Student Portfolio
craft + future =
MAXIMALISM
Nirali Shah Master of Design (Interiors) Semester 04/04
craft + future = ? Tutor: Rishav Jain TA: Karan Verma Spring 2020 Faculty of Design, CEPT University
Student Portfolio
craft + future =
MAXIMALISM
Nirali Shah Master of Design (Interiors) Semester 04/04
This is an academic publication containing works of the student for the studio Craft + Future, enrolled in the Masters of Design (Interiors) and International Master of Interior Architecture Design (IMIAD) for the Spring 2020. This course was conducted in the Faculty of Design, CEPT University. Tutor: Rishav Jain
Student Portfolio
craft + future =
MAXIMALISM
Nirali Shah Master of Design (Interiors) Semester 04/04
craft + future = ? Tutor: Rishav Jain TA: Karan Verma Spring 2020 Faculty of Design, CEPT University
CONTENTS
Craft. Practice. Production.
01. Field Mapping of Crafts 02. Card sorting 03. Positioning crafts in 21st century
Establishing theoretical position 04. Visualizations 05. Position paper 06. Abstraction
Establishing design position 07. Project manefesto 08. Design development 09. Craft design matrix 10. Craft design ideas
Manifesting the design position 11. Illustrations 12. Drawings 13. Craft prototyping plate
Reflections
CRAFT. PRACTICE. PRODUCTION.
01
FIELD MAPPING
The field visits as a whole class to hunnarshala , khamer , LLDC, in the city which holds the heart of crafts in Gujarat.After visiting various places in Kutchh and experiencing different crafts and talking to different craftsmen , the outlook to interior architecture changed drastically . Hands-on experiences along with different craftsmen , learning new techniques and technology , and also understand how rammed earth walls , compressed earth blocks are made and the composition of it. We also learnt different kinds of embroideries , block prinitng , plastic weaving and also clay casting ,pottery and the traditional painting on it. i got lucky to experience everything hands on and also meet the makers and learn from them . we brought a lot of learnings and memories and a whole different outlook to how i look at crafts now , not merely as an object and how i look at the makers of it . Locally the visits were done to numerous craftsmen be it bamboo , leather , clay casting , wood turning , stone carving , wood inlay , stone inlay , carpentry, metal casting, mata ni pachedi and also the heritage walk of Ahmedabad helped built a practical outlook to the world of crafts. 10
The experience of visiting and interviewing each and every person personally helped in the further understanding of spatial use of crafts and to develop different understandings of it . The outcome of the understanding of nine different students was seen in the projects of how we all can look at crafts differently and how the whole experience of a space changes with the help of crafts.
STONE CARVING
Point
Tooth chisel
Know the CRAFT
Flat chisel
Roundel
Channelling Tool
Stone carving with hand tools and power tools 11
Scanned by CamScanner
WOOD TURNING
Plan of Wood turning Workspace
Isometric view of Lathe machine system 12
Know the CRAFT/PROCESS/TOOLS
Sanding on a lathe machine
Wood turning process
Tools
Preparation of Lacquer 13
Card sorting - attempt 01: what matters to you?
Attempt 02 14
02
CARD SORTING
The initial exercise of the studio was to understand oneself’s understanding of how we look at the aspects of crafts . Individually we were given 24 cards each being an aspect of craft , we were to put it in order of what according to us is/should be the most important to the least important aspect. We were given to perform two attempts. During the card sorting exercise the observation being that consciously/ unconsciously in the first attempt the primary card was “IDENTITY” for each student , we all knew somewhere identitiy has been lost when it comes to crafts. After several attempts my conscience pulled up five cards which were identity , design innovation , collaboration , craftspeople and thedesigner . i belive the involvement of these five aspects is more important than any other aspect , as every aspect are correlated and the after one another , every aspect will follow.
Final cards
I believed the “collaboration” being the most important aspect, be it collaborations amongst the community , the crafts people and the designer , the handmade along with the texhnology anything and everything. 15
03
POSITIONING CRAFTS
The exercise was to select twenty five projects individually to understand crafts in a space and not just as a mere object . The understanding of crafts changed and also developed widening the imagery from and object to the different uses from outdoor to indoor , from a facade to a lamp , crafts is in the making , the process is crafting. After looking at different projects , approach to every project in terms of crafts was a different approach , from different architects practising crafts unconsciously to also the projects where the artisans and the designers collaborated to dveleop a space. I realised that the use of crafts is not an afterthought but an ongoing process. The collaboraation of technology , craftspeople and the designers and locally/globally available resources if handled well would produce results unexpected and also develop new learnings and also understand that what lies in the hands of craftsmen cannot be replicated as they are the skills which not even the technology could produce and also help
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ESTABLISHING THEORETICAL POSITION
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VISUALIZATIONS
Interior practice Collaboration , technique, design innovation Today’s the interior practice is not just limited to dÊcor but also about creating the identity through experimentation in design and branding aspects. The collaboration of handcrafted as well as the technology plays a major role in the design innovation along with low cost practices representing regional/ cultural reflection. 26
Craft production Collaboration , hand made , technology, mass-production From craft production to mass customisation ,it is easier way to look at crafts and also produce them and make it affordable. Today’s production industry is based on the experimentation. Design innovation plays an important role in creating a unique identity. 27
Future scenario
dark , concrete jungle , depletion
Today’s the interior practice is not just limited to dÊcor but also about creating the identity through experimentation in design and branding aspects. The future if not taken care of can result into a homogeneous concrete jungle where technology has taken over and the crafts person no longer work with the crafts due to the decrease in employment leadingto eradication of crafts. 28
CRAFT + FUTURE =
MAXIMALISM
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05
POSITION PAPER CRAFT + FUTURE = MAXIMALISM
Maximalism talks about exaggeration , boldness . The idea of maximalism in the future considers mixing of multiple identities, multiple crafts, multiple materials. Application in spaces can include some places/areas where we wish to draw attention with a loud aesthetic quality. For such an idea, the intention is to ensure that the co-existence compliments each other, and they support each other without compromising the aesthetic quality of the work. Maximalism can be achieved by various aspects in the design with space , materials , elements , the production as well as the execution where the co existence of each and every element counts in the maximising way by the means of experimentation and collaboration of different craftsmen ,materials and also designers. Design intervention is a process that involves designing new products; redesigning existing
products, with changes in shape, size, colour, surface manipulation, function and utility; exploring new markets and reviving lapsed markets; applying traditional skills to meet new opportunities and challenges; and the introduc30
tion of new materials, new processes, new tools and technologies. It is seen as an interface between traditional and modernity, that matches craft production to the needs of modern living. Design interventions have a very important role in every step of the process in creation of the craft. They should focus on the Identity of a craft, its social and cultural relevance to its region, and the processes and materials involved, to incorporate the interventions in the right situations, with efficient expected outcomes and reasoning’s.Traditional crafts are memory based, and only memory is the knowledge bank of their traditional methods and materials (Design Intervention and its execution in Crafts of IndiaAmrita Panda). Production processes can be transferred from one material to another, which offers lots of possibilities and can considerably expand the product range leading froma furniture wo wall
panel to wall partition to facade to the building skin.
IK lab art gallery, Mexico,Jorge Eduardo Neira Sterkel Combining the traditional with the contamporary and even cross-cultural fusions, a hybrid develops its own identity and character. The IK lab art gallery by Jorge Eduardo Neira Sterkel in Tulum for example fuses traditional timber construction with contemporaty cement as if it was the most natural in the world. The formal
MATERIAL
Fusion
how ?
PATTERN FORM
language of the building is reminiscent of the organic designs of Antoni GaudĂ, but in this case it forms a very special connection with the environment and represents a tribute to our soil.
By revival & fusion of the traditional techniques using different materials.
Designers
for whom ?
Merging of the different crafts designing the surface and interior elements
what for ?
The future
As the future scenario depicts concrete jungle and no celebration , dull , depleted.
TECHNOLOGY FUNCTIONS
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ABSTRACTION
The idea was to interpret the design position in an abstract manner in 9”x9”x9” cube . The interpretion led to different understandings of development . Abstract sketches were done to interpret the model ina third deimension . Process drawings to understand of how we understad the design position as . The idea “more is more” is what maximalism meant. The initial idea was to express multi - material language also co-existance and exaggeration , boldness and also collaboration. The initial process after the sketch was interpreted , running from one craftsman to the other and getting involved with them in the making and selecting the materials and also understanding them along with buying led to many modes of learning. The interpretation might look like an easy object to be made but the idea was to collaborate and create and abstract model of multi layered material i.e the inlay on a uni material which led to the term “co-existence.” Inlay on wood with brass , marquetry wood pattern , epoxy inlay in stone along with granite and glass the art of precision and collaboration was established. 32
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ESTABLISHING DESIGN POSITION
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PROJECT MANIFESTO
CEPT university, Ahmedabad through its research and design pedagogical approaches and projects so far been a forerunner in envisioning the future of ‘Building Crafts’ in India. This is widely seen in the work carried out by the academic courses at Faculty of Design and the allied research centres : SID Research Cell and DICRC. Taking this forward CEPT through ‘THE CEPT HOUSE - 2030’ looks to kickstart a dialogue on the context of the future scenario of 2030. The approach to the overall design will be governed by one key direction , i.e HYBRID by intending to design a space being the tool and rafts governing design for the students to rejuvenate , brainstorm and get refreshed. A space to energize oneself from a monotonous , tiring day . A space to just run upto at any time of the day and spend some time alone or with friends. HOW ? -To design an infromal adventure space for CEPT students and a shop open to everyone through crafts for social interaction of the specific users not belonging to the same category of field with activities to brainstorm and to get a break from the routine and to refresh oneself and to socialise on a daily basis along with the retail experience . 36
ACTIVITY SHOP FOR ALL - Furniture pieces from Faculty of Design
- Miniature Furniture pieces from Faculty of Design - Posters from faculty of design
- Architectural model
- Material maze
- Escape room
QUALITY OF SPACE
Platform display along with interactive display a. Display every 4 months by the students (semester work) with the setting/context designed showcasing the work , b. display open for everyone (designer/architect/student of any branch) to showcase their work
Pedestal display
Hanging display
- Rack display / pedestal display
maze made of different materials along with the knowledge of the specific materials. The narration of story changes every month with different kinds of clues to be solved , architectural history and knowledge based
MATERIAL MAZE & ESCAPE ROOM
TRANSITIONAL SPACE
LAYERED
PARTITIONS HOUSE”
FOR
“CEPT 37
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DESIGN DEVELOPMENT PROCESS STAGE I : PRELIMINARY STAGE
The conceptual sketches through which the ide of layering was developed
The parallel modules where the circulation was experimented with .
The initial detail was done to develop a hybrid wall system with honeycomb wall developed from the marble which involves the use of stone as well as aluminium honeycomb palette with fibre reinforced epoxy skin to act as a light panel and aluminium can also be discarded . 38
The organisations were developed at the stage with the understanding of the functions and the circulation and also the design and style which later on was refined. 39
PROCESS STAGE II : MID SEMESTER
PLAN
MAIN ENTRANCE
CEPT SHOP
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TRANSITION SPACE
ESCAPE ROOM
ORGANIZATION
A
A’
KEY PLAN
The sectional view in front of the library talks about the experience and the craft elements
SECTION AA 41
PROCESS STAGE III - EXPERIENCE
Front sectional elevation
The front sectional elvation and the interiors talks about the kind of experience a user will go through from outside to inside.
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PROCESS STAGE IV - 3D PRINTED HANDLE
The 3d printed handle was an inspiration from a wood turned element where the handle was designedin sucha way that the fingers of the hand mould into the grooves of the handle 43
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CRAFT MATRIX
CRAFTS
HYBRID IN TERMS OF
HYBRID CRAFT
WHY
Wood turning + lacquer
Form & finish
Metal casting + lacquer
In terms of durability, a high-quality and wellinstalled aluminum window is more likely to last longer than a high-quality and well-installed wood window. Aluminum is a durable, lightweight, and highly versatile metal.A key benefit of aluminum is its natural resistance to rust and corrosion.
Lippan work
Material
done on the concrete wall
to highlight the necessary spaces ansd also act as background
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It is a relatively light metal compared to metals such as steel, nickel, brass, and copper and is rather malleable.
Metal punching and carving
use
wood turning + lacquer
Clay relief work
clay casting
experimenting through terracotta because of the material flexibility and easily casted
Concrete casting
Material
on-situ casting
Advantages of this technology are strength of the building, insulation, versatility for different types of buildings, faster construction time.
inlay In flooring
Instead of rosewood inlay is done in marble for flooring
Metal inlay in marble
To understand the flexibility of co-existence of one or more material into another
wooden carved blocks
materials
epoxy filled carved wooden block
many blocks of carved wood for block printing are thrown away so as to fuse it with epoxy creating a flooring pattern
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CORE VALUE
Without the silicone/metal/sand/graphite mold or die the casting is not possible
handmade
Without the punching/CNC die the process is not possible (center punch) Without the silicone/metal/sand/graphite mold or casting is not possible
Without the mold the casting is not possible
metal inlayed with cnc/ hand removal of material from the base
hand carved wooden block and epoxy used for onlay
MATERIAL
PREDOMINANT USAGE
FUNCTION & APPLICATION
Aluminium
transport, heavy equipment, machine tools, plant machinery, defense, electrical equipment machines,hardware, household, art objects
Main Furniture , door handles
mud and mirror
Aluminium
terracotta
Concrete + stone
aluminium in marble
wooden block + epoxy
wall
to make perforated metal sheets
decoration , stamping , floor , art , anything which can be made into a mould
slabs and foundations, as well as components such as beams, columns, walls, roofs
entrance walls (as background to exhibition) , hoghlighting doors , highlighting windows and also used on windows
Ceiling acting as a guiding path along with partitions as separation
screens , door handles
Structural walls which include niches
work with brass wire, brass strips, and motifs on dark sheesham with fine dots and designs with lines. This technique is being used extensively for furniture and boxes
flooring of the shop area
block printing is done on fabrics and epoxy resins are used in the manufacture of adhesives, plastics, paints, coatings, primers and sealers, flooring and other products and materials that are used in building and construction applications.
flooring of the transition space from the shop to the maze area
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CRAFT DESIGN IDEAS
clay(terracotta) casted elements Wooden members
Block stamped floor on white cement
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Terracotta screen along with door supported by wooden member &epoxy coated stamped floor on white cement Space-making Detail
Craft
Clay casting through the mould of different size (wood turned element)
Wooden carved block Epoxy coating
Aluminium channel 1200x1200 concrete module
Wooden carved blocks coated with epoxy as flooring Hardware Detail
Craft
Wooden carving for wooden blocks coated with epoxy on top & fixed in the concrete module assembled by the channel 47
Sankheda painted Wood turned members
Clay casting & sankheda style painting Space making element
Craft
wood turning
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Wood carving
Space making element
Craft sankheda style painting and wood carved door
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Wood turning
Space making element
Craft
wood carving
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Wood turning & metal stamping and punching Space making element
Craft
Wood carved element and lac paint and metal punching
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In situ Concrete Tarkashi craft - METAL inlay in MARBLE
Sectional Detail of interior floor , wall and exterior floor Junction Detail
Craft Aluminium Tarkashi inlaid into marble
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White Anodised Aluminium welded
Metal casting craft and metal stamping Space making element
White lac Aluminium Members
Craft
Metal casting for vertical members and the junction & metal stamping for the support
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MANIFESTING THE DESIGN POSITION
PLAYTHORA derived from “plethora� meaning a large or excessive amount of something.
The idea of MAXIMALISM can be an experimentation to mix and match various kinds of graphics/arts/materials. . It creates an opportunity for the co-existence of various crafts . Application in spaces that include area/spaces we wish to draw attentionwith a loud aesthetic quality.
PLAYTHORA is an independent building located on the CEPT campus besides the library ,near the garba ground. The building PLAYTHORA itself represents itself as a space of play. The big idea of the project was to break free from the monotonous daily life , play and learn. The modules comprising of the cept house , the material maze and the escape room . The crafts and materials being expiremented with , as the front facade itself tells a story of different identities of crafts ,The lippan work on both the modules acting as a backdrop for the temporary exhibition and the terracotta
moduled screen inspired from wood turned shape being the main entry.tempus iaculis urna id volutpat.
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CRAFTS
The crafts used in playthora involve wood turning explored in a different manner by also making it an integral part of the design in the space by making it aspace making element and also a hardware but in different materials , terracotta , anodised casted aluminium and also wood. where as the other crafts being tarkashi ,as inlay inflooring with metal and lippan work on the elevations used as highlighting the doors and louvres and also block printing on flooring in white cement and wooden carved block with a layer of epoxy as flooring and also metal blanking .
CO-EXISTANCE
EXAGGERATION
MAXIMALISM
EYE-CATCHING
CEPT shop
Lippan work
Main Entry
Transition
Escape Room
Material Maze
Terracotta screen
Lippan work
Front elevation
Configuration of the module
Development of the module 57
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DRAWINGS
SITE PLAN
Site Route N
The site is located besides the library and in front of the garba ground facing the canteen. 58
NEW CANTEEN
GARBA GROUND
SID PLAZA
LIBRARY
SITE PLAN
N
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N
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PLAN
LEGEND
1 2 3 4 5 6 7 8 9 10 11
Main Entry Temporary Exhibition Verandah Entry to the Shop Publication & book display Furniture Set Architectural model display Administrative Desk Storage Transitional space Exit from the shop
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Entry - Material Maze Suspended material maze Exit from the Maze Entry - Escape Room Room a with clues Room b with puzzles Room c with clues & key key opens to Secret room Dark room with UV light clues Puzzle room Exit from the escape room 61
ELEVATIONS A B
A
N
B
TEMPORARY EXHIBITION AREA LIPPAN WORK The front elevation treated with lippan work as baclground for the street furniture exhiition and the terracotta wood turned screen leading to the main space.
The sectional elevation leads the pathway from the entrance leading to the main doors to the cept shop and the material maze and the escape room. 62
MA TERRAC
AIN ENTRY COTTA SCREEN
TEMPORARY EXHIBITION AREA LIPPAN WORK
AA
BB 63
SECTIONS A B
N
B
A
PEDESTAL DISPLAY
CEPT HOUSE
PEDESTAL DISPLAY
TRANSITION
The section reflects the spaces within from the shop to the material maze , the transition space is the screen in between.
FURNITURE DISPLAY The sectional drawing represents the display units and the backdrop used for the representation.
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PUBLICATION
NAL SPACE
MATERIAL MAZE
SECTION AA’
FURNITURE DISPLAY
FURNITURE DISPLAY
FURNITURE DISPLAY
PUBLICATION
SECTION BB’ 65
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ILLUSTRATIONS
The The idea idea of of maximalism maximalism in the in the future future considers considers mixing mixing of multiple of multiple identities, identities, multiple multiple crafts, crafts, multiple multiple materials. materials. Application Application in spaces in spaces cancan include include some some places/areas places/areas where where we wish we wish to draw to draw attention attention withwith a loud a loud aesthetic aesthetic quality. quality. ForFor such such ananidea, idea,the theintention intentionis istotoensure ensurethat thatthe theco-existence co-existencecompliments complimentseach eachother, other,and andthey theysupport supporteach each other other without withoutcompromising compromisingthe theaesthetic aestheticquality qualityofofthe thework. work. 66
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ILLUSTRATION OF THE CEPT SHOP
The illustration is a composition of a plan anda perspective section to understand the space and the activities taking place at different spaces and to understand how crafts reflect the space . 68
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CRAFT PROTOTYPE PLATE
DISPLAY UNIT
White lac Aluminium Members
Key Plan
DISPLAY UNIT
White Anodised Aluminium welded
COMPONENTS 1
Joinary joining the support and the base
2
4
3
Helps maintain the element in shape
Iso
Base Element
Elevation section
Main support
CRAFT TECHNIQUE :
CRAFT TECHNIQUE:
CRAFT TECHNIQUE :
CRAFT TECHNIQUE :
MATERIAL :
MATERIAL :
MATERIAL :
MATERIAL :
FINISH :
FINISH :
FINISH :
FINISH :
PROCESS :
PROCESS :
PROCESS :
PROCESS :
DETAIL :
DETAIL :
DETAIL :
DETAIL :
Metal casting Aluminium
Anodised rose gold lac finish Aluminium casting process + Manual Casted with mould
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Metal casting Aluminium
Anodised white lac finish Aluminium casting process
Casted with mould
Metal punching and bending Perforated aluminium sheet. white lac finish CNC cutting
watertight epoxy glue bonds
Metal casting Aluminium
Anodised white lac finish Aluminium casting process
Casted with mould
FRONT ELEVATION
SIDE ELEVATION
ORTHOGRAPHIC DRAWINGS PLAN
3
1
2
4
EXPLODED DRAWING 71
MANUFACTURING PROCESS
CRAFT : METAL PUNCHING
CRAFT : METAL CASTING
The workpiece so placed on the lower tool, the die. The upper tool, the punch is hit or is pressed against the workpiece with an applied pressing force.
CRAFT : METAL BENDING
the sheet metal with uniform thickness is drawn into the die cavity by large round corner punch for preventing the occurrence of fracture.
Pattern is casted either with 3d printing or any other material.
Pouring the mix in the lower mould.Pressing it manually & levelling it with hand & wooden ply piece.
Fixing the pattern for outer shape. Talcumpowder is applied to make the lower mould non-sticky.
the formed cup is ironed firstly by small round corner punch to make bottom to specified dimension.
Ironing
Axial Upsetting
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Two moulds are prepared.
Pouring the mix through the cavity for the pattern and then pressed firmly and kept for some minutes.
The final pattern
DIAPLY UNIT ASSEMBLY
STEP 1 : Aluminium caste module as the base which acts as wooden turned piece but is casted in aluminium and the joinary resembles the sankheda furniture’s joinary and anodised at the end.
STEP 2 :
Aluminium caste modules , the rod and the brackette which are used as a support for the horizontal member of the display unit. Many iterations could be performed.
STEP 3 :
The rod along with the brackette is then adjusted in the vertical member and thenthe sides of the brackettes are angled out so that later on the rod and the horizontal member doesnt slip away.
STEP 4 :
Aluminium caste module as the base which acts as wooden turned piece but is casted in aluminium and the joinary resembles the sankheda furniture’s joinary and anodised at the end.
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REFLECTIONS
Describe what does craft mean to you as a Interior designer/architect ?
Discuss the design position you took with reference to the established theoretical position.
Craft is an onset skill practised by a community and passed on from one generation to the other.
Craft being the core of the design for the future , i believe that crafts is the core of the design .
As an interior designer a different perspective emerged after the studio crafts + future = ? The understanding of crafts after visitng places LLDC , Khamer , Hunnarshalla and all the local artisans in Ahmedabad and knowing and understanding their background and how they practise , the understanding changed of what held the initial meaning.
The design position that i took involved a series of notions with understanding of how i look at crafts .
Crafts is in the process and making , after realising the value it holds , i believe crafts holds a position in the future to transform and develop a different understanding if practised along with a set of rules not only limited to products or objects but also as a difference in scale and in terms of space . The technique, materials and the skills required lies in the hands and not technology , The intricacy with which the historical monuments were built , the handwork which led to the beautiful motifs , figurines ,intricate details which no machine can take care of . Crafts transforms the way we look at things. 76
The idea of the design position maximalism was to understand that crafts can be explored and experimented with different technique , materials , not only traditionally but also with increase in technology and collaboration of different communities , craftsmen ,, the idea was to enhance crafts with help of celebrating every nook and corner of the design. The intention was to ensure that co-existence compliments each other and crafts is an essence celebrated along with taking care the aesthetic quality in consideration. The core idea being no homogeneous future.
Discuss how do you imagine your design position to manifest in interior architecture practice ?
Discuss how does your design position impact the craft production?
i believe that the future crafts will be practised with the idea and intention of co-existence through maximalist ideas.
From craft production to mass customisation ,it is easier way to look at crafts and also produce them and make it affordable. Today’s production industry is based on the experimentation.
The idea is to understand how maximalising all the aspects of design will cater to in architectural practice in the future. collaboration being the main intent , inspiration and also experimentation along with the idea of exaggeration , boldness of the space. Maximalism can be achieved by different means , by maximising the elements of the space , mixing of multiple identities , multiple crafts , cultures and materials with a possibility to create a beautiful aesthetic environment with the core idea of co-existence . The insipiration to mix and match various ideas to the extremes , colourful , eye-catching along with the understanding the true value it holds. crafts is the future identity and also a celebration and not an afterthought but to understand the idea of also using one crafts to extremes and in many different aspects of design along with the help of space making elements to hardwares and materials .
Design innovation plays an important role in creating a unique identity. Mass-production and also collaboration of communities , the design position maximalism will impact the craft production by improving the collaboration amongst technology , craftsmen and the designer and also cater to employment . Also the crafts will be catered to the middle class and not only as a luxury but maximalism is a door to celebrate crafts by each and everyone . There will be an increase in collaboration , experimentation of materials and tchniques will bring people together and different techniques will help to look at crafts at a larger scale and also practically .
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This is a portfolio containing works of the student as part of the academic exercise course CRAFT + FUTURE conducted at the Masters of Design (Interiors) and International Master of Interior Architectural Design (IMIAD) for the Sping 2020. This course was conducted in the Faculty of Design, CEPT University.