are in terms of knowledge, skills, age old traditions are getting utilized. In case of limitations like lack of funds, access to technology, material procurement or client needs, etc the designers step in and bridge the gap by giving necessary support and facilities. This goes to show that the participant and project specifications are kept as a reference point while designing and they are instrumental in deciding potential of the project.

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

The objective does now stop at utilizing existing strengths and artisans skills. The designers and artisans work together, designers giving design support to artisans while making construction or furniture details, thus ensuring that the existing skills not only get utilized but see new applications which address the client and market demands. Traditional skills meet new forms and applications, boosting skill development which aligns with the organizations objective of capacity building. Ensuring capacity building through skill development, the organization translates it in terms of a tangible factor by ensuring regular work and respectable and deserved wages to artisans. Monetary remuneration is crucial for artisans to realize they can continue to work as artisans, as the lack of which sometimes even challenges their sustenance and livelihood. By identifying the problems artisans face and to generate employment amongst those who drop out of schools, or are devoid of any formal education, Hunnarshala aims to provide formal training and education to them. It imparts professional values along with skill development and trains them. Not only individuals, but the organization also inspires teams of people skilled in any art form to form a group and provides them with formal training from an expert and registers the group as an independent company. These individuals and companies are then approached by Hunnarshala itself and absorbed onto its projects. Initiatives at such a grassroot level have created a regular flow of trained artisans and their employment, leading to a positive and productive chain reaction. Involvement

Mass Housing Project

One needs to understand the artisanâ&#x20AC;&#x2122;s point of view. Architects have ideas, hopes and dreams that they wish to do something. But any process of making is different at a discussion level and practical level. It has so many different implications. So when the artisan discusses, it makes the work refined. So if the designer or architect wishes for refinement, he/she should discuss with artisans about how it will be done. (Acharya, Personal communication, October 7, 2015) Img 79

Craft Design Collaboration: Process

Case Studies: Hunnarshala Foundation

Client needs and objectives Khamir’s agenda was to work with crafts. It was important to create a humble and primitive environment for the artisans and craftspeople that were going to work there. They needed to feel rightful. The people working there feel proud about their local materials that even big institutions use these materials. And when we also go there, we work in the same environment as them. So one enjoys working there, the openness and materials used, example chipra, local stone, all these things remind them of their own homes. (Acharya, Personal communication, October 7, 2015)

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Stakeholders

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Intent

Funders

Khamir Craft Resource Centre

Social needs

Establish sense of belonging and comfort for end user

Architect

•Climate responsive architecture •Traditional building artisans •Alternate building materials

Program manager and implementer

•Capacity building of artisans •Artisan empowerment

Client

End user

A diagram explaining the different stakeholders involved in Khamir project and their intentions and objectives

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

Khamir Craft Resource Centre

Know each other’s strengths In case of Khamir, our karigars had come from MP. It’s very interesting. When the Kutch earthquake happened, there was created a great need and demand for people. So many opportunities were created for people from places like M.P., Dahod. There was employment at a large scale. So they had come here in search of that. So for them any profession that gave them a good outcome was acceptable, since they had come here for work. People who had come from M.P. had knowledge of Mud. Their houses are also made out of mud. They knew the material. So while teaching them, we realized they are adapting to everything very fast. (Acharya, Personal communication, October 7, 2015)

Khamir Craft Resource Centre

On design detailing

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At Hunnarshala, design is where we sit with the artisans, example, for a wooden understructure, the artisan will sit with the architect and develop the detail. So the design maybe architects, but the details are definitely done by artisans. (Dayalani, Personal communication, October 6, 2015)

Skill development It has given the artisans more confidence in their skills, as you constantly challenge them to use skills or materials they haven’t used before. Initially there is skepticism, and if it doesn’t get resolved through discussions, we make full scale mock ups. So it has pushed the envelope as far as skills are concerned. (Dayalani, Personal communication, October 6, 2015) Remuneration We have a Karigarshala where young college drop outs come and train with us for a year. So unless we impart any knowledge/skill to them, they will be unskilled labor. So for a year we teach them carpentry and joinery or masonry or walling systems. With this, we are constantly producing artisans. So after that for a year they work in these incubation companies, where you learn how to do business. So we send them out to procure material, we ask them to give us a quote, and then after that they are free to go and work in the market. And then if we need their skills, we hire them at market rates. (Dayalani, Personal communication, October 6, 2015)

Craft Design Collaboration: Process

Case Studies: Hunnarshala Foundation

Craft and Design

Sustainable cycle

exploration

Unskilled labor to

Know capacities,

skilled labor

limitations, strengths Intent

Regularize wages

Capacity building

Design detailing Skill development

support

Index

Intent

Impact

Implement

Fig 23: The diagram shows the â&#x20AC;&#x2DC;Intentâ&#x20AC;&#x2122; as understood from studying the organizations and its designers approach in collaborations.

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

Triangulating segments: I³; Implement The objectives and values that Hunnarshala shares have shaped the nature of work it gets approached for. There are however many other factors that decide the initial stages in any project. Keeping their primary approach in mind of socially responsible architecture and alternate building technologies, its viability is tested once the client needs and project requirements decide the absolutely necessary deliverables. It is then that the team decides what and how technologies and craft can be used. The cost and willingness of the client for future maintenance is also an important factor while designing and planning the scope any project carries. At the same time, Hunnarshala provides designs that continue to demand skills and knowledge of people involved in the process even after the project is over. Through activities like maintenance and up keep, repair, etc, Hunnarshala uses technologies and local crafts together in a way that the design becomes regenerative, and demands the local people and their involvement even after it is complete. The maintenance also depends on availability of craftspeople in that region. If the craft being used is local, then it becomes feasible to hire craftspeople later, but if they aren’t available locally, then the cost of maintenance rises. If cost of the project is not flexible, then that automatically affects the material selection and scale of the project. Developing designs that respond to resources, client needs, people who are going to be involved during the making of it, are bound to reflect this approach throughout the process. Feasibility and viability of designs that even the craftspeople can relate to automatically creates an environment that reflects respect and understanding about its people and their needs that are beyond having mere built spaces and facilities. The craftspeople, who could be hesitant about the change in process of working, new use of their skills or materials, find this environment the one they can have trust in. Transfer of skills, knowledge, resources, and techniques is not unidirectional in the way Hunnarshala operates. The designers and craftspeople while working together “exchange” their knowledge and skills, exposing each other to different faucets of crafts, market needs, material qualities and limitations, etc. This give and take is observed in how the design evolves and is a representation of crafts and technology, both, addressing each others needs, limitations and potential. Even if the designs are absolutely feasible in terms of application of skills and

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

knowledge, it shows the designer and artisans how just a change in its application can help them meet market needs and even develop its potential. Working together where there is so much exchange of knowledge, an avenue for experiments is seen emerging as what is being done is new, without any reference points and each project has a unique and different context that it needs to respond to. Experiments stem out of questions and the need to do something beyond the obvious. With craftspeople and designers working together with a common goal, questions that challenge the basic of their specialization make them push each other towards finding better solutions and answers. The quest to find better solutions and experimentation reciprocates with the organizations objective of skill development. Direct interaction with one another also ensures the two bodies of people that the knowledge, resources, designs and monetary profits are not with an intention of exploitation and only personal benefit. It also exposes craftspeople to know the less tapped avenue of remuneration and avoids the possibility of any future exploitation they might face in terms of wages. A factor that is deliberately introduced while working with artisans is imparting professional values like timely delivery, fees, coordination, etc which at times limit them to reach the market and target it on their own. The formal approach towards training artisans is another faucet of capacity building. However, education and training and creating a brand value for them introduces a new way of addressing few of the issues that the sector of craft faces today.

Cost and scale of the project

Khamir Craft Resource Centre

Once you get a project, you see the client requirements and what the potential of the

space is. So what are the idea spots on the land for specific purposes, you donâ&#x20AC;&#x2122;t want the place to get flooded, so you consider the topography. It needs to be with the landscape to be workable. Then once your spatial division is in place by architect, that decision is architects decision, the client approves. Then the architect also knows the scale to what it can stretch, what the heights like, spans are like. But if you want to increase the span, then itâ&#x20AC;&#x2122;s going to cost more. And you make the client aware of that. So many times when people see this they find it pretty but once they see the estimate and thatâ&#x20AC;&#x2122;s the end of it. (Dayalani, Personal communication, October 6, 2015)

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

Maintenance and appropriate technologies I think the technologies we use really dictate everything. It also depends on how much maintenance client is ready to take on. If we are confident the client will do ‘x’ amount of work to maintain this then we will use technology appropriate for that. Otherwise we will do something that requires low maintenance. It’ll be the biggest disservice if you give your client a house they can’t keep up with. People don’t have that kind of free time or traditions. Unlike these villagers who do lippan in Diwali, it’s their tradition. So the technologies dictate our work a lot. (Dayalani, Personal communication, October 6, 2015)

Khamir Craft Resource Centre

Shaam E Sarhad Village Resort

Regenerative designs

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For example, in Shaam-e-sarhad, the local craftspeople are hired every year to re-decorate the outer surfaces of the huts. Around 10-12 ladies come and do the lippan and create new paintings and mud work every single time and they are paid according to their rates and it’s fresh as new. This makes designs unique from one another as the people who come every year are different and is a definite income generator for the local craftspeople. (Acharya, Personal communication, October 7, 2015)

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Exchange and voicing of knowledge and opinions The architect knew what he wanted and he knew us also very well, he knew our capacities. It was clearly communicated what we could deliver. However, there were times when the artisans challenged and said that it won’t be workable and then we had to change our ideas. All our supervisors and master craftspeople are very experienced and they have raised a question of how the design will work and they have even warned us of the results we should expect if we do a certain thing. (Acharya, Personal communication, October 7, 2015)

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

Feasibility of crafts and design

Khamir Craft Resource Centre

All the design inputs and developments were discussed together, we would all ask each other to think in certain ways, figure out methods to get the desired design outcome. For example, when we had to make the big doors that you see in Khamir, the dimensions had to be changed and the joinery was also changed by craftspeople in order to make the design work, and the architect accepted that. The craftspeople told that it wouldn’t be possible otherwise and so Mr. Chhaya accepted that and changed the design, revised the drawings and sent it to us again. The doors that you see in Khamir are traditional, without frame. It was Mr. Chhaya’s idea to not have a frame for the doors. But how to achieve that needed to be discussed. Since they are heavy and needed to be hung without a frame, the hinges were going to take the entire load, for that they needed to be attached to the walls. So the hinges are long ones and then the shutter needed to be hung. This had never happened before. Normally if you see, there’s a big, strong frame and the shutters are hung from that. Here we have the same heavy shutters but without any frame. So since it was a new thing, there were many questions of how to achieve that and the design was modified two to three times, as finally the design has to be workable. (Acharya, Personal communication, October 7, 2015)

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Khamir Craft Resource Centre

Responding to local resources

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Prof. Chhaya had said we will use waste material for fascia. So we were wondering what waste material. Then we found out a place in Anjar where someone makes keys and they use steel sheets and punch them in these steel sheets. So that creates a pattern and in the end, you can hardly see any steel. Then we bought those sheets and used them. So it may not be traditional. But it was a great learning experience. (Acharya, Personal communication, October 7, 2015)

Craft Design Collaboration: Process

Case Studies: Hunnarshala Foundation

Mass Housing Project

Reciprocating to every project and its context

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Any technology, it depends on what you are trying to do where. This masonry and material is endemic to Uttar Pradesh. The same thing to be able to do in some place faraway, it’s going to be costly. We always work with local artisans. Here brick is the main material, so we are teaching them rattrap masonry to reduce cost. And the site is in seismic zone-4 so we are teaching them and bringing in reinforcements, horizontal bands and vertical reinforcements. They have a tradition of making flat roofs. And western UP has seven different types of flat roofs in terms of technology. For a room of 10-12 feet, their rise is just 7-9 inches. We had never seen that. They taught us how to make flat domes. So later we are going to bring them here and ask them to teach us that and then test the dome, like static load testing. Wherever we go, we learn something and bring it back and try and use it. (Dayalani, Personal communication, October 6, 2015)

Training for Artisans or communities We are focused on either artisan or community. Design unit is a part of both, artisan and community. So these two units have their design people, architects, engineers but their focuses are different. Like community unit will be working on housing for slums, or disaster, where you are going to empower the community and they are a part of the process. Other is the artisan unit, where you don’t have to be a part of the entire process. We divided ourselves and started working according to themes. So work kept getting specialized. For example, the artisan unit had an objective to have different companies and entrepreneurs. So if someone approached us to get something done and we say, no because we don’t have artisans, then how do we sustain our process? You need to sustain and expand your scope through artisans. So we developed companies that are owned by artisans. So there’s one company for women only, where all women work, there’s company called Layers one for rammed earth, there’s Span company for space frame, we have a company that works with wood, it’s called Grains. Now we have a student’s company, called Karigarshala, students who are drop outs come and learn carpentry and alternative walling here for a year and later form their own companies. So if some client wants rammed earth, this team will go and deal with them. (Acharya, Personal communication, October 7, 2015)

Craft Design Collaboration: Process

Case Studies: Hunnarshala Foundation

Scientific and Education and training

technology driven approach

Develop designs that are feasible and viable

Professional values

for artisans Implement

Exchange of No middleman:

skills, knowledge,

Minimum exploitation

resources, market demands, etc. Exposure artisans

to new ways of using

Room for questions, spontaneity, efficiency

materials

Index

Intent

Impact

Implement

Fig 24: The diagram shows the â&#x20AC;&#x2DC;Implementâ&#x20AC;&#x2122; as understood from studying the organizations and its designers approach in collaborations and how it is manifested through the process.

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

Triangulating segments: I³; Impact In all the collaborative projects by Hunnarshala, the give and take of knowledge, skills and exposure, etc is reflected in their architecture. Design adapts to craft and craft also shows its ability to expand to newer applications and forms. The projects showcase modern revival of vernacular building techniques, propagating a sense of pride and confidence in artisans and their communities. Such a scientific and technology driven approach for using local resources, responsible architecture at social and commercial scales has given the industry a new language for crafts in architecture. Working together keeping in mind the artisan and communities practical needs and adhering to religious customs and sentiments at the same time has led to an environment of faith and trust that the craftspeople and designers have in each other. This is an important factor as it shows that working together not only caters to needs of built environment, but reaches out to the people involved in the process. Though an intangible factor, it is a significant one as it leads to long term associations between the people involved. Artisans contributing at the design development and detailing stage is a way of showing them that the project requires their expertise too. Once there is unhesitant participation from both, the designer and the artisan, the boundaries that the professions carry are no longer restricting and do not distinguish anyone as something particular. With all the differences and similarities, artisans and designers come to the level of understanding that compliments one another. Awareness about design, materials, technologies is highly influential as all of the knowledge is incorporated which impacts the product quality. Exposure to otherwise unavailable technology and funds allows increases efficiency and saves time. This combined with artisan’s knowledge and skills impacts the craft directly in it’s form and appeal and its scope in the market. With mechanical operations replacing a few manual ones, there is definite increase in time required for production which is very crucial to the project and client’s budget. The confidence that this experience gives the artisans reflects at multiple stages later, from them learning to voicing their opinions during designing to taking decisions on site. With no hierarchies being followed in discussions, designing and developing, the knowledge that is being imparted, exchanged and utilized carries with itself a positive and progressive vibe, the one that

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

cannot be achieved through any other means except working together and addressing the basic inhibitions of human nature. The designer and artisan develop designs through a rigorous process of constantly asking how they can achieve something and what are the ways in which they can. Room for questions demands an equal room for answers and that is when innovation takes place. Hunnarshalaâ&#x20AC;&#x2122;s process and approach certainly fulfill their objective of artisan empowerment. However, credit cannot be given to any one factor. As one studies the process of Hunnarshala, it is seen that initiatives and steps taken at very early stages are also instrumental in bridging the gap closer to empower the artisan in terms of confidence, skills, market and consumer driven approach, importance of profit margins, professional values and innovation. There is no doubt that the designer too learns and takes away a lot of things from such an engagement, but the magnitude with which it impacts the life of artisans is much larger. Apart from professional values and skill sets, these collaborations impart intangible values, that of humility, expression, confidence, pride and reliance between the designer and artisan. This has attracted many young people to come and learn at Hunnarshala and created many artisans who are now independent entrepreneurs working even outside of Hunnarshala. Most of the times, the knowledge of a traditional craft and the skill of making has been passed in families from generation to generation. However, the artisan school, Karigarshala, at Hunnarshala practices a different approach. It encourages young college drop outs to come and join either one of the two programs that they offer, i.e. Masonry/ Walling systems or carpentry and Joinery. This has lead to forming of first generations artisans who study at Karigarshala and practice as independent entrepreneurs later. Their training here equips them with knowledge and skills that are needed in the building industry. Apart from that, they learn in a formal and structured environment and this imbibes in them professional values and gives them exposure to market needs and demands, fair wages and thus helps in their capacity building.

Craft Design Collaboration: Process

Case Studies: Hunnarshala Foundation Traditional craftsmanship and new applications

Since the artisans who were involved in the making of Khamir had their own homes made in mud, there was already an understanding of the material. Since they had used it in their local environments, it was easier to explain these new things to them. There was acceptance. Karigars always work on acceptance. If there’s something they don’t understand or don’t have the knowledge of, they won’t work on that. Their heart won’t

Khamir Craft Resource Centre

be in it. But here they were confident about the material. So we just added a scientific approach to it and told them we will stabilize it, what’s the ramming process and what happens in it and they also adapted to this very easily. (Acharya, Personal communication, October 7, 2015)

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Panchayat Sarkar Bhavan

Catering to needs of people beyond the built environment One of our projects in Bihar is a Panchayat. So we kept this in mind, that a big building projects pride. And if you are designing a democratic building, it’s for the people, to respect their feelings. If you make a monumental building, a common man is not going to feel comfortable and rightful going to the building. They’ll think ten times even before entering the building. So we got its roof down to our level. Any fear the person has should go when he is entering the building. He/she shouldn’t get the feeling that they’re entering the White House. So we used country tiles, traditional things, so that the person knows he is entering his own Panchayat building. So many district collectors’ offices for examples are more like status symbols. That gives an impression that the government isn’t for people. The people are there just as a smaller part of the government. (Acharya, Personal communication, October 7, 2015)

Awareness and confidence How we work with artisans is we try and establish them as entrepreneurs on their own right. Our basic approach is that we respect our artisans. Once we know what the client needs, we work on planning and services and then we start working on the design and that’s when the artisans get involved. So when it comes to execution the artisan is aware of the design in general so even if there are minor alterations on site, and there are a lot, we empower them to make those changes in consultation with the site supervisor. (Dayalani, Personal communication, October 6, 2015)

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

Traditional craftsmanship and new applications

Mass Housing Project

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Imagexx shows a vandalized and subsequently abandoned house at Muzaffarnagar. These communal riots in Uttar Pradesh, the single largest incident of violence in the state since Indian Independence affected almost fifty thousand people. The new housing by Hunnarshala has boosted confidence and selfesteem of the young children who finally feel at ease, and at home, after more than a year of trauma and uncertainty. Their faces shine with the assurance that they have a secure place to stay and can resume their studies. Imagexx shows a family proudly posing in front of their new home (The Reseve, n.d.)

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Room for questions If you’re working with an artisan who designs wooden under structures for sloping roofs, you can question him. But you can’t question the structural engineer. There’s no room for questions. But with an artisan, you can ask him about ways to go about it. So if there’s space for questioning, there’s room for innovation. (Dayalani, Personal communication, October 6, 2015)

Sustainable cycle As we expanded and scope increased, we organized ourselves differently. We didn’t stick to one idea or way of working. So we molded as work progressed. We have a different system of working. In order to spread this approach of crafts into design and alternate technologies, we take care of quality of design. If someone wants to have artisans working in the project, they have to change their designing too. So our team helps architects/ clients to design, modify their drawings according to this technology. If we call artisans and then because of some reason, can’t give them work, it becomes a problem for them. They come here for livelihood. So even for eight or ten days, it can’t happens that we can’t give them work. Sometimes it happens that the project has started and you’ve called artisans but due to something they can’t start working. So we have made sure that they keep getting work. (Acharya, Personal communication, October 7, 2015)

Craft Design Collaboration: Process

Case Studies: Hunnarshala Foundation

Scientific and Education and training

technology driven approach

Develop designs that are feasible and viable

Professional values

for artisans Impact

Exchange of No middleman:

skills, knowledge,

Minimum exploitation

resources, market demands, etc. Exposure artisans

to new ways of using

Room for questions, spontaneity, efficiency

materials

Index

Intent

Impact

Implement

Fig 25: The diagram shows the ‘Impact’ that Craft Design Collaborations the organization is a part of has. These Impacts are seen as a reflection of ‘Intent’ and ‘Implement’.

Case Studies: Hunnarshala Foundation

Introduction Craft Design Collaboration: Process

“..with an artisan, you can ask him about ways to go about something. So if there’s space for questioning, there’s room for innovation.” Hardika Dayalani, Hunnarshala

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

• Triangulating segments: I³; Intent, Implement, Impact

Craft and Design

Capacity building

exploration

1 New language for crafts in Architecture

Exchange of

Scientific and Know capacities,

approach

limitations, strengths

Faith and trust

skills, knowledge,

Awareness

technology driven

resources, market

are feasible and viable

6 Education and training

Artisan empowerment Unskilled labor to

Minimum exploitation Skill development

entrepreneur

Intent

Impact

Implement

spontaneity, efficiency

No middleman:

skilled labor

Independent

Room for questions,

Product quality

Regularize wages

employment

support

Develop designs that

Sustainable cycle

Large scale

Design detailing

demands, etc.

for artisans

Index

5 Professional values

Each I³ model is a representation of what the intent of the organization is, how it is implemented in the process of collaboration and later reflected through impacts. Each model stands as an individual entity and at the same time has its influence on the process at multiple stages.

Innovation

Exposure artisans to new ways of using materials

Fig 26: The diagram shows the ‘Intent, Implement, Impact’ as studied earlier that form the process of a collaborative project in Hunnarshala. The lines connect the the in a way that suggests the three activites are reflected through eachother at various stages in the process. This goes to show the importance of each as it shapes the nature of any process and how the collaboration is carried out.

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

• Mapping Actions, Activities and Factors

Design approach

I³

Design stages

I³ It is to highlight the Intent, Implement and Impact models that have been established before and how they are seen reflecting as actions, activities or factors. Fig 27: The diagram shows the various actions, activities and factors that are observed through the case study interview.

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

• Taxonomy

Design approach

1 Design

I³

stages Fig 28: The diagram shows the various actions, activities and factors that are observed through the case study interview and how it reflects the Intent, Implement and Impact. This figure tries to establish interreationships between all the actions, activities and factors that constitute Craft Design process of collaboration as observed.

I³ 4

I³

I³ It is to highlight the Intent, Implement and Impact models that have been established before and how they are seen reflecting as actions, activities or factors. It is to show the primary design stages that can be observed and occur in the flow as shown in figure.

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

â&#x20AC;˘ Understanding the influences People Time Input and Output

Labor Master Artisan Designer

Inputs Suggestions Involvement Engagement Inputs

Time Cost Scope Client needs

C H

O H

Designer Program manager Artisan

Skills Resources Technology

C F

Designer Program manager Artisan

Index

Open

Closed

Hierarchical

Flat

Designer Program manager Artisan

Client Designer Program manager

Design stages

O H

Factors under Open/ Closed

Stakeholders under Hierarchical/ Flat

Stakeholders Cost Time Resources Stages

C H

Funders Client Designer Program manager Artisan

Fig 29: The structure of collaboration at Hunnarshala is formed by bringing together the different stages of the design process which we saw trough intent, implementation and impact. Each one of these stages is a result of multiple factors which may or may not be by choice. In order to understand the process, it is necessary to look at these influences and how they correspond with the design stages and collaboration.

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

• Understanding the influences • Design considerations The stage of planning and designing brings with itself clarity in terms of what the client requirements are. This marks the end of the information gathering stage. It gives the designer a fair idea of the scope of the project to make design considerations. The time of the project is undoubtedly decided by the budget of the client. Client needs, cost, time and scope become the control points at this stage and the planning and designing that is done is in accordance to these factors.The stakeholders involved at this stage are the client, architect/ designer and the program implementors, in this case Hunnarshala. As opposed to the control points as seen under ‘hierarchical’, the factor seen in ‘closed’ has been introduced consciously by the designer. The decision to have only the architect/ designer working at this stage is the architects. That is also why it gets the nature of a ‘closed’ factor, as the number of people and stakeholders working at this point is fixed. • Design detailing support This is the stage where all three bodies of people are working together and the progress is completely dependent upon each other. The ‘flat’ nature of this stage is very significant as this is where the inputs given in by any one of the stakeholders are important. It matters if they are considered with respect to the project instead of seeing whom they are coming from. This makes the involvement and engagement of everyone in the process count. This reflects that there is not a single person who decides which decisions will be taken further because anyone can contribute in the process and the best delivered results will be taken forward. This also stems from the intentions that Hunnarshala work with, of establishing Artisans and Craftspeople as entrepreneurs and empowering them by building their capacities during the process. The ‘open’ nature of involvement, engagement and design inputs is what builds the faith and trust in craftspeople and designers. It is an example of a design strategy employed to maximize input and output and develop a good working relationship amongst it’s people. • Designer + Craftspeople The craftspeople are introduced to the process when the project reaches the stage of design detailing. At this stage, the planning and designing is more or less done and it is time to develop the details

Case Studies: Hunnarshala Foundation

Craft Design Collaboration: Process

of how it is going to be done. As the cost of the project decides the time it should take, it also decides which technology will be best suited for the client’s budget. The scope of the project is also instrumental in deciding technologies, materials as the design has to be sensitive to its context which is also one of the primary aims of Hunnarshala, to build sustainable architecture that responds to its context. The craftspeople and their skills are then chosen, instead of first looking at skills available and then deciding on the technology. The experiments are then carried out knowing the skill set and technology, and have the capacity to tweak both a little, as they show if the technology and skills will be practical and successful or not. At any stage in any process, there is definitely an exchange of information if more than one person is involved. In this case however, there are more people involved who are not even from the same background. While one body is more aware of the end product, the other body is more aware of how that end product is achievable. The exchange of knowledge and information at this stage is highest observed and is something that is not decided consciously and no one has any control over. • Learning + Working The primary deciding factors that this stage follows are the activity, who learns at the school and who will be teaching them. Each one has a certain role they have to follow and an activity they have to perform. The unskilled labor enrolls at Karigarshala and have to complete a program of 2 years and learn masonry/ walling systems or carpentry/ joinery. This guarantees a fixed output. The structure they follow at Karigarshala comprises of one year of learning the two things as mentioned above, and then another year where the artisans work at companies and get practical exposure. • Decision making The impact of having a ‘open-flat’ nature at the design detailing stage can be seen during execution. When artisans and craftspeople have to work on site, they face the obvious problems of design changes, time, management, etc. Since they have worked on the design themselves and have developed the details, they are aware of the design, client needs and a holistic idea about the project. This empowers them to make on site decisions by themselves, with master craftsman. The inputs encouraged at this stage are from everyone. After the artisans or craftspeople take any decisions, they have to put it across and wait till the team approves of it. Changes in drawing are made accordingly later and the drawings are revised.

Case Studies: Hunnarshala Foundation • Design stages Every stage in the process of collaboration is unique and has a different purpose, factors, stakeholders and impacts. It is unique in terms of time duration, location, cost, etc and most importantly, it’s management. There are factors that govern these stages at both the micro and the macro level. That justifies why the nature of each factor is different individually, and has a variety of combinations as explained before. The process at the macro level is observed to be ‘closed hierarchical’. Hunnarshala, over time, has evolved their own way of working. They have formulated a process for themselves which can cater to different stakeholders, projects and have made sure the output has a certain kind of impact. The stages of the process are lined up and the stakeholders participating at each one of these stages are decided too. All the stages are governed by two most important factors, those are cost and time. In such a participatory process, there can never be a way of doing things in one single fashion. It also happens that there are certain open ends that they need to have in order to be able to be flexible to changes and limitations or opportunities. These open ends are managed and observed at micro levels, responding to the activities and requirements around that stage. Also, like discussed before, every stage and it’s nature has a reason behind it. For example,in the design detailing stage, they take suggestions and changes from everyone . Not only is it necessary to know what the craftspeople think about the design, but this is very important to create a healthy working relationship between craftspeople and designers. The essence of having the final process a ‘closed hierarchical’ one is that there is a direction to follow and there are less chances of deviating from the main focus and intent. Having ‘closed’ ends also talks about directing the process in a certain direction. At times, ‘closed’ control points are also helpful in time management, efficiency, less inputs and hence less confusion. The ‘hierarchical’ nature of the process directs focus on how the decision is distributed in the process. It also shows how much control does each stakeholder have and how much can one shift, change or alter the process. For example, in the execution stage, though inputs are open from everyone, they are channeled through the master craftsperson and then the designer/ architect. It is very important to know these factors and how the stages need to be managed in order to reach the desired goal in terms of design, craft, impacts and most importantly, the work environment.

Understanding factors

Case Studies: Hunnarshala Foundation

Establish a Model

3.1.C. Establish a Model • Role of Designer Designer’s approach to know each other’s intentions and objectives allows them to chart out a way to achieve them. It is crucial in understanding how the stakeholders can align their intentions with each other’s and how, through shared strengths and talents, they can reach the desired outcome. Knowing objectives also allows stakeholders to learn differences in individual thinking and how the intellectual diversity can be turned into collective strength by fostering a transparent work environment. This approach also helps in realising what effect or impact each one of them is having. This becomes increasingly important in knowing what adjustments need to be made and how many of them are feasible, and if everyone is open to making adjustments. This is the first step in any collaborative process as this is bound to reflect in all the later stages of the process. It is at this stage that the architect makes sure the designs being developed are feasible for craftspeople and artisans. The primary approach of considering the craftspeople talks about an atmosphere of open and accepting mindsets. Being sensitive to other collaborators of the process and being aware of their limitations and strengths lead to a constructive and collective team spirit. This approach allows the architect to design sensitively, as he is being realistic about the client’s requirements and is designing considering the other significant body of people required for execution, thereby positioning him as a sensitive collaborator.

• Role of Artisan Collaborators who are a part of this stage don’t come in as individuals, but as designers, craftspeople or artisans, carrying their professiosal labels, with inhibitions that each profession carries with itself. The craftspeople are used to thinking in certain ways about the materials they have been working with for generations. It is difficult for them to break away from the traditional approach and consider new ways to use the material. At this point, it helps that the designer encourages them to use their traditional skills and knowledge to understand the same material and use it with the help of different tools or technologies

Case Studies: Hunnarshala Foundation or applications. In the same manner, artisans too need be open mindedness and show adaptibility to newer possibilities. Confidence or diffidence, superiority or inferiority complex from any individual, be it designer or craftsperson, can result in a very formal hierarchy and loss of understanding between the two. It is only then that one can work towards understanding the other person and help in building a mutually beneficial work environment.

â&#x20AC;˘ Model of Collaboration The organization begins with identifying limitations in terms of cost, scale, time and other factors that are not in their control and capacities of artisans and communities it works with to avoid unrealistic expectations or misunderstanding in terms of deliverables. It understands client requirements and available resources before starting with the project in order to develop a program that suits all collaborators. With a substantial and fair idea about requirements, resources and available human resources, through â&#x20AC;&#x2DC;Implementâ&#x20AC;&#x2122;: their way of working, the collaboration is aimed at introducing and adapting to appropriate technologies and innovating, thus creating opportunities for artisans and communities involved. The way Craft Design Collaborations are facilitated by Hunnarshala, they also create long term relationships with artisans, addressing the intangible factors of faith and trust that are necessary for an evolved understanding between designers and artisans. The impacts that collaborations by Hunnarshala are seen reflecting primarily on a.) The build environment and b.) The people it engages with. The architecture that the organization aims for is socially responsible in terms of sustainability, resources, thus reciprocating to its context and needs. It is regenerative as it requires involvement of people and their expertise in future, whom its getting built for. Thus the communities do not have to depend upon any other facilitator for additions and maintenance later, making them self reliant. In cases of commercial projects, this regenerative nature works in favor of artisans as it generates a source of regular income for them. The model that Hunnarshala follows in their artisan school, Karigarshala, is a very significant example of training and education modules being employed in Crafts sector, not only providing work to existing artisans, but also giving birth to first generation artisans who later become independent entrepreneurs.

Establish a Model

Case Studies: Hunnarshala Foundation

Establish a Model

Limitations

Client requirements

Capacities

Resources

Understand

Identify

Intent

ills

lly cia ble nsi po

res

log

Tec h

Op po rtu

niti es

nt elia es lf r iti Se un mm Co

ith a tru nd st

de en ep Ind urs as e ns ren isa trep En

Art

ive

rat

ron

ies

Implement

nvi

ilt e

Impact

Fig 30: The figure illustrates a Model of Collaboration which is observed from studying the Craft Design process of collaboration in projects done by Hunnarshala.

Case Studies: Collective Craft

Information about the Organization

3.2 Collective Craft, New Delhi and Odisha 3.2.A. Information about the organization • ‘Why’ Collective Crafts is a collaborative effort of a group of designers, artists and architects based in Odisha and New Delhi. They work on sustainable design practices, craft revival and in developing contemporary craft products with local artisans and craftspeople. Promoting excellence in crafts skills, supporting and sustaining artisan livelihoods, and nurturing and reviving languishing and dying Crafts traditions is their underlined philosophy. Collective Craft was started eight years back as a studio that will work with crafts and craft products. At different levels of engagement, ranging from being a design consultant for the government, designing packaging, making the artisans aware about the market and encouraging them to be entrepreneurs, Bhol realized that the agenda of the government did not align with his and most of his efforts were futile. After they developed a few craft-design prototypes, there was no one to produce them further, because the market was not guaranteed. That was when he started Collective Craft and began the studio with first generation artisans who were learning a particular craft in a government institute in Bhubaneshwar. The studio now focus on wood, stone crafts and pattachitra painting and also works with other design and architecture offices as craft consultants. They engage traditional crafts skills in contemporary product and space design and work towards creating environmentally responsible design solutions. The husband-wife duo has worked towards creating a conducive environment just like a residency for product development and innovation to encourage constant dialogue between the artisans, designers, merchandisers and clients. The artisans and craftspeople

Case Studies: Collective Craft

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Case Studies: Collective Craft

Information about the Organization

who work at the studio on installations for space design, and interior design and architectural projects are primarily from Odisha. Their projects range from small products to architectural projects.

Note: To understand the process, the case study begins with an interview with designer and founder of Collective Craft. The projects mentioned as examples in the case study are to explain certain points and situations and are of collaborative architectural projects, products, installations, etc each with its own specifications of materials, region, client requirements and resources, etc. The other examples which are not with respective to any project are from the interviewee’s experience of working in craft and design collaborations. The profile of the architect and the organization keeps adapting according to the nature of the project and has been mentioned in each project detail.

• Interview details Interview 01 Maintain anonymity: No Organization: Collective Craft Name: Ar. Sibanand Bhol, Founder and Head Designer Date: 26-11-2015

• Project details Project 01 Residence Gurgaon Status: Completed Architect: Ar. Sibanand Bhol Program management and implementation: Hunnarshala Foundation

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Information about the Organization

Case Studies: Collective Craft Project 02 Krishi Bhavan Bhubaneshwar, Odisha Status: Ongoing Architect: Studio Lotus Craft consultant: Ar. Sibanand Bhol

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Project 03 Malka Ellanthakuntha, Andhra Pradesh Status: Completed Architect: Golak Khandual Craft consultant: Ar. Sibanand Bhol

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Project 04 Products Status: Completed Architect: Ar. Sibanand Bhol

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Project 06 Resort Lake Chilika, Odisha Status: Ongoing Architect: Ar. Sibanand Bhol

Case Studies: Collective Craft

Craft Design Collaboration: Process

3.2.B. Craft Design Collaboration: Process â&#x20AC;˘ Triangulating segments: IÂł; Intent, Implement, Impact

Triangulating segments: IÂł; Intent From a wish and interest to include crafts in interiors and architecture, Collective Craft and other projects that the architect undertakes as a craft consultant aim for a platform between craft and design. The platform facilitates skill development, craft revival, sustainable architecture, handcrafted products and installations. All the projects and products developed are with a primary aim to engage crafts in contemporary design. As an architect decides to work with crafts and artisans, it comes as a responsibility to know the differences between projects where there is working with or without Crafts. One has to know that factors like costing, time, resources are going to be different and dependent on the craft and artisan, and the architects designs cannot be indifferent to these factors. Each project comes with a different potential and carries multiple opportunities that the designer needs to identify before starting to work with artisans. The connect is when designer interprets and contextualizes age-old design expressions in craft onto contemporary products and uses local materials and building techniques that respond to immediate site parameters. The primary decision to include crafts, which craft and why, lies with the designer. To be able to do justice to the craft that is being used, the designer takes into account the essence of the craft, its indispensable qualities whether they lie in its skills, techniques or materials. This ensures maximum exploration in areas that compliment the craft in question. Many times, artisans are not being able to find a market for their products, there are times when there are cheaper alternatives available due to which certain traditional crafts or their products do not meet end users. Taking into account all the factors and problems associated with the craft being chosen also helps in its revival through different ways like newer applications, change in materials but continuing the

Case Studies: Collective Craft

Craft Design Collaboration: Process

technique/ skill, no change in material but change in the form it takes, etc. Artisans are people who have been practicing their craft for decades, their expertise and comfort lies within the craft, in its materials, the tools they use, seasons and material availability, patterns, etc. It requires a great deal of clarity and focus if designers want to involve artisans in projects, asking them to change their work in terms of time, application, scale, etc. Collective Craft aims to establish long term associations with the artisans working for it, giving them a platform they can count on and work for regularly. Understanding backgrounds of the artisans working at the studio, the designer aims to cater to all the issues and limitations faced by artisans which artisans consider other jobs or professions for their livelihood. While the craft products developed may be of extremely high quality in terms of skills, craftsmanship, precision, etc, they are all unique and differ from one another in case of repetition. The uniqueness or its handcrafted properties, though valuable, may not be enough and can be detrimental if not matched with precision, long-term guarantee and other factors that the mass produced or mechanized alternatives offer. With respect to this, to meet both ends meet, that is crafts and market, quality of product becomes very crucial. Along with quality, its quantity decides if it will be a profit making venture or not, as it has to generate income for everyone associated and working towards it. Difference between working with and without Crafts

Krishi Bhavan

I think cost is one of the biggest factors. Even when you look at architecture and construction projects, it depends on where you are building and the scale of the project. Smaller building essentially means that the larger part of the process will not be mechanized. You will mix concrete by hand and you will not be getting premixed concrete delivered by a truck on site. But even in simple things like brick wall, plastering, the cost will not vary because the practice of building has gotten organized to such an extent that everything has been resolved in terms of costing. There is per square feet cost and there are no open ends and ambiguities. So as architects or designers who work with building projects, we often tend to forget that when you are making something, handcrafting something, the cost can vary over a very great range and the production time can also affect it. Designers get fixated with particular concepts, depending on how they have visualized it. Very often it is difficult for them to understand that with the particular craft or stone that is available locally, it is not possible to achieve what they have in their mind. Bhol, Personal communication, November 26, 2015

Craft Design Collaboration: Process

Case Studies: Collective Craft

Intervention in Crafts through function and purpose of space This building is for agriculture and farmers of a specific region, so the building should reflect and represent the region through its crafts, basically a regional representation of every craft in the state. So there might be a craft from coastal Odisha, there’s the tribal population which has got its own methods of farming and crafts, you cannot ignore these things. We made a list of crafts that we should definitely include. We start thinking of what installations that we can do. Here the building is there, its function is defined, and then when you integrate crafts, you don’t come up with a concept yourself. There is a craft, there are artisans who are going to produce it and then you look at the story, context that’s ingrained with the craft and if it’s suitable for the building and that’s how you select it. Bhol, Personal communication, November 26, 2015

Krishi Bhavan

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Stakeholders

Intent

Funders

Community and resource center

Architect

Design that responds to its context

Program manager and implementer

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• Regional representation of local crafts through built form • Promote ‘handmade’ architecture • Engage with end user through crafts

Client

End user

A diagram explaining the different stakeholders involved in Krishi Bhavan, Bhubaneshwar and their intentions and objectives

Craft Design Collaboration: Process

Case Studies: Collective Craft

Experiment and Innovate The clients were a husband-wife duo who had bought a piece of land at the lake and wanted a small resort built for tourists. The clients being very conscious and sensitive towards the environment, the architect decided to develop a program of sustainable tourism.In such a model, how architecture and design can help is when the build form is responsive to its context and tries and involves the community, uses the resources frugally, and makes tourists are aware of the local culture and people. It is responsible tourism. Pulak and Claire, the clients work as tour guides and they have a lot of experience with tourism as an industry. The stakeholders had to work keeping in mind a limited budget. So when they started talking about it, they decided that they will built the cheapest thing possible but also the most beautiful and classy thing that we can make in a natural habitat. They did not want to use plaster, electricity and do with minimal power requirements. That meant no refrigerators for cooling and washing machines for laundry, instead we involve someone on the island and involve the community and develop your own sustainable model of tourism. So everything has been agreed upon. Although getting material, resources on to an island by boat, getting people to work on it is not a simple task. So the objectives stem out of reality and what needs to be addressed. (Bhol, Personal communication, November 26, 2015)

Stakeholders

Intent

Funders

Resort in a natural habitat

Resort at Lake Chilika

Architect

â&#x20AC;˘ Sustainable tourism â&#x20AC;˘ Use of natural materials and local resources in Interiors and Architecture

Client

End user

A diagram explaining the different stakeholders involved in a Resort project at Lake Chilika, Orissa and their intentions and objectives.

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Craft Design Collaboration: Process

Understand Artisan’s lifestyle The thing with working in smaller places is that, artisans or a carpenter is not a carpenter in the true sense. He is a seasonal carpenter. He is a farmer otherwise. All of them have limited exposure, skill, understanding, and technique. It is somebody else’s project, the client is investing money. So you have to be very damn sure of whatever you are doing. In the sense that you build something and then it doesn’t work out, you are responsible for it. And you cannot get away with just the creative license of doing anything as ‘design.’ Bhol, Personal communication, November 26, 2015

Exploration by interaction

Krishi Bhavan

With craft, designing is one thing but you can detail it upto a certain level. Unless the artisan is involved at designing level, you don’t know what the outcome is. Craftspeople are involved at design stage. For instance, you have to have a sufficiently detailed design document for the tender. So artisans are involved even right now, before we even bid for the tender. But say it’s a stone mural about a story from mythology; in this case we have one. We are showing how Indra becomes the God of rain and thunder. So beginning with that story and how the artisan depicts it is all a part of the design. And that has to come right now, at the design stage, when you’re making a brief for that installation. So the artisans’ involvement is there from day zero. Even to identify a story or concept like that, where rain is important in farming, and hence Indra, you need to sit with the artisan and dig out stories from their personal experiences and which are important to the farmers. Bhol, Personal communication, November 26, 2015

Exploration by interaction There is this organization called Malka. They work with cotton farmers. In the process of production of cotton yarn, you harvest the cotton and then there is a process of baling and unbaling cotton where you add sulphur and other chemicals so it becomes more manageable and it can be packed and sent to a factory to turn. So what the organization has done is that they have developed smaller machines where the harvested cotton is made into a yarn and a fabric right on the fields itself. So there are these little weaving centers where small portable machines are there and the farming community has people working there. So I and another architect, Golak Khandual, did the initial design. Golak followed it through and I was involved just at the initial stages.

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Case Studies: Collective Craft

We went to a village and first saw what kind of local architecture is there. The houses were 100-120 years old. They were still intact. So we looked at their forms, spaces, they were mostly courtyard houses, with very nice detailing with timber, thatched roofs and country tiles. Among the problems were very little light, smaller openings. Our building needed to have a lot of natural light, so bigger openings which meant the roof was heavy, here the walls did not have enough strength because they were not solid enough and all of that. We decided to build a hybrid structure, not really of mud so there was a lot of stone that was available. We had a basic requirement in front of us that was frozen in terms of area and function. Nobody had any idea about how we are going to build it, and what kind of detailing is going to come in. And we decided to develop the design as we went along. So that essentially meant was there was no concrete to be poured in the foundation. We dug the foundation. Then we decided we will do stone masonry, found out what stone is available at what cost and what would be the masonry cost. As it was getting done, we liked the workmanship and we decided to use this stone till sill level and use mud beyond that. As we got to the sill level, we started detailing the doors and windows. Then we realized using timber would be expensive so we used stone for jambs because we got very good granite around. We got palm trunks that we used for beams and trusses. So everything in that building was decided as it was being made. I cannot imagine that kind of involvement or model of building to be applicable to a commercial building.

Malka

So that is the stone that we got, and then we got this stone called kurnul, it is very close to kadappa stone that we use in our kitchens. So kadappa and kurnul are nearby places. So we went to the quarries and we found tones of waste of stone that is quarried. So all we had to pay for was the transport. All thw detailing was done by village carpenters. There was nobody who builds like that anymore. So when we started building, people would come and be intrigued and some of them found it funny that we are trying to do this in this day and age. Otherwise people would be fascinated; they had forgotten they could build like this. The whole of trussing was developed from something we had seen in someoneâ&#x20AC;&#x2122;s house.We bought second hand tiles from people around and they had aged nicely and they looked good. Bhol, Personal communication, November 26, 2015

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Case Studies: Collective Craft

Quality and quantum

Intervention in Crafts

of work

Experiment and

Fair treatment

Innovate Intent

Understand artisans

Maximum exploration

and their lifestyle

Establish long term

Craft revival

associations

Index

Intent

Impact

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Implement

Fig 31: The diagram shows the â&#x20AC;&#x2DC;Intentâ&#x20AC;&#x2122; as understood from studying the organizations and its designers approach in collaborations.

Case Studies: Collective Craft

Craft Design Collaboration: Process

Triangulating segments: IÂł; Implement The studioâ&#x20AC;&#x2122;s aim to bring crafts and design under the same umbrella is manifested by bringing together Artisan and Designer to work together and develop products/ spaces together. Direct interaction between designer and artisan during the stage of ideation and making is to know and develop designs that can accommodate the craft qualities and client requirements, both. The scale of projects and the variety of products are used to set examples of how traditional craft can find its way in modern living. Such projects and products build a case and volunteer for efforts being made through such collaborations, spreading awareness and motivation for like minded people to go forward and include crafts in their work. Including crafts while designing products or spaces comes with possibility that the way the craft in question is finding its application may not be just and may require the craft to transform so much so that the artisan, materials, skills and other factors associated with it face exploitation. Having minimum design specifications allows development of products and designs that fulfill client requirements and yet leave margin for crafts and design to adapt to each other, none having to compromise on qualities specific to them. For designer Sibanand Bhol, knowing artisanâ&#x20AC;&#x2122;s approach towards the concept is very important. Reason being, traditionally, it was through crafts that communities and its people would tell their stories, folk tales, and use crafts to depict their culture and festivals. Thus, while using any craft, the artisans knowledge and stories he/she has to share become important and add value to the design, making it more meaningful. The artisan too sees newer applications and forms of traditional craft and gains confidence to expand his knowledge to suit market demands. The architect takes up projects that have different site specifications, materials and requirements, acting in the capacity of the project architect, or craft consultant, using crafts, building technologies and materials of the specific region of project. The studio however limits itself to a set range of crafts and materials and artisans. This has created a formal work environment for artisans who have been associated with Collective Craft for many years. Limiting themselves to a particular region and its craft has helped the architect to form a system which is comfortable for everyone who works

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at the studio. Giving artisans first priority, and the crafts being from the state of Odisha, the studio is placed in Odisha, allowing artisans to work in their native environments, as along with crafts, the artisans are farmers too, and continue their agricultural activities that are seasonal. Tapping one of the most critical issues that artisans face, that is irregular wages, artisans working with Collective Craft are associated with the studio regularly and get a monthly remuneration irrespective of any project/ product. To ensure fair treatment, cost of the product is determined by asking the artisans the studio maintains a transparent system when it comes to remuneration. The studio assesses cost of a product based on discussions conducted with artisans themselves, in order to know their expectation in terms of remuneration from that product. The profit that the studio wants to make is then added and that is how cost of any product is decided. This approach guarantees artisans an amount they think is fair, accounting for their work, skills, knowledge, etc. One of the judicious calls that needs to be taken while working with artisans is introduction of newer technologies or machines. The important factor to be considered here is how mechanization is going to reflect in the quality of product, whether it is entirely replacing a few qualities inherent to the craft or adding precision and speed to the production of it. If used wisely, they can be used to produce a certain level of precision in products, rendering them fit against mass produced alternatives. Collaborating with responsibility of providing livelihood Artisans who do one kind of a product will only do that. They donâ&#x20AC;&#x2122;t want to experiment and make a different kind of a product unless they can sell it. So to expect them to diversify or open up a new idea is in itself is quite challenging. So if I am a stone carver who makes Ganeshas and manages to sell them all throughout the year, why would I make something else? So when it comes to projects or trying to get artisans to make something new, you own the idea and the larger responsibility. And to convince them to come and work with you can be quite challenging. That is one of the reasons why they do not want to move away from what they are making traditionally. They are so good at what they do that if they make 100-200 or something and then move to something new, the production capacity really drops and it affects their life. Itâ&#x20AC;&#x2122;ll happen only if you both know each other and have invested a lot of effort and time with them, it is possible to work But yes, artisans also take advantage of this association with designers. Sometimes if they like something they have made and it is well received by others, they might get into making more of those, or working in that style. So unless you develop something and they see a ready market for it, they wonâ&#x20AC;&#x2122;t venture into it. Bhol, Personal communication, November 26, 2015

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Minimum design specifications and Developing designs together One of the concepts I had was to develop a farmer’s calendar, it was around 8’ x 8’ in size. It was to document a farmer’s life season wise, in terms of farming activity, their festivals and what they do. I developed a sketch and sat with an artisan and his father who was 80 years old from Raghurajpur. So for every month we first wrote down the name of the month, the season in Odiya, they discussed what the important festivals they have are and what happens. We put it all on a table and sketched it out. We made a painting. There were about 4-5 copies of it. The project requirement comes much later. It was such a wonderful concept to develop. Traditionally, an artisan from Raghurajpur would paint stories only from mythology. And with strict guidelines, to have boxes, narrate a story only in a clockwise direction, use specific colors for specific gods. So to break away from this, it was fascinating for both the designer and the artisan. I started with a sketch, then we started drawing on the canvas, we would discuss content, composition, colors simultaneously. After the basic sketching, we will evaluate it again, rework on things. When we reach a stage beyond which nothing can be changed, then it’s kind of okay. And that becomes the drawing. I did this work with an artisan I have been working with for 7-8 years. So we are in sync. Whenever we work, what takes me 2 hours to do with him will take me 20 hours to do it with someone else.

Krishi Bhavan

There’s a whole language and way of working that develops over time. In this case, I developed the concept, a very basic idea in terms of content, composition and color and put it out to the design team and if they like the idea, take it to the artisan. We actually put it on to a canvas and fill in the details and we keep changing things as it develops. Bhol, Personal communication, November 26, 2015

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Designer’s responsibilities When you think of a project, the conception of it, how it’s to be developed and executed is always the forte of the designer or the architect. It is impossible to get any building project done without the involvement of such expertise. The moment there is an architect involved, by training, you would start visualizing everything, removing bottle neck before you start anything on ground. So the ownership of the whole process of the project or the product is the designers. The biggest stakeholder is the architect or the designer, not the artisan. So when you look at a project from conception to completion, it’s essential to understand that it is the architect who is addressing these issues, who has conceived them and see it to completion, not the artisan. It’s the architect’s responsibility to foresee what kind of bottle necks there will be and solve them before the artisan reaches that stage. The practice of architecture and design is such that, it may not be an obvious role that you have, because in most cases you are not the maker, you have conceptualized it. So in terms of progress of work at site it may not be obvious that it is your expertise at work, it is like being behind the stage. It is like you chose the artisan and you chose the craftwork, it is not the other way around. So that I think is a big influence or a factor in way the project will move.

Krishi Bhavan

For example, in Krishi bhavan, we decided to use laterite for flooring. Laterite as flooring works fine if it is an outdoor area. But if it is an indoor space and you need to clean it, and there is some stain, or someone spits, and it is a conference area, no matter hard you try, you cannot get those spaces cleaned. So lotus kept insisting for a particular stone for a particular space and they know they have not worked with that stone but to tell them it is not possible took quite some convincing. That’s when I come in as a facilitator. The craftspeople certainly couldn’t foresee this and possibly could not have convinced the architect. The craftspeople must be very familiar with the material, but it is the application that is deciding and more important here. They will make idols and walls from laterite. But the moment you talk to them about functional spaces, like flooring in a conference area, they have never done that. So how can they know? Bhol, Personal communication, November 26, 2015

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Case Studies: Collective Craft

Craft Design Collaboration: Process

Work in artisans native environments

Collective craft was started 8 years back. It started as a studio that will work with crafts and craft products. Interestingly, the way it was conceived was that, I was working on interior projects and we wanted to use crafts in designing and executing. I was working to artisans from Orissa. So I had to travel to Orissa, speak to these people, convince them to do this project in Delhi which would entail for them to leave their village, come here. It was a novel concept for them. But they agreed and they came here. And then over a period of ten fifteen days and we worked here. Part of the project was also outsourced to artisans from Agra. And then I was very excited with that little achievement in terms of something new, the process was new, the concept of using craft and artisan and handcraft things for interiors was new. And after we finished the project, we evaluated the sequence of events that led to the completion. That was when I decided that if one has to work with on a larger scale with crafts, then you have o ensure not to displace the artisans from their workplace. It’s not possible with projects, it is possible with products. Artisans work as a community. Crafts evolved as a community activity. There will be a master artisan, apprentices, junior and senior artisans. Usually the material they use is available nearby. And most importantly, their activity and craft is a seasonal activity. So they will want to go and harvest crops or take care of farming too. So in that set up, when you take the artisan out from the place, it is not a comfortable situation for them as their house depends upon them and certain activities of the house won’t happen without this person. Unless, of course, if the artisan is young and doesn’t have any responsibility. Bhol, Personal communication, November 26, 2015

Remuneration

Young artisans today don’t want to decide on a profession where you are not guaranteed wages. That’s one of the reasons people do not take it further. They try to make a livelihood out of it but no one gives them an answer. So we developed a system where when someone comes to work with us, we ask them their expectation and then we try and see their skill set, what he can make. Then whatever he makes, we make sure he earns that fixed amount in the 24-25 days of the month he works for. And then we try and sell that in the market. So the costing begins from there. The artisans cost is fixed and then we decide what he can make and that we need to sell it. So we work backwards and the final product costing comes from there. Bhol, Personal communication, November 26, 2015

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Controlling the process or going with the flow So it is not always obvious. It depends on your way of working. If you have already committed to a vision in terms of design, you will change your process and adapt to reach that. But if your approach is to work with a craft and that is sacrosanct then you will let things be and probably come up with a different product.

Product Design

This was a table we designed for a client. The client kept talking about a ‘secret garden.’ So that was the concept for this table. Now to do something like that, as a designer I had to design this piece of furniture. Now it cannot be just a table sitting in the middle of a room, so I wanted to give storage and drawers. Then how much of it was to be painted, what would be the colors and composition, was done by me. The flowers, and cows, the elements were brought in by the artisan. I had drawn lines and asked him to follow those, I told him a little about the composition. The artisan in this case was fairly new, so this was completely controlled by me. Bhol, Personal communication, November 26, 2015

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Mechanization, Quality and Production capacity Whenever working with hand is involved, you have to take a very judicious call of how much mechanization is allowed and at what stage. For example, if you have a piece of stone needs to be cut in two, you do not want to do this the whole day. If you have a cutter and you use it, it does not make the product any less of a handcrafted one. But artisans who are being paid by the clock, it’s not their concern. If it takes them two days to cut it, they will do it. So you influence the way something needs to be done, what tools they will use. These are not things that are discussed in the first meeting with the artisan. Bhol, Personal communication, November 26, 2015

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Case Studies: Collective Craft

Mechanization and

Direct interaction with

handwork

artisans

Build a case

Professional

for using crafts

values and regular

in Architecture and

remuneration

Interiors

Implement

Work in their native

Have minimum design

environments

specifications

Work with artisans at Limited artisans and materials

design development stage

Index

Intent

Impact

Implement

Fig 32: The diagram shows the â&#x20AC;&#x2DC;Implementâ&#x20AC;&#x2122; as understood from studying the organizations and its designers approach in collaborations and how it is manifested through the process.

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Triangulating segments: I³; Impact Their greatest effort, to initiate a dialogue with artisans and include them as active thinkers and value adders during the ideation of design and production process has exposed a new threshold to artisans. The artisans not only get exposed to newer applications and tools/ machines but also work in a set up that includes different faucets like scale, costs, client/ market demands, etc. Though having dealt with same things in their communities, working for the urban market also adds a professional way to their work methods, where they are working for an end user they do not know. Bringing together craft and design and using them at a scale that is commercial, public and caters to a large audience, has led to a new and emergent language in interior architecture. Crafts have been ancestral to India. Their use in environments other than their villages and communities has shown them as a language to engage with people from different backgrounds who know about crafts, but seldom interact with any. While translating their ideas into designs, having designers and artisans together makes certain that all the voices and expert opinions are accounted for. Having minimum design specifications allows maximum exploration of craft. Such amalgamations through compliance bring out flexibility and adaptability that craft and design can have towards each other. The understanding that designers show to include crafts in their design, and the willingness reciprocated by artisans in spite of having hesitation about working in different set up strengthens and stays with time, a result of having long term associations and working with the same set of artisans. Having the studio set up in Odisha, in artisans native environment generates a sense of comfort for them, reflecting through efficiency and understanding between designers and artisans. At the same time, regular remuneration, professional set up of working, newer applications of their skills encourage artisans to continue practicing their craft. They achieve a sense of identity in being associated to a “studio” and in working in a set up that is formal and a regular source of income, like any other job that many of their peers are doing. Having worked with a craft form since their childhood, these masters are also hesitant to change or stop from doing what they’ve been practicing which has been enough for their livelihood. Their production capacity while working on their traditional craft and its form is more than

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their production capacity while trying something new. It is hence very vital to introduce to them designs and services which will demand their expertise and make them interested in doing it again. Mechanization and other tools which may not be indigenous to them help in maintaining the same production capacity as they might be a change in scale or form of the product/ space they are working on. Exposure, Efficiency and Production Capacity Workmanship with crafts is difficult to define. The best you can do is take examples, “I want it finished like that”, or something that you have seen somewhere. It is always by reference. So before you start working with an artisan, there has to be some understanding between the architect, artisan and client about what you are trying to achieve. It is not an easy thing because the artisan might not have ever done something like this before, if it’s a different stone, they will say they will do it but when they actually do it, they will say that it is too hard and they cannot do it. So workmanship and quality has to be addressed. The cost for example will decide the type of stone, which will come only in a particular size, and its availability and time so what the artisan will do is already half decided by these parameters, which you are aware of, he is not. Whenever working with hand is involved, you have to take a very judicious call of how much mechanization is allowed and at what stage. If you have a piece of stone needs to be cut in two, you do not want to do this the whole day. If you have a cutter and you use it. But artisans who are being paid by the clock, it’s not their concern. If it takes them two days to cut it, they will do it. Bhol, Personal communication, November 26, 2015

Sense of Identity and Evolved understanding

We communicate through whatsapp; they send me pictures of something that they are making. The studio is mostly of artisans. Designers will come and go but the artisans who work there and live there are there throughout the year. I spend around a week there every month. So once I go there I start something and then the artisan who is doing it will send me pictures and discuss over calls, pictures and messages. They all have smart phones and it’s very exciting for them. Most people when they come don’t even have a bank account. When they join us, we tell them they should have one, they get updates on their phones when money is credited. They have families in their villages and they have to send money there. They compare themselves to their friends who must have gone to engineering schools. The whole situation where you are working for a company or for an organization which has an identity is something they take pride in. So there’s a sense of identity they assume after working with us. Bhol, Personal communication, November 26, 2015

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Crafts as a language to engage with people When we say we are working with crafts, we are also building a case for using crafts in architecture. We are very aware of the situation in this project, that it’s a government building and you have a license to use crafts in such a big way. So it’s going to be an example that people are going to refer to, as an experiment where contemporary design and architecture tried to work with artisans. So with that in mind, we are trying to create something that is spectacular in terms of design and also something that establishes a comfortable way of working with artisans because that is the toughest part. They are not used to sites, working on schedules and project timelines. When they want to make something, they will just get a piece of stone and carve it, and it’s done. So to work with a set of standards and parameters is something that they have to adapt to. So our role as designers becomes important, we are facilitators for them.

Krishi Bhavan

This building is a resource center for farmers, they can come in and get information on farming technologies, crops, seeds, there are AV rooms, and all the resources are available. It is a government project in where the funders are the government itself. The architect are Lotus studio, Delhi and I am a Craft consultant. The entire ground floor is designed as a public space as opposed to a space that is off limits for people. It’s been designed as a haat too, where they can have exhibitions, a space that will allow people connect to agriculture. So since that was the nature of the space, the stakeholders thought it was apt for having a whole mandate to include crafts and its experience. Bhol, Personal communication, November 26, 2015

Evolved Understanding

Krishi Bhavan

I did this work with an artisan I have been working with for 7-8 years. So we are in sync. Whenever we work, what takes me 2 hours to do with him will take me 20 hours to do it with someone else.

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Case Studies: Collective Craft

Production capacity

Exposure

Sustain an artisans

Crafts as a language to

practice

engage with people Impact

Maximum realization of

Comfort and efficiency

potential Better

Applications

and evolved

of skills and

understanding

knowledge beyond

between designer

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Intent

Impact

Implement

Fig 33: The diagram shows the ‘Impact’ that Craft Design Collaborations the organization is a part of has. These Impacts are seen as a reflection of ‘Intent’ and ‘Implement’.

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“..Workmanship with crafts is difficult to define. There are no set parameters. The best you can do is take examples, “I want it finished like that”, or something that you have seen somewhere. It is always by reference. So before you start working with an artisan, there has to be some understanding between the architect, artisan and client about what you are trying to achieve.” Sibanand Bhol, Collective Craft

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• Triangulating segments: I³; Intent, Implement, Impact

Maximum exploration Intervention in Crafts

Experiment and

Innovate

1 Direct interaction with

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artisans

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Have minimum design

potential

specifications Craft revival

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for using crafts

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in Architecture and

Applications

Interiors

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design development

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and their lifestyle Mechanization and handwork

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Fair treatment

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associations

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Better

Professional

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values and regular

understanding

remuneration

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Fig 44: The diagram shows the ‘Intent, Implement, Impact’ as studied earlier that form the process of a collaborative project in Hunnarshala. The lines connect the the in a way that suggests the three activites are reflected through eachother at various stages in the process. This goes to show the importance of each as it shapes the nature of any process and how the collaboration is carried out.

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• Mapping Actions, Activities and Factors

Design approach

I³

Design stages

I³ It is to highlight the Intent, Implement and Impact models that have been established before and how they are seen reflecting as actions, activities or factors. Fig 35: The diagram shows the various actions, activities and factors that are observed through the case study interview.

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• Taxonomy

Design approach

1 Design

I³

stages Fig 36: The diagram shows the various actions, activities and factors that are observed through the case study interview and how it reflects the Intent, Implement and Impact. This figure tries to establish interreationships between all the actions, activities and factors that constitute Craft Design process of collaboration as observed.

I³

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â&#x20AC;˘ Understanding the influences

Involvement Engagement Inputs

O H

Designer Craft Consultant Artisan

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Skills Resources Technology

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C H

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Designer Craft Consultant Artisan

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Quality Quantity Time Cost

Funders Client Designer Craft Consultant Artisan

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Designer Artisan

Fig 37: The structure of collaboration at Collective Craft is formed by bringing together the different stages of the design process which we saw trough intent, implementation and impact. Each one of these stages is a result of multiple factors which may or may not be by choice. In order to understand the process, it is necessary to look at these factors and how they correspond with the design stages and collaboration.

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• Understanding the influences • Architecture Architecture, is based on the two things that come decided, needs of the client and the budget he has. The architect and the craft consultant know the two most important factors which are not going to under go drastic changes and so while designing the function and purpose of the space is defined first, followed by ideas that take in consideration the cost. The designs developed for an architectural project are plans and larger spaces. This gives the designers and craft consultants an idea of the scale of the project and how a program for crafts can be developed. • Products Designing products give freedom to the designer in terms of scele or time but designs largely come out of available skills, resources and technology. The most significant advantage while designing products is the interaction that designers and artisans can aim for, which does not have any hierarchies and ideas and inputs are developed together. • Crafts The concept and context are developed after content as the purpose and function of the space is defined by now. One of the most important factors to develop a concept for the project is the resources available around. Materials and crafts that will respond to the context and will give birth to a design that responds to the end user require it’s craftspeople and materials sourced to be from a place nearby to avoid rise in cost. The size and scale of installations, spaces, quantity of any particular material are details which are what the stakeholders focus on. In order to resolve bottle necks or stages and because the direction of the process is not clear yet, one sees only the architect and the craft consultant working at this stage. • Cost of Product In a market that is constantly changing and demanding a variety of products that range from reasonable to high end for different users, it is pivotal that if a product needs to be sold, it needs to be in sync with the

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chain of people associated to it. With e-commerce in boom, one can skip the middlemen and their share of the costing to make the product give it’s makers the maximum profit and if not profit, at least a minimum amount that they deserve. Other than this, the costing has a competitive market as the same products that the artisans can make are available at cheaper rates as they are industrial products and hence mass produced, which is very effective for cost control. Thus, after knowing the skill set of an artisan and the remuneration that he expects, the designer has to consider the market and the quality that the product should guarantee. • Production capacity The very last stage which requires involvement to make decisions that are responsible for a number of factors is production and workmanship. Just after the design development and costing of the product, the next step is to make it. The quality and quantum of the product are the factors can be tweaked to manage making a product in limited time, within a fixed cost and to make sure the artisan gets the expected wages. To decide how much mechanization could be introduced to achieve maximize the output and make more products in less time is also significant to create products that can compete with their industrial contemporaries. The call to decide what degree of mechanization however does not depend on the ability of the artisan’s talent or efficiency and skills but on the needs that the product or market experiences and demands at that time. Essentially, mechanization can be used to target the limitations of time, cost, quality and create awarness amongst artisans about latest technologies and how they can be used for their benefit, to move to newer production techniques while still hand-crafting the product. • The Process Whereas the design development stage is an open exchange of ideas and is collaborative, the content, context and concept stages require designers to work alone, digesting and internalizing the information gathered in the immersion session. The entire process has to reciprocate to cost, time and resources availabe. That is why the process at large can be seen having a

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workflow, in order to be able to cater to a few specifications that are not in the control of designer. The order in which each stakeholder is introduced in the process is copletely decided by the designer. This is in order to introduce the artisansa at a point in time when the designer is himself clear of what needs to be achieved and what can be delivered. Clarity about deliverables is to ensure efficiency between artisans and designers when they start working together. That is why one sees artisans being introduced directly when it is time to devleop designs.

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Establish a Model

3.2.C. Establish a Model â&#x20AC;˘ Role of Designer In the process of collaboration observed so far, it is seen that the designer and craftsperson start working together at the designing stage. One of the two initiates the idea, the designer being the one in most situations as he is more aware of what will get absorbed in the market. It can be said that the designer initiates only because he has a larger idea about the limitations or necessities and possibilities. The whole point of working together at this stage is to develop together and encourage and ask for ideas from craftspeople too. However, given the larger picture, it is the designer who may initiate the bigger idea and then have the artisans/ craftspeople give ideas at micro stages which address a smaller area of factors that hold a lesser chance of changing the project scope and dynamics drastically. A factor to be considered while saying architect initiates the larger idea is to not propagate the age old debate and maybe a misconception that the architect initiates to dominate.It Is very demanding of the observer to understand that the artisan/ craftsperson are not always used to working from one fixed end to another, while following a time-line, approvals, meetings and timely checks. Neither is he used to working with keeping in mind a specific site with a set of requirements. That is why the larger idea that comes from the designer encompasses all these factors and the idea itself is such that can sustain through all the ifs and buts and ambiguities of the process.Hence one sees the designer in the role of a facilitator, a medium, for the artisan, who smudges the rigidity and bifurcations that the project comes with. This is when one can see development of an understanding between the designer and artisan. This approach allows artisans to become aware of their role in the process and introduces them to a formal work set up.

â&#x20AC;˘ Role of Artisan Once the artisan and designer start working together, the different stages bring with them different situations where the two need to learn about their ways of working. The way they consider each otherâ&#x20AC;&#x2122;s differences and uniqueness and act upon resolving problems that come along to reach the common goal starts forming the culture of

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Case Studies: Collective Craft their interaction. To have an understanding relationship reflects that the two accept each other and each otherâ&#x20AC;&#x2122;s degree of knowledge, inputs and contribution in the project. This happens only when the artisan reciprocates the relationship the designer has initiated. Bhol (2015) explains how having an understanding relationship goes a long way and matters even in other stages of the process than just designing. Being receptive and learning about formal ways of working also enables artisans to develop product on their own, even after the collaboration.

â&#x20AC;˘ Model of Collaboration Having worked with Crafts for quite a while now, principal designer, Sibanand Bhol has developed a workflow that can be observed in the organizations process of collaboration. It begins with identifying issues that already exist and could hinder the collaboration in any form, and reciprocating to these issues, identifying responsibilities for the designer which will ensure smooth running of the process. The issue could be in form of funds, availability of resources or addressing client demands, etc. This ensures early alignment between designers, artisans and clients. The designer collaborates with artisans to establish long term associations, facilitating deeper and more significant impacts. The most important issue that gets addressed through this approach is that artisans work in a formal and professional work environment. Through its way of working, the designer tries to keep minimum specifications in the output that needs to be achieved, thus focusing more on craft and artisans and adapting design to local resources and available skills and techniques of artisans. The studio focuses on Product Design whereas the designer takes up architectural projects that need interventions in crafts. The impacts of Craft Design Collaborations by Collective Craft as a studio are seen when artisans get a sense of identity while associating with a studio and having their products in the market. It goes to show them that crafts that they have been practicing traditionally can continue to give them livelihood, this helps them in continuing their practices. When it comes to the architectural projects that the architect is involved in, they show crafts as a language that can be used in architecture and interiors to engage with people. Newer applications outside the traditional framework of crafts has lead to revival of skills and traditional methods practiced by artisans.

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Establish a Model

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Establish a Model

Issues

Long tern associations

Responsibilities

Identify

Formal work environment

Create

Implement

Lo ca ou l rce s

ve Arc

nce na

ste

hite ctu re

Pro du ct

of nse y Se ntit Ide

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res

to ge ua ple ng eo a la ith p w As ge ga en

Cra

Impact

tec

viv

Cra

ft: S hn kills, iqu es

Intent

Fig 38: The figure illustrates a Model of Collaboration which is observed from studying the Craft Design process of collaboration in projects done by Collective Craft

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Information about the Organization

3.3 E’thaan Design Studio, New Delhi 3.3.A. Information about the organization • ‘Why’ A strong passion for crafts was the keystone behind starting E’thaan. Formally trained as an architect, Ar. Ritu Varuni always knew she had an inclination and interest towards crafts. She states how architecture earlier was craft too. It is now that it’s industrialized. The way one looks at architecture now and how it’s treated has changed. She firmly believes that architecture should have a lot of craft element. But now material changes and technology have led to a decline of craft element in architecture. E’thaan believes in working with natural materials. There is an underlined philosophy to the work they do and they try and maintain that, at times even saying no to projects that have mandates about use of certain materials that the architect is not comfortable with. E’thaan’s work is based solely on fair trade principles and natural materials. The studio through their work hopes to be a small attempt to preserve Indian craft skills and brace them through creative design.

Note: To understand the process, the case study begins with an interview with designer and founder of E;than Design Studio. The projects mentioned as examples in the case study are to explain certain points and situations and are of collaborative architectural projects, products, installations, etc each with its own specifications of materials, region, client requirements and resources, etc. The other examples which are not with respective to any project are from the interviewee’s experience of working in craft and design collaborations and the workshops that the architect conducts. The profile of the architect and the organization keeps adapting according to the nature of the project and has been mentioned in each project detail.

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Image source: http://www.hunnarshala.org/hunnarshala-cam-

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Information about the Organization

• Interview details Interview 01 Maintain anonymity: No Organization: E’thaan Design Studio Name: Ar. Ritu Varuni, Founder and Head Designer Date: 27-11-2015

• Project details Project 01 Dastkar Office Building New Delhi Status: Completed Architect: Ar. Ritu Varuni

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Project 01 Workshops Multiple locations Architect: Ar. Ritu Varuni

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3.3.B. Craft Design Collaboration: Process • Triangulating segments: I³; Intent, Implement, Impact

Triangulating segments: I³; Intent The studio concentrates on a few materials to specialize and explore possibilities of teaching and craft skill development of the artisans and anyone else who wants to learn the craft. Their aim is also to establish long term associations with artisans they work with, and not limit their interaction to workshops or projects. The architects aim is to establish long term associations with artisans she works with. This enables both, the designer and artisans to understand each other and work on projects and products that suits each other in terms of scale, time, cost, etc. The studio aims to develop their designs with artisans themselves. With their focus on artisans and skill development, ideating together at the design development stage in their process is instrumental in building associations with artisans and understanding their perspective However, in case of architectural projects, client requirements can tend to dictate a lot of factors that could be limiting the way in which crafts can be used. Apart from this, the changing times have directly impacted architecture in terms of technology, materials, time and scale. The industrialization in architecture has led to a decline of craft in architecture. Though not their preference, there are times when one has to work with constraints of materials which directly impact the language crafts can be used in such a project. The designer’s attitude with which he enters the collaboration is important in shaping the nature of collaboration. E’thaan through its workshops with artisans, develops designs in partnership with artisans and designers. When a product is being made, the collaboration is at it’s peak. When designers ideate and design, they may not know many things about the material and craft. So one might have to completely change their design or it can be made workable by just tweaking a few details. During developing the prototype that you realize if the product can be made economically. If there is an increase in cost of production, then is it going to make the product affordable to the people. That is why it is necessary that the designer knows how the design is going to be made, whether its going to be feasible economically and practically.

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Limited materials and focus on Artisans

Product Design

Earlier Architecture was craft. But now it is industrialized. The way of looking at it and how it is treated has changed. Architecture has or should have a lot of craft element. A building is a piece of craft, right? It is made by hand. But now material changes and everything else has lead to a decline of craft element in Architecture. One thing Ethan believes in is working with natural materials. We are often forced to use cement and RCC and things like that but that was not ever my preference. So I guess there is an underlined philosophy to the work and we try to maintain that. Sometimes client requirements don’t allow you to do as much as you’d like to. So I guess that is strictly what it is and the whole idea is to basically give importance to craft and more importantly the artisan. I focus on crafts and materials from Nagaland and Arunachal. I have worked with many crafts but now I have decided to focus on wood, bamboo and cane. The reason for that is also that they are my favorite and I know something about them more than the others. And I thought a little concentration and specialization would be good if I want to explore this further, say in terms of taking it to a different level of teaching and craft skill development of artisans or everybody. Varuni, Personal communication, November 27, 2015

Open minded attitude and understanding Artisans Usually we interact with each other first and then figure out which way to go. It’s very generic, and then it depends on our interaction how it pans out. Usually, we shouldn’t interact with somebody with any preconceived notion. So it depends where and which region I’m working in and with whom I’m working, the cultural aspects, backgrounds. So I’ve never worked out a system like that. There’s no learning like experience. Anything like this, when there are two people collaborating, there’s no match for experience. So no matter how much you read or learn, you are not in it unless you’re doing it. Every place is different, every culture, every person is different. So you need to be absolutely open minded. Designers don’t always have that. Some have big egos. So when you go with that attitude, you’ve already failed. Attitude can be a problem solver or creator. Sometimes designer’s notion of himself is a problem: he is already on a pedestal. They have some set hierarchy in their head. Its only when you are thrown into a forest and you have to survive, you realize how little and incapable even you are. So it is a bit like that. It is always good to keep yourself on the ground. You are nothing without a craftsperson. That’s the bottom line. You can make designs till the cows come home. But if there’s nobody to make that design, it’s going to be a piece of paper. Varuni, Personal communication, November 27, 2015

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Case Studies: Eâ&#x20AC;&#x2122;thaan Design Studio

Develop feasible

Concentration and

designs

specialization

Long-term associations

Equal involvement

Intent

Minimum constraints

Ideate together

Focus on artisan

Appreciate inputs from artisans

Index

Intent

Impact

Implement

Fig 39: The diagram shows the â&#x20AC;&#x2DC;Intentâ&#x20AC;&#x2122; as understood from studying the organizations and its designers approach in collaborations.

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Triangulating segments: I³; Implement With an architectural background and an enduring passion for crafts, E’thaan focuses on natural materials and their craft forms . Wood, bamboo and cane are the materials the architect works with and states how they are her favorite materials. Her knowledge about them is more if compared to other materials and that makes all the difference for her. Specialization comes from having in depth knowledge about materials. The approach of working on a limited number of materials indicates that one can maximize output and impacts by bringing in maximum exploration. The long term associations and working with one another creates a feeling of partnership. Both collaborators, designers and craftspeople, work as equals, respecting the knowledge and expertise that each one of them has. Working with a select group of craftspeople may have less number of people gaining something from a collaboration. Although, the learnings and experiences have a much greater and in depth impact. Consistency in working with same group of artisans gives them exposure to market needs. The activity of ideation, to think of ways in which they can apply their traditional skills to meet client requirements has lead to newer applications and skill development. Sharing platform with designers and contributing towards design development of a product/ space shows them the importance their inputs carry. This generates a feeling of pride among artisans as they are equal contributors in the process. The studio does fewer architectural projects as compared to product design as there are more requirements to follow and keep up with.. In architectural projects, the underlined philosophy of working with crafts and focusing on artisans does not alter, although, the specifications that the project brings with itself alter use of crafts to a great extent. However in product design one gets a free hand in terms of material selection, scale and design development. E’thaan now regularly conducts workshops with the craftspeople they work with. They develop products and try and focus on skills that can be developed and continued along with products that will meet market needs.The designs are self initiated and self motivated, born out of an understanding of the material, craft and design. Every collaborator is an equal and each one has a skill set that is unique and specific to them. The designers largly design or initiate designs and craftspeople translate the designs into products. Defining roles is a

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way of appreciating qualities and skills of every collaborator, and at the same time utilizing the expertise they have in their area. The artisans give their inputs and the design development begins in a partnership so the process of making an entire prototype has contributions from both, the designer and the artisan. The understanding that has developed and continued is because the designer and artisan, both know each other’s language. It is very important that since designer is the initiator and is asking for craftspeople to develop it, he must know the skills, techniques, tools and materials he wants to work with. To be able to discuss with artisans about developing an idea, the designer must know the language of that craft. Acknowledge Artisan’s expertise See when you know someone already, there’s a relationship already developed. You grow with somebody so you know what the other person likes and what they really want, you get used to each other’s style of working and functioning and the communication is better. There’s a comfort level established. When you work with people who are far more skilled than the designer, they have hand skills that we can’t compare and they themselves are also designers. They have far more knowledge which is practical and has been passed down from generations. So it’s not at all difficult if you respect the other person’s ability which is greater than yours. So when two of us meeting, we are meeting at the same creative space. It starts with an idea and both of us give our inputs. As designers we always initiate the idea, idea comes from us and they translate it, they also have many ideas. Sometimes we both ideate, sometimes one of us does and the other one adds on to it. Ideally, designer should be a craftsperson, but that doesn’t happen a lot in India. Here its two different people working on one thing. That should happen here too. When I work with artisans, we are the same, at the same level but I’m aware that they have more ability. Varuni, Personal communication, November 27, 2015

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Knowing skills, materials, artisan’s capacity and language of the craft I rarely make models. In earlier stages, I would make paper models of certain aspects or components of the design so it’s easier to explain or even for myself to understand my idea. You need to know how you’re going to make a design. You can’t stop at just the concept. You’ve to think of each and every component. You look at your product/ design process wise and think of how each part is going to be made and then come together. So I interact with artisans and explain them the design or my idea. Actually one point that is important is that its easy to explain anything to the craftspeople because they know what you are talking about. But for that you as a designer should know the craft. You should know the tools, technique, materials used in the craft. Otherwise you may think you can design, but to translate it into the craft, you have to know the details, technique. Once you know it, you can talk to the craftspeople in their language. This will happen only at the practical level, as said earlier, given the gap between our designers and their education and crafts; one can’t expect designers to know the craft well unless working with it. Basic knowledge has to be there though. Varuni, Personal communication, November 27, 2015 Defined roles and respect for each other’s expertise A lot of our prototypes are developed in design workshops. We do design workshops, which are a very intensive 7-15 day workshop with artisans where we make prototypes. We develop designs with artisans in partnership during the workshop so the entire prototype is made together. It’s the best way because we work together. We have defined roles. So we tend to be directors of design and they become makers of the design. Each one plays his/her part, nobody is more or less important, and it’s a collaborative effort. When the product is being made, the actual collaboration is the most. Initially you are designing and giving a design and they are not at all involved most of the times. We don’t realize many things about the material and craft when we design so things change. So in a design workshop, you change later and you tweak details. So once the design is given to the artisans, we discuss with them. We call them craft associates, who are master craftsperson. They have worked with us for a long time. They translate the design into the product. So it’s all done through discussions. Everything is drawn, right up to the patterns, often the drawing is made to its actual size. Sometimes we make paper model of some component to see how it is. So it’s usually basically a drawing that we make and that is discussed, if there’s any clarification required. Now we even email drawings and it gets done. Then a prototype or a sample is made and is improved further till the final sample. Usually we have to make it only twice. And then the final model is made. Varuni, Personal communication, November 27, 2015

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Case Studies: Eâ&#x20AC;&#x2122;thaan Design Studio

Know the skills, materials, artisans

Limited materials

capacities

Involve at design

Limited artisans

development stage Implement

Exposure to newer Product design

applications, market needs

Open to changes and Feeling of pride

suggestions

Index

Intent

Impact

Implement

Fig 40: The diagram shows the â&#x20AC;&#x2DC;Implementâ&#x20AC;&#x2122; as understood from studying the organizations and its designers approach in collaborations and how it is manifested through the process.

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Triangulating segments: I³; Impact With more than ten years under them, E’thaan has developed it’s network of craftspeople they always work with now. There is a relationship developed as they have worked with each other for a long period of time. As Varuni refers to them, these craft associates are master craftspeople and both, the designer and craft associates are now accustomed to each other’s way of working and functioning. When they started off, everyone was used to their own way of working. Now they know each other even in terms of what they like and what they really want. The communication now is much better as it is comfortable and one does not have to establish any ground rules. The results of having an understanding show at many levels. One of them is clearer and better communication. This has allowed designers and artisans to communicate over emails and make products by just receiving a drawing. Such collaborations push the envelope for artisans and they experiment on their own and share it with designers. There’s no learning like experience. The confidence that the craftspeople gain about their skill and craft is very important for them as it gives them hope to continue their craft tradition. In other terms, they become more confident about trying out things on their own, they see their craft being applied in new ways and for non-traditional purposes. It opens a window for innovation. They learn to decide which traditional aspect of the craft they want to continue or discontinue or minimize over some technique which gives faster results. When making products with them, one can see a lift in their happiness and confidence but a feeling of status elevations there is a focus on the person who has made that product. Within their society, just like any other, they feel proud to be associated with organizations or designers and take great pride to see that it is their craft that is in demand in the market. With their intention of focusing on craft skills, they try to develop and protect the existing skills of artisans through products that will find a market. One needs to keep in mind that the impact can be negative some too. If one focuses only on the market, then that is what might start dictating the craft and then the craft , trying to adapt to mechanization to meet market needs, may compromise with it’s craft qualities. There are a lot of factors which go a long way in defining the workability of a product. The entire effort of these collaborations is effective when one sees the product working in terms of design, production, cost, market, and maintenance, etc. If the product is all of these things except market and does not get sold, it does not give anybody a livelihood and

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does not solve a significant need. In architecture it is the client who dictates many things and yet, architects have to work accordingly and still try and achieve what they want within that. Negative impacts of mechanization and market demands

It’s hard to say when you are working on your terms and it’s such a small drop that you don’t know what its impact could be. In terms of craft skill, yes, it is that which one tires to develop and protect. When we go to sanchi, they voice the fact that they had never thought they could translate their craft into these kinds of products. They saw their craft in a completely different light and they saw possibilities beyond the traditional framework. That definitely happens across all the crafts. Some people already have translated their craft in different things and you just pushed that, but it shows them designing for the urban market and to sell their craft. Img 124

Sometimes the impact could be negative. The urban market can be help responsible for that. If you focus on the market completely, then that’s what dictates the craft and then craft starts going towards becoming an industry. The refined quality that the craft has is abandoned by the artisan because its marketability is not there. So that makes the craft quality go down. Craftsmanship quality is on a decline. Is it our work that’s having this impact, no, it’s the market. We are also driven by the market. Attitudes also change because of this as livelihoods are dependent on this.

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For example, block printing which is a very fine craft, takes a lot of time. So artisans don’t want to do it the same way. They produce more in less time. Sometimes they continue with just one aspect of the craft and minimize other craft aspect over some technique which gives faster results. On the positive side, if you’re making one of a kind art pieces, in that case the joy of the artisan and that he is contributing to a special piece is seen. Not only is there a lift in their happiness and confidence, but a feeling of status elevation that arises. There is a focus on the person who has made that product. It changes their own perception of themselves and the craft Varuni, Personal communication, November 27, 2015

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Confidence to experiment

Product Design

Artisans experiment on their own and then show me something. They love making new things. In fact all of us creative beings like to make new and different things. So once that is triggered, they take it forward. This is like an empowerment process in a way, many craftsmen I work with show me that there’s an increase in their self confidence, value. Also the ability to see things differently enlarges their vision. Collaborations are always good. It’s for a positive outcome. It has a great impact on both sides and learning for both and the end result is great. Varuni, Personal communication, November 27, 2015

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Economic and practical viability

Sometimes the entire product goes in one shot and is made in one shot but sometimes you have to abandon the entire design because once you start to make it, you realize it’s too complicated to make it according to regular production. There’s too much effort involved maybe. Since you have to look at the market for a product, the costing plays a very great role in product making. So its defined by those parameters too. The factors can’t be called as demerits or anything. It’s just there. A product has a practical use. So it has to work what it’s made for. That’s the bottom line so it’s pretty straightforward actually. It has to work as a product, in terms of design, production, cost, market. If it doesn’t sell, it doesn’t give anybody a livelihood so then it becomes pointless. In architecture it’s similar. The building we did for Dastakar, it’s a completely handmade building. Unfortunately there the client dictates a lot of things that you may not want to do. But you have to work within a budget. So similar constraints are there. You have to also work with client budget and requirements. In product too you have to work for what the client wants, if he can afford it and if he needs it. Varuni, Personal communication, November 27, 2015

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Economic and practical

Maximize exploration

viability

Evolved relationship

Sense of ownership

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Increase in options for application of

Skill development

existing skill set

Confidence to Status elevation

experiment

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Impact

Implement

Fig 41: The diagram shows the ‘Impact’ that Craft Design Collaborations the organization is a part of has. These Impacts are seen as a reflection of ‘Intent’ and ‘Implement’.

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“..You should know the tools, technique, materials used in the craft. Once you know it, you can talk to the craftspeople in their language. This will happen only at the practical level, as said earlier, given the gap between our designers and their education and crafts; one can’t expect designers to know the craft well unless working with it. ” Ritu Varuni, E’thaan Design Studio

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• Triangulating segments: I³; Intent, Implement, Impact

Ideate together Concentration and specialization 3

Long-term associations

applications, market

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needs Limited materials

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existing skill set

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5 Involve at design development stage

Status elevation

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Fig 42: The diagram shows the ‘Intent, Implement, Impact’ as studied earlier that form the process of a collaborative project in Hunnarshala. The lines connect the the in a way that suggests the three activites are reflected through eachother at various stages in the process. This goes to show the importance of each as it shapes the nature of any process and how the collaboration is carried out.

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• Mapping Actions, Activities and Factors

Design approach

I³

Design stages

I³ It is to highlight the Intent, Implement and Impact models that have been established before and how they are seen reflecting as actions, activities or factors. Fig 43: The diagram shows the various actions, activities and factors that are observed through the case study interview.

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• Taxonomy

Design approach

1 Design

I³ 6

I³

stages Fig 44: The diagram shows the various actions, activities and factors that are observed through the case study interview and how it reflects the Intent, Implement and Impact. This figure tries to establish interreationships between all the actions, activities and factors that constitute Craft Design process of collaboration as observed.

I³

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â&#x20AC;˘ Understanding the influences

Involvement Engagement Inputs

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Designer Artisan Remuneration Profit margin Market

Time Cost Scope Client needs

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Fig 45: The structure of collaboration at Eâ&#x20AC;&#x2122;thaan is formed by bringing together the different stages of the design process which we saw trough intent, implementation and impact. Each one of these stages is a result of multiple factors which may or may not be by choice. Designer Artisan

In order to understand the process, it is necessary to look at these factors and how they correspond with the design stages and collaboration.

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• Understanding the influences • Architecture An architectural project brings limited opportunities for use of crafts as every client comes with different set of needs, requirements and choices. ‘Craft’ as a factor becomes restricted by a number of factors which need to be considered before deciding the scope for crafts in such projects. Factors like requirements, cost and materials are what client wants the architect to work on unless he has a bent of mind towards crafts and leaves it up to the designer the use of materials and crafts. In a mainstream practice which caters to projects in cities, the scope and possibility of using crafts reduces due to conditions like maintenance, resources and nature of the building and it’s end user.

• Product Design Designing products comes with a lot of liberty to explore the elements the designer wants to. With reference to E’thaan, it is observed that they already know what materials they want to work with. Along with that, they have been working with a set of artisans. This indicates designing by keeping in mind those artisans and their skill set. However, the scale and the craft that they want to design with is totally up to the designer. Keeping in mind technology and that it can be used to increase production capacity and still maintain the degree of craft quality, designers can think of playing with scale of the product.

• Ideating together A spontaneous activity like ‘getting an idea’ when comes from a situation one is conditioned to, the idea has already taken into account the factors that dictate it. Though the designer and craftsperson both ideate at this stage, they are used to a set pattern of working and considering a few parameters. Time, cost and their skills are a few things they are already aware of that their ideas reflect considerations done around these factors. The ideas and their development into design has to always follow guidelines and be grounded to reality. As this happens at the very first stage of ideation, it becomes easier to

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develop the product as one does not have to resolve major challenges or problems later.

• Products Though designing products gives the designer the freedom to explore, the products have to be practically and economically viable. The time and effort invested by designers and artisans has to meet tanglible ends in terms of profit. In order to be able to design a product that sells, factor of market and what an end user who is unknown would want needs to be kept in mind. As products designs are self motivated, the designer and artisan have this stage to themelves, without any interference from other stakeholders that are otherwise present in cases of architectural projects.

• The Process The process as seen in E’thaan has factors that talk largely about product and their development in the workshops it conducts with artisans. So one sees that the process is more or less with respect to an established way of working. The current factors and stages do not leave much space for an unfamiliar situation and the way the stages follow each other lead the idea to develop into a product with primarily the architect and the craftsperson as it’s constant stakeholders. The products developed respond to affordability and market as the most important factors with involvement of stakeholders who know each other and have worked together in the past. Their objective of developing and protecting traditional craft skills is addressed by developing nontraditional products which see the application of their traditional skills and materials.

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3.2.C. Establish a Model • Role of Designer The approach and attitude of the designer demands the understanding that Varuni talks about. The collaborations does not remain in a state which shows balance and equality when designers think of themselves as an higher authority in terms of exposure and experience with market. There should not be any hierarchy followed, she states. The designer’s attitude with which he enters the collaboration is extremely important. They have to be open minded as they are not the only body of people involved and be respectfully oopen to ideas, opinions and suggestions along the process of collaboration. We shouldn’t interact with somebody with any preconceived notion. Designers don’t always have that. Some have big egos. So when you go with that attitude, you’ve already failed. Attitude can be a problem solver or creator. Sometimes designer’s notion of himself is a problem: he is already on a pedestal. They have some set hierarchy in their head. (Varuni, personal communication, November 27, 2015) When you work with people who are far more skilled than the designer, they have hand skills that we can’t compare and they themselves are also designers. They have far more knowledge which is practical and has been passed down from generations. (Varuni, personal communication, November 27, 2015) With increasing mechanization, it is always an option to use it and reduce the time required to make something. However , this could also be a treat if misused. It will result in depreciating the value of that product if the essential part of it is mechanized and not handmade. It falls under the designers umbrella to make the craftsperson aware that in spite of whatever trend is going on in the market, one cannot abandon the skills and techniques the craft comes with traditionally. In case they aren’t, it is the designers responsibility to make them aware of their potential and capabilities. Apart from the larger responsibility and right approach, it is necessary to keep in mind the objective you are working towards. It is the objective and approach which is going to shape every stage and the way in which any situation during the collaboration, good or bad, is going to be dealt with. The impacts seen in the end are a partial result of timely and right decisions taken at all the earlier stages.

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Establish a Model

• Role of Artisan The collaboration is not merely in terms of craft and design. It can be made experienced at knowledge, skill, value and interest level. This is possible when collaborators, that is the designers and craftspeople are driven with same intent. The strength of a collaboration comes when people share the same values and part with a larger set of shared values. Artisans are people who have always worked on their own, in their respective communities. In cases where they are working with people from outside, it can be aintimidating for them. However, as designers too invest their time and creative energy in trying to build a relationship with artisans, artisans too need to come out of their shell and realise the potential these collaborations carry for them One of the most important realizations that artisans need to have is that they value adders and decision makers too. while working with designers., If at any point they feel the need to alter the designs, reasons being losing essence of the craft, they should voice their opiion and exercise the creative liberty.

• Model of Collaboration The model of collaboration as observed in projects and products that E’thaan undertakes, begins with their focus on materials and artisans, with an intention to concentrate and develop skills of artisans they engage with. With limites artisans naturally comeslong term associations and an evolved understand between designers and artisans. The studio works towards training and education through regular workshops that are conducted in the villages of artisans. Comfort, familiarity and communication are on the same side of a coin. All three are dependent on one another and come together. One cannot aim for comfort without having spent enough time with each other. They can be expected only when there is understanding and communication that shows the people involved understand one another. Having a common dialect or language is not as important as working and designing keeping in mind each other’s capacities. There are plenty of ways in which one can interact then. The flow of collaboration as observed involves artisan’s involvement at design development stage. To ensure that their expertise and

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Case Studies: Eâ&#x20AC;&#x2122;thaan Design Studio knowledge is utilized, the designer acknowledges their inputs. Thus, the age old traditions and knowledge are seen translated in products. The intention behind conducting workshops is to make artisans aware of their craft skills and their value in the market. This is seen reflecting in impacts as artisans get the exposure to newer tools and technologies, facilitating application of traditional craft in contemporary designs. Due to the collaborative nature of the process, having artisans involved during development of design gives them a sense of ownership. They take great pride as they see their craft in new light and are associated with it. Working with limited materials and artisansreflects in terms of maximum exploration of the craft form, leading to innovative approaches and applications that are outside the traditional framework.

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Establish a Model

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Establish a Model

Artisans

Training, Education

Materials

Skill Development

Specialize

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tion

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ova

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of nse hip Se rs ne

e rtis

Aw are ne ss

sur

Co nfid

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Impact

Fig 46: The figure illustrates a Model of Collaboration which is observed from studying the Craft Design process of collaboration in projects done by Eâ&#x20AC;&#x2122;thaan Design Studio.

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Conclusion

Introduction

Chapter Four Conclusion

Introduction This chapter aims to be more than just a summary of everything discussed so far. During my course of study, I was constantly asked experts to understand collaborations and form an unbiased viewpoint. I have tried my best to synthesize my understanding of them into a chapter, and have addressed what Craft Design Collaborations mean in the Indian context: reasons behind and their potential.

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Conclusion

4.1 Access to Opportunities In case of India, there was no clear distinction between art and craft. These practices were organic processes that encompassed local region, materials, activities and needs, the knowledge of which was handed down from generation to generation. Looking back, artisans were themselves designers. There was no separate profession of designers. Starting from colonization, the idea that ‘crafts’ needed interventions began, followed by industrialization and globalization. In these series of events, introduction of ‘design’ gave birth to contemporary designers, who learn directly the ‘process’ of designing, which focuses on problem solving and catering to client’s needs, having access to funds, technologies and possibilities. India today has both, traditional artisans who are designers too and contemporary designers who focus on developing designs for products and services that are factory produced or outsourced to artisans. Today, in spite of artisans knowledge and expertise, direct access they have to market and clients is seen diminishing, which reflects on their livelihood, their financial stability and economic, social and cultural growth. Swarup Dutta, who has collaborated with various indigenous crafts during his career, believes that many craftspeople, especially those based in rural areas, feel insecure and isolated as they are further and further away from the markets they create products for. Since they rely on the designer’s input to make products that are commercially viable, not being able to see these products in the context they are worn or used makes it hard for them to gauge how to make new work that is reflective of their own cultural identity. (Cited by Sandhu, A., 2015, p. 149) Efforts in terms of interventions, collaborations, initiatives and other programs to bridge the gap between crafts and urban market have been going on for almost a century. McGowan (2009) speaks of efforts made by Gandhi to promote crafts through permanent and traveling exhibitions that would demonstrate high standards of work and get the sales agencies to bring fine products into public notice. He suggested state wise collections of craft to showcase and document the product diversity a single state could show and lastly and most importantly, he suggested collaborative programs to bring designers in closer touch with artisans.

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Access to Opportunities

Conclusion

Access to Opportunities

In spite of knowing their value, their importance in our culture and history, one can see the duality in nature of the problem that crafts and artisans face: there is definite appreciation of the artisan’s expertise, there is awareness that they are extremely knowledgeable, culturally rich and yet at the same time their livelihoods and skills are in danger due to lack of funds, market, exposure. As Chatterjee (2014) says, India’s artisans themselves represent a great educational advantage. They are unmatched in their ability to communicate through their hands an understanding of materials, technology, function and aesthetics. Yet our master artisans are excluded as educators because they lack the formal degrees and certificates of the so-called qualified. The point that this study wishes to highlight is that great knowledge, skill, culture may not always come with the right opportunities. Looking at Craft Design Collaborations through this lens, it is important to realize that Craft Design collaborations could be architectural projects, a range of products or a piece of art, but more than that, they are a platform for artisans and designers to come together. The collaborations allow them an opportunity to create ideas and designs while the latter facilitates funds and creates a clientele required for manifestation of such collaborations. The collaborations may be the designer’s initiative. The intention of wanting to collaborate, itself suggests that it is to create something that cannot be achieved alone. Designers thus carry with them a chance to open up practices of artisans and mindsets of clients, by shifting client’s expectation of what craft is, what it does and why it needs to belong in our life. The triggers behind Craft Design Collaborations may be many; however, the scope and opportunities they carry for Designers and Artisans need to be realized through the process of collaboration. Maturity of a collaborative process is revealed by the way it handles conflicts, dissolves differences and yet acknowledges diverse opinions, accommodates inputs and creates and maintains the collective spirit that collaborators work with. To create a creative culture, it is critical to make sure there is an understanding that everyone has a vital role to play, and that every single role is just as important as the next, regardless of title. (Cited by Holston, 2011, p. 46) The collective spirit comes when every collaborator is acknowledged and been involved where his expertise stands strong. A collaboration will not succeed because of one person, but because all individuals were able to contribute and were allowed to contribute in their respective capacities.

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Conclusion The time for which the values and impacts will last for is however entirely dependent on the nature of collaboration. This is when it becomes important to know whether the collaboration that is happening is a one-time event or has the potential, capacity and will to be conducted again. In case of a single entry, the impacts are bound to be shortterm. It is crucial for the reader to understand the difference between ‘values’ and ‘impacts’. While the values maybe something one will always cherish, learn from and take away with them, they represent the intangible learnings and aspects the collaboration offers it’s stakeholders. ‘Impacts’ are the tangible factors which can be seen translated in terms of progress, growth, rise in demand and opening for new avenues. For these impacts, a consistent effort is needed. A one-time collaboration may be good, exciting and may give amazing architecture and products, the stakeholders will too benefit from it. However, for the benefits to make any impact, the collaboration needs to happen again, many number of times , giving more platforms and situations. Looking at how majority of the collaborations are initiated by designers, designers are often misunderstood as dictators of the process and craftspeople mere makers. However, because of the gap between artisans and the market, designers play a very important role in finding relevance of crafts with respect to the artisan, the consumer and to the global market. Designers are thus an interface, between the past and the present, the traditional and the modern, trying to match craft production to the needs of modern times and demands. (Cited by Designers meet artisans, 2005, p. 4) Designers also play an important role in maintaining the collaborative effort. Designers, who are aware of the larger picture, are able to offer a structure that takes care of potential problems or stages that could cause any threat to the collaboration before they become major issues. Designers do not necessarily ‘dictate’ the process, but ‘conduct’ and ‘facilitate’ it. There can of course be a debate to gauge how far these collaborations go in introducing technology that is not traditional to crafts. In times of such a question, the way in which technology is used becomes important. Whether it is replacing few of the indispensible qualities of that craft or merely replacing methods which do not define the craft, decide whether use of technology is appropriate or has altered the craft. With technological interventions opening up avenues for crafts, it is important to know how far techniques go in defining crafts. Will innovation or design intervention in terms of technology or machines change the nature of craft or how it is perceived as craft? Mere involvement of technology or machines should not limit perception of

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Access to Opportunities

Conclusion

Access to Opportunities craft as ‘craft’. As Frayling (2011) clarifies, it is more a question of the ways in which the machines are used, and of the context for their use. As these collaborations are seen in bridging the gap between market and artisans, they are also highlighting significant changes in the way a project is carried out. These changes have remains to be seen and felt by all the collaborators. They represent significant investment on the part of designers and artisans and illustrate possibilities for Craft and Design and both collaborators. Artisans are valued strategic partners, this allows them to be aware of the value their craft has in the market and exposing them to the entire chain of demand and supply. These collaborations also avoid possibilities of exploitation at the hands of other designers/ organizations that try and work artisans, not giving them their due share of profit. The core essence of collaborating, that is creating something that cannot be done alone, is best seen if there are fewer specifications that the collaborators have to meet, allowing them to work and develop their designs without having to cater to a specific outcome. If there is a specific outcome that is going to drive the process, then chances are that it will lead collaborators to explore much less. As Holston (2011) quotes Designer Bruce Mau, process is more important than outcome, when the outcome drives the process, we will only go to where we’re already been. If process drives outcome, we may not know where we’re going, but we will know we want to be there. Craft Design Collaborations carry potential to develop products and spaces that showcase innovation and amalgamation of craft and design, thus defying the distinctions the two sectors, especially designers and artisans, are faced with today.

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Conclusion

4.2 Way Forward My studies in the last two years have made me understand some very significant aspects of the sector of Crafts. My interest in what happens when designers and craftspeople work together was met with many theories, even events, many being examples from our past and present. In India’s context, there is still a lot that needs to be studied to find out what happens at that platform. Where as this study was about understanding the process of Craft Design Collaboration, it has lead me to think of possibilities in which it can be taken ahead. In this section, I try to explain the theoretical and practical implications of my study and try to provide direction for future research. This research has time and again taken me back to my first encounter with crafts: my settlement study of the craft community at Raghurajpur, Orissa. I was amazed by the talent and indigenous craft processes the artisans had to offer. However, seeing the state of that craft community, I gathered that even though there was a rich supply of skills, these skills weren’t enough to meet the market demands. This has led to many artists abandoning their practice. I realized the looming extinction of these crafts, even in other parts of India. However, as Chattopadhyay (2010, p. 197) says, to go wholly back to the past is impossible, for the past was a background of life that has less and less significance in terms of the new social order. I concluded that contemporary application of any craft can influence modern interiors and help maintain our heritage. I have come to believe that heritage is a dynamic phenomenon, not static and must evolve with time to suit today’s needs. However, as artisans face lack of access to many things that hinder them from taking ahead their craft, it becomes necessary to realise that the independence of working for clients they knew of has been long gone. That was when they knew how to adapt to changing demands and adapt to techniques and continue their craft tradition. It is with change is scale of life and growing disconnect between cities and villages that they cannot relate to the urban market anymore. A creative tradition undergoes change because with changes in nature, funtion and relationships it is no longer within the hereditary craftsman’s capacity to answer the kind of challenges with which he is faced. (Jaykar, 2010, p. 203) With a number of organizations facilitating professional courses and training programs for artisans, I began to think of another possibility. My idea was solidified as I read in Designers meets Artisans (2005), a

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Conclusion

Way Forward question that resiprocated my doubt: should we be teaching artisans the formalized design process as set forth in design institutions? This question represents the many challenges the sector of crafts faces today. Will they be put to pause with an approach that aims to teach artisans the â&#x20AC;&#x2DC;learntâ&#x20AC;&#x2122; design process as Vyas(2009) calls it. Can an approach of this kind take us back in time where the artisan was the maker and the designer, decreasing their dependency on mediators and facilitators, some times exploiters and see them emerging as independent Craft practitioners, designers and entrepreneurs in the market that there is today? There have been many other instances when a possibility to expose artisans to a process that makes them independent of mediators has been discussed. Jaykar (2010) in World Crafts Conference asked if we can create a situation where new needs and ways to address them is brought to the traditional craftsmenâ&#x20AC;&#x2122;s consciousness and if they are given necessary creative stimulus and facilities of new techiques and technology, the new laboratory equipment, et cetra, then out of this tension responses will emerge which can carry the tradition forward without its being crystallized into imitative form. To address this possibility, Craft Design Collaborations are in a way exposing artisans to the source of client needs and factors like cost, scale, etc, slowing but definitely making them independent to take their traditional designs ahead, to suit the market. Studying the process, impacts and models on which Craft Design Collaborations work is with an aim to understand how artisans work when confined to time, cost, scale and other factors. It is an effort made to establish the possible factors that they will have to cater to while wokring independently for clients. This study proposes itself as a base to this possibility, inviting experts to contribute and add further possibilites to a journey that has just begun.

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Glossary

Glossary Guru Shishya: The Guru- Shishya parampara has been an inevitable part of education in the ancient Indian Culture. This involved the tradition of a living and learning relationship between the Guru and the Student (Shishya), signifying the emotional, intellectual and spiritual bonding between them. This bond between the Guru and the Shishya enables the Guru to become a mentor who leads the Shishya from ignorance to wisdom, and enlightenment. Vishwashanti Gurukul (n.d.) Retrieved from http://mitgurukul.com/AboutUs/StyleGuide Jajmani system: It tended to conceptualize agrarian social structure in the framework of exchange relations. In its classical construct, different caste groups specialized in specific occupations and exchanged their services through an elaborate system of division of labor. Though asymmetry in position of various caste groups was recognized what it emphasized was not inequality in rights over land but the spirit of community. Jatakas (noun) : The word ‘Jataka’ (common to both Sanskrit and Pali) is derived from ‘jata’ (jan + kta) and ‘ka’, meaning ‘born’ or ‘related to what is born’ or ‘related to what has happened’ Kala: A skilled craft Kusa: A grass (Eragrostis cynosuroides) of India used in Hindu ceremonies Narada: One who gives / spreads the name of The God Narayana, is a Vedic sage who plays a prominent role in a number of Hindu texts, notably the Ramayana and the Bhagavata Purana. Silpa: The Science of Śilpa (arts and crafts). It is an ancient umbrella term for numerous Hindu texts that describe arts, crafts, and their design rules, principles and standards. Smritis: Universal principles of Shrutis ( Universal and eternal truth) applied to day-to-day living. Foundation to all branches of practical knowledge and skills Taxonomy (noun): The classification of something. [Def. 1.1]. Oxford Dictionaries (n.d.). Theras: An elder Whatsapp: A cross-platform instant messaging application that allows iPhone, BlackBerry, Android, Windows Phone and Nokia smartphone users to exchange text, image, video and audio messages for free.

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Bibliography McGowan, A. (2009). Crafting the nation in colonial India. New York, NY: Palgrave Macmillan Mehrotra, R. (2011). Architecture in India since 1990. Mubai: Pictor. Mohanty, R. K. (2009). Craft artisans in Urban informal sector. New Delhi: Anamika & Distributors. Padilla, C. (2013). The work of Art; Folk Artisans in the 21st century. IFAA Media. Risatti, H. (2007). A theory of craft: Function and aesthetic expression. Chapel Hill: University of North Carolina Press. Sandhu, A. (2015). Indian fashion: Tradition, innovation, style. Bloomsbury. Sankaran, P. N. (2011). Artisans of India: Towards inclusive development. New Delhi: Serials Publications. Slocum, J. W., & Hellriegel, D. (2011). Principles of organizational behavior. Mason, OH: SouthWestern. Vyas, H. K. (2000). Design, the Indian context: Learning the historical rationale of the Indian design idiom. Ahmedabad: National Institute of Design. Vyas, H. K. (2009). Design the international movement: With Indian parallel. Ahmedabad, Gujarat: SID Research Cell, School of Interior Design, CEPT University. Wilson, H. (2007). India contemporary. London: Thames & Hudson.

Research papers Botnick, K., & Raja, I. (2011, Autumn). Subtle Technology: The Design Innovation of Indian Artisanship. Massachusetts Institute of Technology, Design Issues: Volume 27, Number 4. Jena, P. K. (2010, April). Indian handicrafts in globalization times: An analysis of global-local dynamics. Center for the Study of Social Systems, Jawaharlal Nehru University, New Delhi, India. Kapur, H., & Mittar, S. (2014, October). Design Intervention & Craft Revival. International Journal of Scientific and Research Publications, Volume 4, Issue 10. Mortati, M., & Villari, B. (2013). Crafting social innovators: Designing collaborative, participative, networked solutions in urban contexts. Craft design enquiry; issue 5, Australian National University. Ostergaard, K. J., & Summers, J. D. (2009). of a systematic classification and taxonomy of collaborative design activities, Journal of Engineering Design.

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Ostergaard, K., & Summers, J. (2003, August 19-21). A taxonomic classification of Collaborative design. International conference on Engineering design iced 03 Stockholm. Sanders, E. B., & Stappers, P. J. (n.d.). Co-creation and the new landscapes of design. Soteriou, A. (1998). Reviving a Tradition-Giving Papermaking Back to India. Sunder, S. R. (n.d.). Shifting paradigms in the field of craft, its effect in the life of traditional craftsman and organizational framework of the traditional guilds. Traditional Building Craft Skills: Reassessing the Need, Addressing the Issues. (2008). England: National Heritage Training Group. Tung, F. (2012). Weaving with Rush: Exploring CraftDesign Collaborations in Revitalizing a Local Craft. Department of Industrial and Commercial Design, National Taiwan University of Science and Technology, Taipei, Taiwan. Verganti, Roberto, and Gary P. Pisano. “Which Kind of Collaboration Is Right for You?” Harvard Business Review 86, no. 12 (December 2008).

Blogs Collective craft plays cupid for traditional and contemporary [Web log review]. (2014). Retrieved April 5, 2015, from https://marigolddiary.com/2014/07/01/collective-craft-plays-cupid-fortraditional-and-contemporary/ Ranjan, M. (2007). New Education Strategies in the Context of the National Design Policy, Design For India, October 30, 2007. Available from http://design-for-india.blogspot.in/2007/10/neweducation-strategies-and.html

Websites ::e’thaan the craft shop:: New delhi india handicraft Wood Craft And Carpentry Architecture and interiors furniture. (n.d.). Retrieved April 6, 2016, from http://www.ethaan.in/ About Us | Anantaya Decor. (n.d.). Retrieved February 11, 2016, from http://anantayadecor.com/ about-us About Us. (n.d.). Retrieved February 11, 2016, from http://www.craftcanvas.com/about-us About Us. (n.d.). Retrieved January 11, 2016, from http://www.hunnarshala.org/about-us.html

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Bibliography Bhol, S., & Mahopatra, S. (n.d.). Collectivecraft. Retrieved April 5, 2016, from http://www. collectivecraft.com/search/label/ABOUT Collective Craft Collective Craft: Orissa based Craft & Design Startup. (2011, October 24). Retrieved April 5, 2016, from http://yourstory.com/2011/10/collective-craft-orissa-based-craft-design-startup/ DESIGN INNOVATION AND CRAFT RESOURCE CENTRE. (n.d.). Retrieved May 11, 2016, from http://dicrc.in/about-dicrc Designing Collaboration | How to structure, design and understand collaboration. (n.d.). Retrieved January 05, 2016, from http://www.designingcollaboration.com/ Jajmani System in Rural Society,Rural Society,Jajmani System,The Jajmani System,Rural Society Jajmani System,Sociology Guide. (n.d.). Retrieved April 21, 2016, from http://www.sociologyguide.com/rural-sociology/jajmani-system-rural-society.php MIT Gurukul. (n.d.). Retrieved April 21, 2016, from http://mitgurukul.com/AboutUs/StyleGuide National Institute of Design - International Centre for Indian Crafts (ICIC). (n.d.). Retrieved August 18, 2015, from http://www.nid.edu/activities/icic/activities.html Rajeev Sethiâ&#x20AC;&#x2122;s Website. (n.d.). Retrieved February 8, 2016, from http://www.rajeevsethi.com/biographies.htm Ranjan, M. P. (2013, July 7). Design Thinking Models - A Primer. Retrieved February 18, 2016, from https://www.academia.edu/3989730/Design_Thinking_Models_-_A_Primer Salonen, E. (2012). Designing Collaboration. Sangaru Design Studio. (n.d.). Retrieved March 11, 2016, from http://www.sangaru.com/ SARTHI - Friends of Artists in Need. (n.d.). Retrieved January 28, 2016, from http://www.sarthi. org/news.php Sustainable Design Consultant Ahmedabad, India. (n.d.). Retrieved February 11, 2016, from http://www.rhizomedesign.co.in/about.php The Reserve: Archive of Top-Scoring Essays | Berkeley Prize Essay Competition. (n.d.). Retrieved May 10, 2016, from http://www.berkeleyprize.org/endowment/the-reserve?id=2029 Venkataraman, L. (2010). Indian artisansâ&#x20AC;&#x2122; need to go global. Retrieved August 22, 2015, from http://www.thehindu.com/arts/crafts/indian-artisans-need-to-go-global/article557761.ece

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Interviews Acharya, M. (2015, October 7). Hunnarshala Foundation [Personal interview]. Bhol, S. (2015, November 26). Collective Craft [Personal interview]. Dayalani, H. (2015, October 6). Hunnarshala Foundation [Personal interview]. Designing the Future of Design: An Interview with Kumar Vyas by Victoria Lautman [Interview by V. Lautman]. (2013, April 30). Retrieved April 20, 2016, from http://www.archdaily.com/365539/ designing-the-future-of-design-an-interview-with-kumar-vyas-by-victoria-lautman Sethi, R. (2007). Rajeev Sethi [Interview by Y. Lochan]. Retrieved January 27, 2016, from http:// www.yurikolochan.com/writhings_article_rajeevsethi.asp Varuni, R. (2015, November 27). Eâ&#x20AC;&#x2122;thaan Design Studio [Personal interview].

Lectures Chatterjee, A. (2014, October 29). Can our future be handmade? Lecture presented at Fifth Kamaladevi Chattopadhyay Memorial Lecture, Centre for Cultural Resources and Training. Retrieved April 18, 2016, from http://ccrtindia.gov.in/downloads/other/lecture_5_pro_ashoke_ chatterjee.pdf

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Illustration Credits

Illustration credits Chapter One Img 1: (n.d.). Retrieved February 1, 2016, from https://in.pinterest.com/ pin/492510909225344074/ Img 2: (n.d.). Retrieved January 26, 2016, from http://www.idc.iitb.ac.in/dsource/gallery/habitatskutch-bhunga Img 3: (n.d.). Retrieved January 26, 2016, from http://www.idc.iitb.ac.in/dsource/gallery/habitatskutch-bhunga Img 4: [Personal photograph taken in Raghurajpur, Odisha]. (2013, January 18). Img 5: [Personal photograph taken in Raghurajpur, Odisha]. (2013, January 18). Img 6: [Personal photograph taken in Raghurajpur, Odisha]. (2013, January 18). Img 7: [Painting]. Gandhi Smarak Sangrahalaya, Ahmedabad, Gujarat.

Chapter Two Img 8: (n.d.). Retrieved February 1, 2016, from http://www.designsponge.com/2015/10/ancientindian-crafts-in-modern-design.html Img 9: (n.d.). Retrieved February 11, 2016, from http://anantayadecor.com/sites/default/files/ catalog/Furniture Catalog/index.html Img 10: (n.d.). Retrieved from http://www.collectivecraft.com/search/label/TRAYS Img 11: (n.d.). Retrieved February 20, 2016, from http://www.craftcanvas.com/armieda-spa Img 12: (n.d.). Retrieved May 11, 2016, from http://dicrc.in/craft-innovation-work Img 13: (n.d.). Retrieved December 26, 2015, from http://www.ethaan.in/FURNITURE.htm Img 14: (n.d.). Retrieved from http://www.hunnarshala.org/artisan-school.html Img 15: (n.d.). Retrieved January 8, 2016, from http://www.rajeevsethi.com/projects/project_ them.htm

172

Illustration Credits

Img 16: (n.d.). Retrieved February 11, 2016, from http://www.rhizomedesign.co.in/view_project_ detail.php?id=8 Img 17: (2012, September 10). Retrieved January 10, 2016, from http://www.home-review. com/2012/09/my-space-sandeep-sangaru/ Img 18: (n.d.). Retrieved November 20, 2015, from http://studiolotus.in/category/portfolio/ Img 19: http://www.eugenepandala.com/Eugene_pandala/Pazasi_Rajas_tomb.html (n.d.). Retrieved April 20, 2016. Img 20: http://www.eugenepandala.com/Eugene_pandala/Pazasi_Rajas_tomb.html (n.d.). Retrieved April 20, 2016. Img 21: http://www.eugenepandala.com/Eugene_pandala/Pazasi_Rajas_tomb.html (n.d.). Retrieved April 20, 2016. Img 22: Http://www.eugenepandala.com/Eugene_pandala/Ravis_House_in_Mud_Chathanoor.html (n.d.). Retrieved April 20, 2016. Img 23: Http://www.eugenepandala.com/Eugene_pandala/Ravis_House_in_Mud_Chathanoor.html (n.d.). Retrieved April 20, 2016. Img 24: Http://www.eugenepandala.com/Eugene_pandala/Ravis_House_in_Mud_Chathanoor.html (n.d.). Retrieved April 20, 2016. Img 25: (n.d.). Retrieved November 20, 2015, from http://studiolotus.in/category/portfolio/ Img 26: (n.d.). Retrieved November 20, 2015, from http://studiolotus.in/category/portfolio/ Img 27: (n.d.). Retrieved November 20, 2015, from http://studiolotus.in/category/portfolio/ Img 28: (n.d.). Retrieved November 20, 2015, from http://studiolotus.in/category/portfolio/ Img 29: (n.d.). Retrieved November 20, 2015, from http://studiolotus.in/category/portfolio/ Img 30: (n.d.). Retrieved November 20, 2015, from http://studiolotus.in/category/portfolio/ Img 31: (n.d.). Retrieved April 20, 2016, from http://www.theimperialindia.com/restaurant-menu/thespice-route/ Img 32: (n.d.). Retrieved April 20, 2016, from http://www.theimperialindia.com/restaurant-menu/thespice-route/

173

Illustration Credits

Img 33: (n.d.). Retrieved April 20, 2016, from http://www.rajeevsethi.com/projects/1988-95spice-route-a.htm Img 34: (n.d.). Retrieved March 20, 2016, from http://www.psda.in/world-expo.asp Img 35: (n.d.). Retrieved March 20, 2016, from http://www.psda.in/world-expo.asp Img 36: (n.d.). Retrieved March 20, 2016, from http://www.psda.in/world-expo.asp Img 37: (n.d.). Retrieved October 16, 2015, from http://www.landscapeindia.net/project/mudhouse/ Img 38: (n.d.). Retrieved October 16, 2015, from http://www.landscapeindia.net/project/mudhouse/ Img 39: (n.d.). Retrieved October 16, 2015, from http://www.landscapeindia.net/project/mudhouse/ Img 40: (n.d.). Retrieved November 10, 2016, from http://www.kamathdesign.org/project/desertresort Img 41: (n.d.). Retrieved November 10, 2016, from http://www.kamathdesign.org/project/desertresort Img 42: (n.d.). Retrieved November 10, 2016, from http://www.kamathdesign.org/project/desertresort Img 43: (n.d.). Retrieved November 10, 2015, from https://www.aman.com/resorts/amanbagh/ explore-amanbagh Img 44: (n.d.). Retrieved November 10, 2015, from https://www.aman.com/resorts/amanbagh/ explore-amanbagh Img 45: (n.d.). Retrieved November 10, 2015, from https://www.aman.com/resorts/amanbagh/ explore-amanbagh Img 46: (n.d.). Retrieved November 10, 2015, from http://www.thelodhi.com/gallery.php Img 47: (n.d.). Retrieved November 10, 2015, from http://www.thelodhi.com/gallery.php Img 48: (n.d.). Retrieved November 10, 2015, from http://www.thelodhi.com/gallery.php Img 49: (n.d.). Retrieved September 13, 2015, from http://www.oberoihotels.com/hotels-in-

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Illustration Credits udaipur-udaivilas-resort/gallery Img 50: (n.d.). Retrieved September 13, 2015, from http://www.oberoihotels.com/hotels-inudaipur-udaivilas-resort/gallery Img 51: (n.d.). Retrieved September 13, 2015, from http://www.oberoihotels.com/hotels-inudaipur-udaivilas-resort/gallery Img 52: (n.d.). Retrieved October 5, 2015, from http://www.shamadalvi.com/project/lisbethhouse Img 53: (n.d.). Retrieved October 5, 2015, from http://www.shamadalvi.com/project/lisbethhouse Img 54: (n.d.). Retrieved October 5, 2015, from http://www.shamadalvi.com/project/lisbethhouse Img 55: (n.d.). Retrieved November 3, 2015, from http://www.psda.in/khet.asp Img 56: (n.d.). Retrieved November 3, 2015, from http://www.psda.in/khet.asp Img 57: (n.d.). Retrieved November 3, 2015, from http://www.psda.in/khet.asp Img 58: (n.d.). Retrieved October 7, 2015, from https://indianbydesign.wordpress. com/2008/09/12/devi-arts-foundation/ Img 59: (n.d.). Retrieved October 7, 2015, from https://indianbydesign.wordpress. com/2008/09/12/devi-arts-foundation/ Img 60: (n.d.). Retrieved October 7, 2015, from https://indianbydesign.wordpress. com/2008/09/12/devi-arts-foundation/

Chapter Three Img 61: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 62: Photo courtesy: Sibanand Bhol Img 63: Photo courtesy: Sibanand Bhol Img 64: Photo courtesy: Sibanand Bhol Img 65: Photo courtesy: Ritu Varuni

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Img 66: http://www.hunnarshala.org/hunnarshala-campus.html. (n.d.). Retrieved October 7, 2015. Img 67: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 68: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 69: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 70: (n.d.). Retrieved November 19, 2016, from http://blessingsonthenet.com/img/uploads/ hotels/roomgallery/aim_bn_1_1343322971.jpg Img 71: (n.d.). Retrieved May 17, 2016, from http://www.natgeotraveller.in/magazine/month/ september-2014/go-green--22-eco-sensitive-resorts-in-india-353/# Img 72: (n.d.). Retrieved November 19, 2016, from http://www.hodka.in/shaam-e-sarhad-villageresort/facilities/ Img 73: (n.d.). Retrieved May 18, 2016, from http://www.berkeleyprize.org/endowment/thereserve?id=2029 Img 74: (n.d.). Retrieved May 18, 2016, from http://www.berkeleyprize.org/endowment/thereserve?id=2029 Img 75: (n.d.). Retrieved May 18, 2016, from http://www.berkeleyprize.org/endowment/thereserve?id=2029 Img 76: (n.d.). Retrieved March 18, 2016, from http://pratikzaveri.weebly.com/projects.html Img 77: (n.d.). Retrieved March 18, 2016, from http://pratikzaveri.weebly.com/projects.html Img 78: (n.d.). Retrieved March 18, 2016, from http://pratikzaveri.weebly.com/projects.html Img 79: (n.d.). Retrieved May 18, 2016, from http://www.berkeleyprize.org/endowment/thereserve?id=2029 Img 80: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 81: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 82: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 83:(n.d.). Retrieved November 12, 2015, from http://www.indianpanorama.in/gallery/bhuj/ pages/Resort_Hodka,Kutch6_jpg.htm

176

Illustration Credits

Img 84: (n.d.). Retrieved November 19, 2016, from http://www.hodka.in/shaam-e-sarhad-villageresort/facilities/ Img 85: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 86: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 87: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 88: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 89: (n.d.). Retrieved May 18, 2016, from http://www.berkeleyprize.org/endowment/thereserve?id=2029 Img 90: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 91: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 92: [Personal photograph taken in Kutch, Gujarat]. (2015, October 6). Img 93: (n.d.). Retrieved May 18, 2016, from http://www.berkeleyprize.org/endowment/thereserve?id=2029 Img 94: (n.d.). Retrieved May 18, 2016, from http://www.berkeleyprize.org/endowment/thereserve?id=2029 Img 95: Photo courtesy: Sibanand Bhol Img 96: Photo courtesy: Sibanand Bhol Img 97: Http://www.collectivecraft.com/. (n.d.). Retrieved November 20, 2015. Img 98: Http://www.collectivecraft.com/. (n.d.). Retrieved November 20, 2015. Img 99: (n.d.). Retrieved November 28, 2015, from https://issuu.com/studiolotus/docs/2014_ workspaces_profile_studio_lotu Img 100: (n.d.). Retrieved November 28, 2015, from https://issuu.com/studiolotus/docs/2014_ workspaces_profile_studio_lotu Img 101: (n.d.). Retrieved November 28, 2015, from https://issuu.com/studiolotus/docs/2014_ workspaces_profile_studio_lotu Img 102: Photo courtesy: Sibanand Bhol

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Img 103: Photo courtesy: Sibanand Bhol Img 104: Photo courtesy: Sibanand Bhol Img 105: Photo courtesy: Sibanand Bhol Img 106: http://www.collectivecraft.com/search/label/TRAYS. (n.d.). Retrieved November 10, 2015. Img 107: http://www.collectivecraft.com/search/label/PATTACHITRA (n.d.). Retrieved November 10, 2015. Img 108: Retrieved November 28, 2015, from https://issuu.com/studiolotus/docs/2014_ workspaces_profile_studio_lotu Img 109: Retrieved November 28, 2015, from https://issuu.com/studiolotus/docs/2014_ workspaces_profile_studio_lotu Img 110: (n.d.). Retrieved December 20, 2015, from http://malkhaindia.blogspot.in/2012/01/ peaceful-and-productive-2012-to.html Img 111: (n.d.). Retrieved December 20, 2015, from http://malkhaindia.blogspot.in/2012/01/ peaceful-and-productive-2012-to.html Img 112: Photo courtesy: Sibanand Bhol Img 113: Retrieved November 28, 2015, from https://issuu.com/studiolotus/docs/2014_ workspaces_profile_studio_lotu Img 114: Photo courtesy: Sibanand Bhol Img 115: Photo courtesy: Sibanand Bhol Img 116: Photo courtesy: Ritu Varuni Img 117: Photo courtesy: Ritu Varuni Img 118: Photo courtesy: Ritu Varuni Img 119: Photo courtesy: Ritu Varuni Img 120: Photo courtesy: Ritu Varuni

178

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Img 121: Photo courtesy: Ritu Varuni Img 122: Photo courtesy: Ritu Varuni Img 123: Photo courtesy: Ritu Varuni Img 124: Photo courtesy: Ritu Varuni Img 125: Photo courtesy: Ritu Varuni Img 126: Photo courtesy: Ritu Varuni Img 127: Photo courtesy: Ritu Varuni Img 128: Photo courtesy: Ritu Varuni

Chapter Four Img 129: Photo courtesy: School of Interior Design, CEPT University and Design Innovation and Craft Resource Centre (DICRC)

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Appendix

Appendix Case Study Interview: Questionnaire Interview_01 Maintain anonymity: No Organization: Hunnarshala Foundation Name: Ms. Hardika Dayalani, Project Coordinator Date: 6/10/15 • So at Hunnarshala, the craftspeople just execute or they also design and how much input do they give you? • The craftspeople are also key factors in deciding design and execution, so sometimes, the design can adapt to the changes or it can’t. Example, there maybe a few constants like dimensions or sizes, or finishes. So in case of Khamir, did such a thing happen that you realized the design needed changes once the process began? • How was the whole purpose of involving Hunnarshala and traditional craftsmanship important in Khamir? How did the skill set and craftsmanship change according to the design? • Do you have a workflow or different pockets in your system? So if a client comes to you, you know exactly how to start working on it. • So it’s easier when you are working amongst yourselves. But what happens when there is another body of designers or architects involved? How do you deal with it if the craft/skill or technique can’t adapt to the design? So what takes an upper hand, the design or the craft? • What do you think is the role of craftspeople in your process? Sometimes we just want the design to be made as it is, but sometimes we involve them at different levels, and how do you make the most of their skills and expertise? • How do you communicate with them, do you make mock up models, or sketches or it’s just verbal? • How has all of this impacted their craftsmanship and their skills? What is the difference between the time you had started and now? • Have there been future-generations who have started taking this up?

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Appendix • How has this impacted the design? How do the crafts and skills used govern the design? Since this way of practice is different than the rest, how do designers take it up? • How is the process different when you have a structural engineer involved? • About the workflow, how do you go about a new project when a client approaches you? • Does your work come across as low-cost? • So what happens next in the work flow, after the design and execution, the client and designers, how does it proceed? • What are the factors you consider knowing you are dealing with this set of people?

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Interview_02 Maintain anonymity: No Organization: Hunnarshala Foundation Name: Mr. Mahavir Acharya, Managing Director Date: 7/10/15 • What was the intention behind collaborating craftsmen and local people in building Khamir? • I have been told that the traditional craftsmen who worked on it, they hadn’t covered wattle and daub with lime plaster before, likewise, all the new things that were tried in the project, how did you explain them to the craftspeople? • In this project, there was an additional body of Designers/Architects involved. So when you got the design from them, how did you explain it to craftspeople? • Were there times when the artisans suggested changes, gave inputs and how was that dealt with? • So what can be seen is that it was a very harmonious process where everyone was working together and was at an equal platform. But has it ever happened that the designer has ordered something and then there has been a conflict between craft and design and you had to work out a way around it. • If you could tell me in the different bodies or organizations that were involved in Khamir, right from funding to execution, all the different bodies that came together. • Who took care of material procurement? • Since you know you have to work with karigars, do you have a specific workflow in your mind? • An important thing you said here is that you become the facilitator between these two bodies but what would you call yourselves back when Khamir was being built? • So back then you were service providers, is it? • Could you tell me any specific demerits or problems that were faced during Khamir? • Were there any issues identified while working in collaboration with craftspeople that you overcame? • Do you keep anything in your mind when you are working with this sect of people, as it’s definitely different than working in regular building practices? What are the key elements or precautions you need to take?

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Appendix • And while working do you take any steps to make working easier, for example, the way you make drawings or communicate with them? • Were there any factors that you hadn’t considered but came on the spot? • Sir, anything that is critical to these collaborations, the key aspects? • How does all of this impact the crafts involved? • Were there any things that happened and weren’t planned for, but you got a great and good outcome?

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Interview_03 Maintain anonymity: No Organization: HCollective Craft Name: Mr. Sibanand Bhol, Founder and Head Designer Date: 26/11/15 • Could you tell me about Collective Craft? • Who are the stakeholders in this project? • How do the Artisans understand the concept or the design? How do you communicate with them? What are the shortcomings an artisan faces while working on his own or with a team of designers? • When it comes to changing the medium, traditional nature of it, does the artisan give inputs? And then how do they change the design? • Sometimes we don’t work with some impact in our mind but some impacts happen and you realize them, could you tell about your work and its impacts? • How do you interact with them? Is the master artisan okay when you talk to artisans working under him? • How has working like this helped them at an individual level? Have there been more people joining this way of working? • How do we as designers and facilitators merge the conflicts between craft and design? • In the entire process, which stage is the most significant in terms of collaboration and synergies between the designer and artisan? • What about the mindset of people about bargaining? • What about the planned and unplanned outcomes? They could be good and bad both. • Are there a few factors or guidelines that you consider knowing that you have to work with artisans and craftspeople? • I believe that it is the architect who needs to conduct the process, but often it is taken in the wrong way, by understanding that the architect wants to ‘dominate’ and not ‘conduct’ it and hence not give the artisan a free-hand. • How is working on regular projects different than working on projects that involve artisans?

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Appendix

Interview_04 Maintain anonymity: No Organization: E’thaan Design Studio Name: Ms. Ritu Varuni, Founder and Head Designer Date: 27/11/15 • Could you tell me about Ethan and its objectives? • What are the kinds of projects you take up? • What are the crafts you work with? • Do you have a fixed end product in your mind when you are working with artisans and craftspeople? Or say specific client requirements. • Could you tell me about your process of working with craftspeople? • As designers we are used to working in a certain way, we follow guidelines, how does that change with artisans? • When you’re working with craftspeople in design workshops, when is it that you think there is maximum contribution by both, is it during ideas or making or what? • What are the other factors that affect the process? How do you communicate with artisans? • What has your work you about the impacts these collaborations have had on crafts, design and craftspeople? • Has their exposure to designers changed anything for them in terms of confidence, the way they experiment with their craft? • Do you follow specific guidelines or work flow when working with them?

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