Craft + Future= Maker's Movement 2.0 | S22 | Sahyogyashala | 2030

C R A F T FUT Maker’s Movement 2.0 Tutor: Prof. Rishav Jain Teaching Associate: Teja Payapalle Spring 2022

Shruti Kohli | PID20336

How does one position the practice of craft in the field of interior architecture today?

C R A F T FUT Maker’s Movement 2.0

This is an academic publication outlining the details of the Studio: Craft + Future = ? offered for the students of Master of Design (Interiors). This course was conducted at the Faculty of Design, CEPT University during the Spring 2022.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form now known or hereafter invented, including photocopy and recording, or in any information storage or retrieval system, without permission in writing from Studio Tutors or Students.

Publication Design: Anamika Gupta, Apurva Pandey, Shruti Kohli, Teja Payapalle

C R A F T FUT Maker’s Movement 2.0 Tutor: Prof. Rishav Jain Teaching Associate: Teja Payapalle Spring 2022

Shruti Kohli | PID20336

C R A F T FUT

Studio Outline The studio dwelt in discussing the positions of craft in contemporary interiorarchitecture practices. With a combination of research and design methods, the studio focused on envisaging future directions of craft productions and its manifestation in interior practices. The studio was largely divided into two parts: the first part used intensive research techniques to establish a theoretical position of craft and the second part intended to test the position through a design problem. As part of this studio, each student ideated an individual position on Craft+Future which was later developed with their own unique design projects, materialm samples and prototypes.

The studio involved rigorous reading sessions, theoretical analysis, field studies, handson explorations with craft techniques along with design discussions. The process was structured into four modules, each emphasising the learning outcomes of the course: know the contemporary position of craft, Ideate possibilities about the vision of the future; Develop an individual position for its future’ and Make relevant design ideas representing the vision of future of craft. This studio was part of an International Academic Research Project - Threads of Innovation (TOI) - (2021 -2025) between the Faculty of Design, CEPT University and Faculty of Architecture and Design, Norwegian University of Science and Technology (NTNU).

Primary Approach For this studio, each student will: EXPLORE the contemporary position of craft, PROPOSE a vision of the future, DEVELOP an individual design manifesto and MAKE design propositions and craft prototypes.

Learning outcomes

Learning Outcomes At the end of the semester, the student will be able to- Analyze and categorize the contemporary craft design practices of India - Develop a design position and translate into an interior expression through 3- dimensional , material based design outcomes - Organise and evaluate the programmatic and pragmatic potential of derived design position - Build a design vocabulary and test it through the selected context. Devise design solutions that use craft in a future-relevant and contextual manner, rather than a mere aesthetic tool.

- Construct contemporary craft design prototypes and make interior drawings.

Each co provide opportu for t practic interior

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oncern es new unities the ces of r design

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Program Chair Master’s in In Interior Design Faculty of Design

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Tutor’s Note The studio, Craft + Future is an attempt to understand the position of craft in interior architecture practices of India. Research intensive and design process driven, this studio allows each student to develop an individual position on how they see the approach towards craft in interior practices.

The first few weeks expose them to craft, interior design practices, craft communities, ideas of the future. In the later weeks, they develop their own design manifestoes which are realised through interior design projects.

The studio highly relies on theoretical and practical debates in the field of craft and interior design. The emphasis is not on the final ‘product/output’ but rather each stage and its process is given priority. The idea is not really to create a finalised position, rather to develop a voice/ opinion/ idea in which the designer believes.

The following pages are a testimony to one such individual voice, on Craft + Future =? .

It is Shruti‘s perspective on how she imagines the craft would be in the future. The work shows the progress made over the weeks of engaging with books, drawing boards, workshops, craftspeople and us together.

We hope this triggers a fresh perspective on positioning craft in Contemporary interior design practices.

Rishav Jain May 2022 13

Shruti Kohli Education -Bachelor’s of Architecture from Guru Nanak Dev University, Amritsar Work experience - 2 years

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Student Profile

Design helps you self reflect, question your own thought process, preach mlndfulness and what not, its not about searching a solution, design is a journey within which helps you evolve through the matter of choices that we take overtime., solution to the problem is just a by product of self evolution process.

Keen on learning how the minimal changes in the existing design processes can redefine the character of the space and also to explore the different avenues through which designing can be approached.

I am a piscean with very weak resistance ability to avoid laughter at any kind of situation, especially if serious! working on it!

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ANY IMAGE / ILLUSTRATION THAT REFLECTS YOUR LEARNINGS

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Learnings Filling the gaps of learnings in the academic journey of design where we find it difficult to settle in the field when gone out of the academic realm.

The journey of Craft + Future exposed us to every possibility where design can take one into from field work to research, from designing to discussing with craftspeople about the possibilities of it manifesting in reality.

The studio was about the collaborative approach and cohesive learning between the tutor, students and craftspeople. Based on the interpersonal interaction and the exposure given, several questions along with varied perspectives were imparted Getting to have hands on approach while working on the exercises given to us, helped us to develop our own ideas and question the prevailing practices in the field of design and making currently.

Overall as the studio progressed, the maturity in understandings is evident in the terms of design sensibilities, sensitivity towards craftspeople and managing camaraderie among the batchmates & tutors alike.

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Contents

Explore Ex.1 | Card Sorting Ex.2 | Visual Mapping Ex.3 | Field Mapping

Propose Ex.4 | Theoretical Position

Develop Ex.5 | Envisaging the Future Ex.6 | Abstraction

Make Ex.7 | Craft and Manufacture Ex.8 | Manifesto Ex.10 | Design Development

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EXPLORE

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EX. 1 C ARD S ORTING Method cards are intended to inspire and spark creativity in work. These cards show some of the ways crafts are positioned in contemporary interior practices and the ways in which the idea of crafts can be taken ahead to build a speculative future. These cards can help plan an approach or remind of various existing approaches.

They can suggest ways of applying methods at subsequent stages also. They can be used to make a proposition and challenge peers for seeking new insights.

The cards gave the prevailing position and made the awareness amongst students on how the segregation can be made where craft is not only about ornamentation or aesthetics but also helps in empowering women, defining communities and settlement patterns, generating economies and their impact on society.

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EX. 2 VI S UAL MAPPING For the task of visual mapping, we mapped 30 projects per person and we observed the pattern in the craft practices on a yearly basis.

Eventually, we picked the projects based on our liking. Based on that, we questioned the current practices in craft.

3d printed houses, Maya Somaiya building technology, parametric wicker interiors in Bali, Handmade bamboo weaving interiors in Chinese restaurant etc. caught the interest which were further studied and observations were carried forward in order to make a stsandpoint on the prevailing crafts practices in the world which are otherwise overlooked.

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EX. 3 F I E LD M APPING Field mapping being the most important leg of the journey where the exposure to real practices were made while getting to know the craftspeople, their families, financial structure and their backgrounds.

Field mapping was carried out to map the prevailing craft techniques in order to learn from the crafting process, craftsperson’s know how and materials there at hand.

It helped in knowing the techniques along with developing the relational aspects with the people which not only helped in educational know how but also helped in the growth as a person itself overall.

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Melting of metal for Metal Casting

Craftsperson making Silver Emboss Dye

Hand Wood Carving

craftsperson Doing Zardozi Embroidery 35

Silver Embossed plates

Block Painting

Moti Bharat

Instrument Making

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Block Making

Wood Turning

Bohra Caps

Zardozi Embroidery 37

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PROPOSE

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EX. 4 T H EORI TICAL POSITION When the new and old meet, there is a product that is made that responds to the local and is at par with modern evolutions.

Crafts have always been a part of human civilisations that cater to the people’s needs, keeping in mind the resources available and responding to the surroundings—learning from the past, along with the utilisation of newer resources such as technology, construction materials, and craftsmanship available, help in attaining the same level of aesthetics, function and space quality with a lesser amount of time, wastage and human power ultimately helping in making the process cost-effective and sustainable as 3d printing used in the soil house.

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Iteration 1

Iteration 2

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EX. 5 C AL I BERATING THE V ISION Getting into the shoes of a visionary architect, Kengo Kuma, in this case, the X-Y-Z i.e. three ways joineries along with the material exploration was done trying to achieve the strength through using the minimal material which can be seen in the bamboo three way joinery.

Multiple iterations were done with the collaboration with the craftspeople where the design was made as theprocecss of a to and fro flo of designing and manifesting the design amongstthe designer and the craftsperson where designing was done keeping in mind the visionory architect.

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Joinery Iteration - 03

Joinery Iteration - 01

Joinery Iteration - 04

Joinery Iteration - 03

Joinery Iteration - 05

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Material: Bamboo Joinery: Homogeneous Visionary Architect: Kengo Kuma Craft: Bamboo Craftsperson: Mr. Subrata Sarkar

Exercise 04 | Propose | Junction Library | C+F=? | SS22

XYZ Junction Prototype

Same Material | Different Technique

Same Material | Different Technique

Different Material | Different Technique | Same Expression

Wood Wood Bamboo Metal

Bamboo

Bamboo

Bamboo

MS Strips

Bamboo

Tie

Bamboo

3D Printed Joinery

Bamboo 3D Printed Joinery

MS Strips Jute Rope Tying

Craft + Future = ?

Faculty: Rishav Jain | TA: Teja Payapalle

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MID | Spring Semester 2022 | Faculty of Design Student Name | Student Code

Material: Cane Joinery: Homogeneous Visionary Architect: Kengo Kuma Craft: Cane Weaving Craftsperson: Mr. Ramesh

Exercise 04 | Propose | Junction Library | C+F=? | SS22

XYZ Junction Prototype

Craft + Future = ?

Faculty: Rishav Jain | TA: Teja Payapalle

Same Material | Different Technique

Same Material | Different Technique

Different Material | Different Technique | Same Expression

MID | Spring Semester 2022 | Faculty of Design Student Name | Student Code

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DEVELOP

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EX. 6 ENVI SAG ING THE FUTUR E What the future holds for design and crafts is quite noteworthy.

Overall, as we have observed through the years, there is a significant disconnect in this era of technological advancement wherein bulk production is prevalent. In the absolute sense, it’s ironic that the stronger the connections we feel, the less connected we feel. Despite that, today, personalization is everywhere, for example due to the advent of AI, we get personalized advertisements and product choices.

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Illustration showing argumented position of craft in future

Iteration 1

Iteration 2

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C R AF T + FUT URE = M AKER’ S MOVEM EN T 2.0

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EX. 7 ABS T RACTION Proposing the personalisation as the future, abstraction cube model of 12X12X12 inches was made in order to manifest the proposal in to the reality by making the craft surfaces joioned through a standard joinery system which was laser cut.

The idea of consistent joinery system provided by the designer with the bracket of personalising teh whole cube through the usage of crafted surfacial planar materials was made and achieved by use of materials of different thicknesses i.e. plywood with criss cross embroidery, acrylic laser cut with mata ni pachedi pattern and wood made into planar format with edges rounded using wood trninig. The joinery has been maded in acrylic and the spacers were made using wood turned beads hellping the whole system to work as a whole and give a different personalised outcome everytime a new person gets the kit of parts provided by the designer.

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Iterations for Cube Abstraction

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MAKE

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EX. 8 C RAF T FOR MANUFACTURE CEPT Workshop has been designed in order to test the proposition of Craft + Future, where the FabLab in workshop has been given an exaggerated function which spills to wood and metal workshops making people use the resources in a better manner and help in achieving the goal of personalisingthe space in a better manner through defining teor space on their own.

Keeping in mind the personalisation of space according to the needs, the design has been made with the approach of Do It Yourself where a joinery using 3D printing has been made in which the bamboo can be inserted forming a lattice which helps in occupying the space verticaclly along with horizontally. The surfaces on the latticce can help in making in the workstation, sitting pod or resting pod and also helping defining the privacy or semi privacy as per the preference of the person occupying the space.

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Iteration 01- CEPT Workshop | Lateral Section

Iteration 01- CEPT Workshop | Longitudinal Section

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Iteration 02- CEPT Workshop | Longitudinal Section

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Iteration 02- CEPT Workshop | Longitudinal Section

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EX. 9 M ANI F ES TO There is a sense of loss in this internet age where mass production is rampant. It leads to the apparent irony, meaning that the better connected we are, the lesser connected we feel in an absolute sense.

Nowadays, personalization is everywhere because everyone has a maker’s instinct. It creates emotions, and eventually, emotions take over the future.

So I propose Craft + Future= Makers Movement 2.0, where people will make and personalize their interior environment from the craftspeople. A collaborative approach wherein the designer and everyone else will be a maker. The designer will give a system, and the maker will use it to personalize their environment. Craftspeople will be the catalysts for this change.

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EX. 10 DE S IG N DE V E LOPME NT Project: Sahyogyashala Year: 2030 Location: Various Places, Gujarat Crafts Used: Patola Weaving, Bamboo craft, Bamboo Weaving “The artist is not a special kind of man, but every man is a special kind of artist.” – Ananda Coomaraswamy.

The proposed project looks at all the people as makers with the instinct to connect to their environment through personalising their space by learning from the indigenous makers i.e. the craftspeople.

The designer helps in empowering makers by catalysing the whole process by providing easy-to-install D.I.Y. systems that help in evolving crafts by challenging AND complimenting the old ways of making crafts.

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Abstraction of Site- As through Models

Iteration 01

Iteration 01- Exploded View

Iteration 02

Iteration 02- Exploded View

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Making and Makers

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User Groups

Zones Requirement for the Program

Program Requirement

System Exploration- 01

Anganwadi Activity Mapping

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Conceptual assembling of bamboos through joinery provided by designer to personalise the space as per occupant

Typical Anganwadi Plans along with Locations and Crafts associated

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Assembly for external classroom

Lateral Sectional Perspective through Makerspace in PATAN, Gujarat

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Assembly for Informal Public gathering

Assembly for Exhibition Display

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CONSTRUCTION MANUAL-1

Longitudinal Sectional Perspective through Makerspace in PATAN, Gujarat

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ELEMENT- 02

ELEMENT- 01

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ELEMENT- 04

ELEMENT- 03

CONSTRUCTION MANUAL-2

Lateral Sectional Perspective through Makerspace in WAGHAI, Gujarat

Prototype for Metal and Bamboo Joinery

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Longitudinal Sectional Perspective through Makerspace in WAGHAI, Gujarat

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C R A F TUF T 84