Craft + Future = Scalability

craft + future = ?

Tutor: Rishav Jain TA: Karan Verma Spring 2020 Faculty of Design, CEPT University

Student Portfolio

craft + future =

SCALABILITY

Prakhar Sarawast 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 =

SCALABILITY

Prakhar Saraswat 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 manifesto 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

Know the CRAFT Bamboo and cane craft

10

KERALA

SURAT

ARUNACHAL PRADESH

ASSAM

Craft: -Bamboo craft

Craft: -Bamboo craft

Craft: -Bamboo craft

The widely prevalent is the art of weaving reed baskets and mats in the simplest form and most adaptable to usage. Craft involved the creation of wide range of items necessary for occupational requirements of the village.

Basket weaving is practiced by kotwalia tribe. The community has an effective production system, one of dividing the various tasks involved in the craft process among themselves.

The state of Arunachal Pradesh has a rich tradition of bamboo and cane crafts. Usually, the men are involved in this art.

Craft: -Bamboo cra -coiled cane -cane furnitu The state o treasure tro bamboo na Spread acro and breadt the artisans in the m beautiful can products.

Products: -Bamboo reed mats -Fruit baskets -Storage and packaging containers -Table mats and screens -Wall hangings

Products: -Animal figurines -Chicken baskets -Winnow -Bread baskets -Mats - Hand fans -Trays

Products: -Hats with feathers -Cane belts -Baskets -Head gears -Mats -Ornaments

Products: -Polo - Fish T -Winnowing - Winnowing -Chalani- Sie -Jhappi- Rain -Mudha- Low -Hand Fans -Storage Bas -Pasi- Shallow -Bullock cart

Know the CRAFT/PROCESS/TOOLS

ORIGIN AND HISTORY Since ancient times, bamboo and cane were used by the tribals as a means for expressing their creativity and artistic streak as well as to make useful items of daily use.

The craft was practiced since the misty past with the very dawn of civilization. In the early period in Assam, bamboo was held with special reference and is forbidden to cut in “auspicious days”. It is a general belief that bamboo possesses auspicious character and is of religious significance.

Early literature refers to the well-decorated and coloured sital patis (cool mats) used by the rich people. Mats were usually made of cane. The classical writers testify the abundance of cane in the forests of Assam.

There were hills and marshes where canes were grown and used as bridges. Evidence of the production of other cane articles is also supplied by the ‘Harshacharita’, which mentions stools of cane. The cultivation of bamboo and its use for various purposes are well known.

Bana again testifies to this highly developed craft.

He states that Bhaskara sent to Harsha ‘baskets of variously coloured reeds’, ‘thick bamboo tubes’ and various birds in ‘bamboo cages’. All these prove that various industrial arts were developed in Assam at an early period and were continued to be practiced till recent times, based on that traditions like those of the craftsmen of other parts of India

Extensive use of wood over the ages for furniture and other products has challenged the environment more than ever before. The population of trees and forests is ever receding. This increasing need for wood has been beautifully supplemented by cane and bamboo.

These eco-friendly products are light in weight and have their own style and elegance. These products have a high life with minimum maintenance and are at par with wood, if not better. Strips of bamboo and various types of canes are extensively used to manufacture different utility and decorative items.

Mats, lamp shades, trays, baskets are weaved and knitted by the skilled hands of the artisans. Cane and bamboo can also be converted into strong and unique furniture, which are very popular now.

Jewelry, bags and handbags are the other popular items of this craft DIFFERENCE BETWEEN BAMBOO AND CANE? Cane is referred to the plant rattan, which is another common name for a climbing or trailing plant in the palm family, primarily of the genus Calamus.Cane has a flexible, woody stalk and it commonly grows in large riparian stands known as canebrakes. Cane has been used for ages specifically by tribes. Bamboo is essentially a grass in the Poaceae family of grass. There are hundreds of species of bamboos; however, most bamboo timber is sourced from the Phyllostachys and Bambusa genera.

11

Know the CRAFT/PROCESS/TOOLS

12

Fig 01: procurement

Fig 02: Soaked in water

Fig 03: Fired for bending

Fig 04: Cane bent using a dye/mogri

Fig 05: The burnt skin is scraped out

Fig 06: The bend is adjusted to fit

Fig 07: Secured in place using nails

Fig 08: The cane is split using a knife

Fig 09: Split cane is nailed to frame

Fig 10: The joints are wrapped with cane peels

Fig 11: Weaving Technique

Fig 12: Application of varnish

Know the CRAFT/PROCESS/TOOLS

CANE Procurement The cane is procured from the forests of Assam and transported through trucks. They are available as bundles where each bundle has 25 pcs of 12-14 feet long cane.

Preliminary Process The nodes of the cane are cleaned using a knife and soaked in water for 2 to 3 hours to soften the cane.

Production Process The soaked cane is then exposed to fire and bent .

The shaping is done using a dye called mogri. The mogri helps to mold the cane easily to the required shape. The skin of the cane is then scraped using a knife. This removes the burnt marks of the fire The frame is built using the bent cane. Two to three layers are done for each frame to increase the strength of the frame. The layers are secured together using nails.

For weaving either cane cores or cane peels are used. One end is secured in the frame and the other end is woven across the cores in the other direction.

Finishing Process The completed product is rubbed with sand paper to remove the presence of irregularities on the surfaces. Then 2 coats of varnish is applied on the product. The varnish can be replaced by using a desired oil paint which will increase the life span of the product.

Packaging & Transportation Process Small articles are wrapped and packed in cartons of the respective size. Large furnitures are packed in wooden cartons that will prevent any damage on the product. The packaged products are then shipped to the costumers and delivered at their door step.

For filling the gaps between the frames split cane or woven cane is used. For Splitting the cane a knife is used to cut across the cross-section of the cane. The split cane is then fixed to the frame using half inch nails at intervals.

The joints are wrapped using cane peel to hide it and to enhance the product. The cane peel is first soaked in water for 30 min. the first end is secured using a nail and is wrapped around the joints.

13

Know the CRAFT/PROCESS/TOOLS

Know the TOOLS

CHAKU_ KNIFE The curved knife is a tool used for removing the skin of cane. It curve helps to remove optimum skin without ant wastage.

HAMMER The hand tool is used to secure nail by hammering.

KNIFE The flat knife used for cleaning the nodes and it is also used for splitting cane and bamboo across the section.

GAS TORCH The tool is used for firing the cane with the flame so that they can be bent for the products. Chars the skin of the cane.

SAW The hand tool is used for cutting cane into required sizes.

PLIER The hand tool helps to remove nails from the cane. They are also used to cut cane cores and peels to the required length.

MOGRI_DYE It is a wooden hand tool made of babul or hard wood by the craftsperson according to his comfort. It is used to bend the cane.

CUTTING MACHINE The cutting machine is a power tool that helps to cut bamboo of large diameter into required lengths with ease.

DRILL The drill is a power tool that is used for making holes in the bamboo for the joinery.

8-SLIPT The hand tool helps to split bamboo through its cavity in one go. This reduces time compared to using knife to do the same.

NAILS The curved knife is a tool used for removing the skin of cane. It curve helps to remove optimum skin without ant wastage.

CIRCLE DRILL BIT The circle drill bit helps to make cavities in the bamboo for inserting wooden pieces or bamboo to make joints.

14

Know the CRAFT/PROCESS/TOOLS

Know the PRODUCT RANGE Bamboo and cane products range through different scales Products For Daily Use

Fig 01: Woven cane chair

Fig 02: Cane Swing

- Baskets - Artifacts - Figurines Furniture - Chairs - Tables - Mudha - Beds - Sofa Sets - Swings

Fig 03: Cane Furniture

Fig 04: Woven cane partitions

Space Making Elements - Room Partitions - Blinds - Flooring - Walls - Pargolas

Fig 05: Bamboo Mats

Fig 06: Bamboo blinds

Structural System - Houses - Roof Structures - Pavilions

Fig 08: Bamboo roof

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women empowerment employment

employme economy

community craftspeople economy employment

women community collaboration empowerment economy

collaboration designer employment

design designer innovation economy

technique region region

demand demand

identity identity

technique techniqu

region identity economy design innovation community designer

demand technique design collaboration innovation

identity

techniqu design innovation

craftspeople

n en ment rment

employment economy employment economy women women employment empowerment craftspeople empowerment

eople

ny

demand technique women designer region empowerment designer

tion people ation

unity

collaboration community

local

s es ion

handmade hazard mass collaboration production

munity

al

women craftspeople empowerment

ornamentation sustainability technique beauty

identity design design innovation demand employment innovation designer collaboration

ornamentation

resources designer handmade

functional history local women

functional technique mass mass hazard production production design mass innovation resources production

beauty global ornamentation hazard technique

ornamentation functional beauty Card sorting - attempt 01: what matters to you? craftspeople employment empowerment

y

history technology hazard

lity

community history craftspeople Attempt 02 16

global sustainability women collaboration global empowerment

technology history hazard designer technology employment

beauty local

designer

ornamentation

functio

handmade handmade region

resources resources demand

hazard hazard identit

handmade hazard

resources

hazard

beauty history

glob

technology functional sustainability mass local production economy

global design sustainability technique innovation economy

ornamentation handmade

functio resourc

technology history local

glob ornamenta

02

CARD SORTING

que

local

ornamentation

functional

beauty

d

sustainability

history

global

technology

ople

nity

d

de

women empowerment

Craft is influenced and a product of several factors . The importance of these factors differ from one individual to the other. The economy exercise started as an attempt to understand employment economy what factors play major factor to me as an individual .There were three attempts to my understanding . The first time i picked cards according to my understanding but the subsequent attempts after discussion and research saw a selection of those cards designwhich were absolutely crucial for me in innovation understanding crafts.

craftspeople

employment women empowerment

collaboration

designer

community

collaboration

identity

technique

local

ornamentation

resources

hazard

Final cards

sustainability

history

designer

design innovation

The final set of cards included the following categories ; stainability , Craftsmen , , Local collaboration and resources. According to me craft is a product of all these factors. Sustain ability is the need of the hour. Sustain ability goes in hand with resources. The one used to functional beauty make the craft and the place from where these resources are obtained from , is it obtained locally or brought in from outside . Craft is very local to the place it belongs from , it depends on the place , the culture and community who practices it .Craft in today time is collaboration between various individual , mainly the designer who envisions it , craftsmen who makes it and the user to buys it.

global

technology

17

03

POSITIONING CRAFTS

The next exercise was an extension to grasp various crafts employed in building industries and the way to or perceive them.

Craft was understood and understood through several keywords. These keywords were derived from what was the factor of design

which stood out. Keywords like Adaptive reuse, economy, minimalism , technique , pattern , reinterpretation were few of those factors which helped within the classification.

The practice in the field of Interiors has been largely affected by the craft and its principals.

The practice varies from just mimicking the crafts to various materials to a deep abstraction and utilization of crafts. Crafts in the interior practice, acts as a tool but rather an unexplored one. There is a constant argument about the notion of using craft in right a way, But what exactly is it?

The Practice of interior in the today’s world often faces constraints of demand, time and money. Due to this, sometimes the crafts practice and production gets transformed, to still be the contestant of the rat race. But, this doesn’t means that we are losing it all together, The crafts in the interior practice completely depends on how the designer perceives it.

“Crafts often get revived and sometimes get redefined, but for the interior practice its was always retrieved.”

18

Exercise 03: Positioning Crafts

Nature’s Revival

Project: Lakshman Sagar Built in: 2010

Designer: Revthi Kamath Location: Jodhpur

Why this project?

Key Words

The project is an adaptive re-use of a heritage property which used to be a hunting lodge. This project is a fine example of nature sensitivity and longevity, as the designers have taken care the nature by using the local materials available and handling the geography with sensitivity. For there design interventions, They came up with concepts like zero kilometer.

Adaptive re-use, Revival, Sustainable, Nature sensitive, Earth architecture, Longevity, Local, Economy and Cultural

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Image Source: https://www.google.com/ search?q=lakshman+sagar+resort&rlz=1C1CHBF_enIN856IN856&sxsrf=ACYBGNTpezaKXTR_0L7ZdsjbbmD0JLyBsA:1579085146804&source=lnms&tbm=isch&sa=X&ved=2ahUKEwis8_rJtoXnAhWRzTgGHSM4BdIQ_AUoAXoECBQQAw&biw=1536&bih=674#imgrc=k5KGVPUJMk7TgM:

Craft + Future = ?

Prakhar Saraswat | PG180706

19

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Craft as an expression

Past Imprints

Project: Meherangarh Museum Shop Built in: 2004

Designer: Studio Lotus Location: Jodhpur

Project: Rajesh Pratap Singh Flagship Store Built in: 2008

Designer: Studio Lotus Location: New Delhi

Why this project?

Key Words

Why this project?

Key Words

It is a fine example of collaboration of artisans, designers and history. When we design by principals we intend make it better, similarly, this adaptive reuse project was done with so much of sensitivity towards the existing structure.

Renovation Reinterpretation Revival Adaptive reuse Low budget

In this project, The designer has closely studied and abstracted the key element of the design. Scissors, which is taken as the element of focus, has been intricately used as a pattern to accentuate the space.

Material palette of the project is minimal, so as the color palette.

Abstraction Minimalism Seamless Pattern Technique

Image Source: https://www.indian-architects.com/en/projects/ view/mehrangarh-museum-shop

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

Exercise 03: Positioning Crafts

Image Source: https://www.archilovers.com/projects/44815/ rajesh-pratap-singh-store-new-delhi.html

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

Excercise 03 - Positioning Crafts

Reaching Roots

Aggregation of perspectives

Project: Otla par gammat Built in: 2017

Designer: Compartment S4 Location: Badalpara Gram Panchayat

Project: Prismatic Installation Built in: 2018

Designer: Hou de Sousa Location: Ghent , United States

Why this project?

Key Words

Why this project?

Key Words

The team has a broader vision in the profession rather than just as a medium of bread and butter.

The team as always contributed in a sustainable development. They aim to create for the society, by the society like in this project the simple techniques with local material has been used, and the construction is done by training the locals around the site.

Local Collaboration Sustainable Employment

The project Prismatic is a kaleidoscopic experience of light, color, and space defined by an aggregation of perspectives. Openings between the cords produce a visual effect known as moiré, in which wavy patterns are created from the overlay of repeating details.

“As visitors turn their gaze or walk about the space, patterns in the background and foreground continuously converge and delaminate, resulting in the perception that static surfaces are somehow in motion,” the studio said.

Prismatic Color Changing Perspective Transperancy

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

20

Image Source: http://www.compartments4.com/projects/5bf2929191a44300145cb759

Craft + Future = ?

Prakhar Saraswat | PG180706

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Image Source: https://www.archdaily.com/918416/prismatic-installation-hou-de-sousa

Craft + Future = ?

Prakhar Saraswat|PG180706

Exercise 03: Positioning Crafts

Excercise 03 - Positioning Crafts

Conversations in Brick

Nurtured by Nature

Project: Korlai Bungalow Built in:

Designer: Nari Gandhi Location: Korlai

Why this project?

Key Words

Nari Gandhi worked without drawings, instead observing the site before making intuitive and spontaneous decisions about where and how to build. The project would proceed more as an exercise in workmanship, with him selecting materials and developing generic details. Extending a potter’s method to architecture, he balanced external pressures against those of the space to be contained within, himself uncertain of the outcome, to generate fresh forms in which this tension was palpable.

Brickwork Organic Arched openings True to material Spontaneous

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Designer: Roth-Architecture Location: TULUM, MEXICO

Why this project?

Key Words

In this project, There has been a unique approach of inculcating nature into a boutique store. The craftsmanship is very organic and merges the interiors with outer flora.

Experience, Nature, Community, Experience, Local, Identity

Image Source: https://www.architecturaldigest.in/content/nari-gandhi-architecture-alibag-house/

Craft + Future = ?

Prakhar Saraswat|PG180706

Exercise 03: Positioning Crafts

Image Source: https://www.archdaily.com/923418/zak-ikstore-roth-architecture?ad_source=search&ad_ medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

Excercise 03 - Positioning Crafts

Nature. Spiritual

Regional Identity

Project: Capilla San Bernardo Built in: 2015

Designer: Nicolás Campodonico Location: Argentina

Why this project?

Key Words

In Capilla Sen Bernado, The designer has given it all to nature as there is no electricity or other resources in site. In the material, they used the old bricks which was extracted from the demolished structure.v

Reuse Timeless Self-sustained Materiality Sciography

Image Source: https://www.archdaily.com/787710/capilla-san-bernardo-nicolas-campodonico?ad_medium=widget&ad_name=recommendation

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Project: Zak Ik Store Built in: 2018

Craft + Future = ?

Prakhar Saraswat | PG180706

Project: Krushi Bhawan Built in: 2018

Designer: Studio Lotus Location: Bhubaneshwar, Odisha

Why this project?

Key Words

The project promotes sensitisation to local materials and explores new ways of integrating regional identity in a contemporary environment. The building has been conceived in three distinct colours of brick, which represent the colours of the local soil of Odisha, especially through the traditional Ikat pattern-inspired expression of its brick-louvered façade. The craftwork does not serve as small touch points, rather they aimed to allow its effects to be experienced at an unprecedented architectural level.

Regional Identity Local Materials use Translation of patterns Collaberation

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Image Source: https://www.architectandinteriorsindia.com/ projects/2868-studio-lotus-designed-krushi-bhawan-in-bhubaneshwar-is-a-sterling-example-of-sustainable-architecture

Craft + Future = ?

Prakhar Saraswat|PG180706

21

Excercise 03 - Positioning Crafts

Contemporing Tradition Project: Ras Jodhpur Built in: 2011

Designer:The Lotus Praxis Initiative Location: Jodhpur

Why this project?

Key Words

The old structures have been painstakingly restored with traditional craftsmen in the original materials like lime mortar and Jodhpur sandstone. Age-old materials and skills are manifested as a modern and understated graphic form derived from multiple functional and programmatic parameters. Crafted by over a hundred regional artisans and mastercraftsmen, the development of the building and its interiors has been conceived and executed using the fundamentals of sustainable architecture.

Collaberation with local craftsmen Adaptive reuse Luxury Contemporasing tradition Sustainble

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

22

Image Source: https://www.archdaily.com/423405/raas-jodhpur-the-lotus-praxis-initiative

Craft + Future = ?

Prakhar Saraswat|PG180706

Excercise 03 - Positioning Crafts

Revitalising crafts

Project: CafĂŠ Lota & The Museum Store Built in: 2014

Designer: Studio Lotus Location: New Delhi

Why this project?

Key Words

The project uses craft to elevate the spirit of the spaces while retaining the use of humble material in building the framework and functional aspects. Both spaces use a tight palette of local sandstone, local timber such as mango, Mild-steel & sand plastered walls to create a monolithic backdrop for the crafted objects and an earthy setting that ties all the spaces together.

Restoration and renovation Local arts Modular system of display

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Image Source: https://archello.com/project/cafe-lota-and-museum-shop

Craft + Future = ?

Prakhar Saraswat|PG180706

23

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Together-ness

Project: Habitat for Humanity’s Global Village Program Built in: 2010

Legacy Designer: Yvonvne Location: Nepal

Why this project?

Key Words

This a project is a good example of vision, need, Craft, Community and collaboration. With locally provided material and basics tools, The people from different walks of life has created a habitat. Basically, this is a journey.

Sustainable, Economical, Renewable, Cost-effectiveness, Collaborative, Community

Project: Rivet – Levi’s Concept Boutique Built in: 2005

Designer: Studio Lotus Location: Banglore

Why this project?

Key Words

The project is a story telling of brand and its journey. The designers had a brief of creating an experience rather than a store. The industrial crafting has been used to its finest. From textiles to metals, all mediums have been explored to the fullest.

Industrial Fabrication Craft Legacy

http://www.yr-architecture.com/build-

Image Source: https://studiolotus.in/showcase/rivet%E2%80%93-levi%E2%80%99s-concept-boutique/91

ing-low-cost-sustainable-bamboo-houses/

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

Sculpting through mud

Inside-Out

Project: Tahiliani Design Headquarters Built in: 2008

Designer: SPA Design Location: GURGAON

Why this project?

Key Words

The project is a fine example of creating an impact on the user’s mind. The construction craft has been used to showcase the intricacies of the design. It is a design for a craftspersons by the craftspeople.

Nature Brutal Monolithic Edifice

Image Source: https://www.spadesign.co.in/tahiliani

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Craft + Future = ?

Prakhar Saraswat | PG180706

Excercise 03 - Positioning Crafts

Exercise 03: Positioning Crafts

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

Project: Kamath House Built in:

Designer: Kamath Design Studio Location: Faridabad

Why this project?

Key Words

Mud is extremely malleable and offers better insulation than concrete structures, it decentralizes the construction process because it utilizes local material, obviating the need for a contractor. The structure is constructed on what was once an abandoned quarry site. The house is made through a rearrangement of natural materials found on the site and its surroundings, with a minimal and judicious use of non-renewable, non-biodegradable and fossil resources such as metals, stone, plastics or cement.

Mud Architecture Sustaianble Malleable material Reuse of material

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Image Source: https://architecturelive.in/the-mud-house-katchi-kothi-and-anangpur-faridabad-by-kamathdesign-studio/

Craft + Future = ?

Prakhar Saraswat|PG180706

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Regeneration

Hand-made

Project: Paper log house Built in: 2001

Designer: Shegeruban Location: Gujrat

Project: Lakdi ki Kathi Built in: 2018

Designer: Compartment S4 Location: Ghuggukham

Why this project?

Key Words

Why this project?

Key Words

This a project that was designed for the relief of the earthquake affected people. The designer took an Indigenous approach towards the problem. The Rubble from destroyed building was filled and light weight material was used for quicker construction.

Modularity Disaster management Global-local Rapid prototyping

This is projects which was done for uplifte-ment of the locals for education. The vernacular techniques were used to sustain the climate and hence, local material was emphasized. It has also been designed to resist hazard.

Local Technique Sustainable Vernacular Hazard resistant

Image Source: http://www.shigerubanarchitects.com/ works/2001_paper-log-house-india/index.html

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

Excercise 03 - Positioning Crafts

Image Source: http://www.compartments4.com/projects/5bf297d491a44300145cb75a

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

Excercise 03 - Positioning Crafts

Nature Inspired Weaves

Interlocked and Stacked Volumes

Project: Woven Thread Pavilion Built in: 2015

Designer: NUDES Location: Mumbai

Project: Odunpazari Modern Museum Built in: 2019

Designer:Kengo Kuma Location:Turkey

Why this project?

Key Words

Why this project?

Key Words

The project deploys natural design systems to weave a set of sinuous lines into three-dimensional space. This intercourse of design and systems in nature is manifested through 4 modules and can be incrementally grown based on site / environmental conditions. The weaving pattern used is inspired from the arrangement of leaves on a plant stem.

Installation Weaving system Bio mimcry

The project comprised of a stack of wooden volumes, inspired by the surrounding streetscape of Odunpazari and its history as a timber trading market.

The stacked and interlocked boxes are designed in various sizes to create diverse scales of exhibition space inside. The architect ensures the building talks about the hostory and memory of its setting.

Historic context Stack and interlocking boxes Timber architecture

Image Source: https://www.archdaily.com/795186/woven-thread-pavilion-nudes

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat|PG180706

Image Source: https://www.archdaily.com/924568/new-iconic-museum-for-turkey-by-kengo-kuma-and-associates

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat|PG180706

25

ESTABLISHING THEORETICAL POSITION

05

VISUALIZATIONS

Interior Practice

InteriorReflection,Transformation,Adaptation,Collaboration, practice

Revival, Sustainability, Scale, Redefinition, Production.

The practice in the field of Interiors has been The practice in the field of Interiors has been largely affected by the craft and its largely affected

by The the craft andvaries its principals. principals. practice from just mimicking the crafts to various materials to a The practice varies from just mimicking deep abstraction and utilization the of crafts. Crafts in the interior practice act as a tool crafts to but various materials to a deep abstraction rather an unexplored one. There is a constant argument about the notion of using and utilization crafts. in the craft inofthe rightCrafts way, But whatinterior exactly is it? practice act as a tool but rather an unexplored TheisPractice of interior in today’s one. There a constant argument aboutworld the often faces constraints of demand, time money. to right this, sometimes the practice and production of the craft get notion ofand using craft Due in the way, But what to still be the contestant of the rat race. But, this doesn’t mean that we exactly istransformed, it? are losing it altogether, The crafts in the interior practice completely depend on how The Practice of interior in today’s world often the designer perceives it. faces constraints of demand, time and money.

28

“Crafts often get revived and sometimes get redefined, but for the interior practice its was always retrieved.”

Craft Production

Craft production

Institutionalization, Adaptation,Collaboration, Crafts production is something that solely depends Reinvention,Revival, Sustainability, Scale, Demand, Value.

on how the craft is perceived now. Production of Crafts production is something that solely the in craft is perceived craftsdepends has seenona how change shift, as the craftsmanship now. Production of crafts has seen a change in shift, asits thedemand craftsmanship is depleting is depleting and is increasing.

Because of and its demand is increasing. Becausethis, of this, there a notion of craft being a luxury there is aisnotion of craft being a luxury rather rather a need. Crafts is true to its material and its craftsmanship and to maintain the a need. Crafts is true to its material and its craftsharmony in production, There is a need for institutionalization, as it can channelize manship and to maintain the harmony in producthe need and demand for the craft. In the case studies, we have seen how an institute tion, There is a need for institutionalization, as it can can help promote both production and practice. channelize the need and demand for the craft. In the studies,aswe havepromote seen how institute There is a need for new adaptation incase production it can thean practice butcan help both production andvalue practice. its principal should be conserved. Thepromote production often defines the of craft and hence, deciding its status in the society.

So, If craft and interior practice are taken as one integral system, The production of

29

Future scenario It is assumed that, in future, there willEnvisaging be a need for redemption, where the everything will be made from the material that already exists or has been used. With the help of technology and machines, there will be no need for extracting new material, as in there past (which the present), Humans have overexploited the resources. Mass production will be a main aspects of technology to cater the growing population.

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Future

CRAFT + FUTURE =

SCALABILITY

CRAFT + FUTURE =

SCALABILITY

31

05

POSITION PAPER CRAFT + FUTURE = SCALABILITY

Craft has many definitions such as self expressions, inheritance, identity etc. But what exactly makes craft sustain for generations?

What quality does a craft needs work its existence? Is it a need or a luxury? How it has being a bridge for civilizations?

If we talk about crafts or more specifically handicrafts, it has taken different dynamics from being a daily use object to a symbol of luxury.

The Craft, which is done by hands or direct human involvement, needs practice for its refinement, which we say Saadhana. In this process of practice and refinement, The craft often adapt the need of that time, which is then reflected in the craft practice as well. Adaptability is a key aspect for craft to sustain, as with time there shifts in so many paradigm. For the today’s time, The craft practice has become more multidisciplinary and the scope of the practice has evolved significantly. With the history of immense efforts and failed trials, it develops a language that speaks for itself.

The craft practice of today has modernize the craft with the use of technology and new materials, hence, we can say that it has adapted with the needs of time.

The design practices of today is very vivid and 32

dynamic and craft has played a major role in defining its shape. The practice that varies from interior to architectural has used craft in form of tangible objects to intangible technique.

Crafts in the practice has acted as a element of space making to innovating the craft on at a newer scale. The designers often seeks for understanding the principals of craft and conveying it in new mediums. In the process of learning these crafts and with the new technologies, The designer often challenge the craft on a newer scale that has never been imagined. For designers, There is language and connection between two things which may be contrary but yet gives an answer for its evolution. The instances, where designers have defined a new stage for craft practice can be seen in various projects. To understand the scope of Scalability, we need to understand the process to attain it.

does a craft needs work its existence? Is it a need or a luxury? How it has being a bridge for civilizations?

If we talk about crafts or more specifically handicrafts, it has taken different dynamics from being a daily use object to a symbol of luxury. The Craft, which is done by hands or direct human involvement, needs practice for its refinement, which we say Saadhana. In this process of practice and refinement, The craft often adapt the need of that time, which is then reflected in the craft practice as well. Adaptability is a key aspect for craft to sustain, as with time there shifts in so many paradigm. For the today’s time, The craft practice has become more multidisciplinary and the scope of the practice has evolved significantly. With the history of immense efforts and failed trials, it develops a language that speaks for itself.

The craft practice of today has modernize the craft with the use of technology and new materials, hence, we can say that it has adapted with the needs of time.

The design practices of today is very vivid and dynamic and craft has played a major role in defining its shape. The practice that varies from interior to architectural has used craft in form of tangible objects to intangible technique. Crafts in the practice has acted as a element of space making to innovating the craft on at a newer scale. The designers often seeks for understanding the principals of craft and conveying it in new mediums. In the process of learning these crafts and with the new technologies, The designer often challenge the craft on a newer scale that has never been imagined. For designers, There is language and connection between two things which may be contrary but yet gives an answer for its evolution. The instances, where designers have defined a new stage for craft practice can be seen in various projects. To understand the scope of Scalability, we need to understand the process to attain it.

Scalability

Material

Detail

Process

Understanding the properties of material and its behavior with other materials.

A series of actions or steps taken in order to achieve a particular end.

It is the intersection of similar or may be different materials.

Dicovering the similar properties in different or newer materials.

Each step can lead to different outcome.

Details can be further clubbed together for a master details.

Adaptability These parameters, when combined together can lead to new possibilies of crafts. It can be applied in different disciplines to attain different scales.

Scalability of design

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

33

Material

temporary shelters he has built around the world for refugees and evacuees. Ban may be the world’s first architect to make structures Material has the power to embrace different out of paper — to be exact, cardboard paper scales, if we understand the material. Its the Material tubes. He has explored the same material in material, that defines the craft yet still leaves Material has the power to embrace different scales, if we understand the material. Its the material, that defines the craft yet still leaves immense for craft to experience. have seen in our daily lives that different the scale of material i.e. from a small pin to a big ship.

Many scalesis immense i.e. Product (Champagne box, immensepossibilites possibilities for craft toWeexperience.

Material designers have attempted to explore the materiality and opened the new horizon for world. One such designer is Shigeru Ban. Museums, concert halls were that designed by scale Shigeru Ban. He is best known for a more modest type of work: the temporary shelters he has ARGONNE 2008 HENRI GIRAUD), Chair(Carta We Material haveresidences, seen inand our daily lives the hasaround the power to embrace different scales, if we Ban understand material.first Its architect the material, that structures defines the craft yet still—leaves immense built the world for refugees and evacuees. may be the the world’s to make out of paper to be exact, cardboard possibilites fortubes. craft to We have seen in ourin daily lives that thei.e. scale of material is immense from a small pin to a big ship. Many paper Heexperience. has explored the same material different scales Product (Champagne box, i.e.

ARGONNE 2008 HENRI GIRAUD), Chair(Carta Chair), Building(cardboard cathedral) of material is immense i.e. from a small pin to designers have attempted to explore the materiality and opened the new horizon forcathedral) world. One such designer is Shigeru Ban. Museums, Chair), Building(cardboard residences, and concert halls were designed by Shigeru Ban. He is best known for a more modest type of work: the temporary shelters he has “It’s very inexpensive.

It’s made of recycled a big ship.

Many designers have attempted built around the inexpensive. world for refugees and evacuees. may beto the world’s firstlength, architect make structures out of paper — to be exact, cardboard “It’s very It’s made of recycledBan paper,We can make any anytodiameter, any thickness.

Ban actually measured the power of paper tubes.

He has explored the same material in different scales i.e.

Product (Champagne box, ARGONNE 2008 HENRI GIRAUD), Chair(Carta cardboard tubes, and says what he found shocked him. He has used them to build temporary housing for victims of disasters in Japan, Haiti, paper,We can make any length, any diameter, explore the materiality and opened the new Chair), for Building(cardboard cathedral) China and elsewhere. Imagine a log cabin— except vertically arranging the tubes instead of horizontally. Ban says that the paper tubes are cheap and abundant. And unlike conventional building materials prices,any the quality and availibility affected.measured Ban says that even building thickness.

Bannever actually theif aof power horizon for world. It’s One such designer iscan Shigeru “It’s very of recycled paper,We make length, any diameter, any Ban actually measured the power is inexpensive. made of paper, itmade will become permanent if people love any it. And the opposite can also bethickness. true: A permanent building can become temporary if cardboard tubes, and says what he found shocked him.

He has used them to build temporary housing for victims of disasters in Japan, Haiti, it’s destroyed by a disaster, or a developer. Building made in concrete cantubes, be very temporary.”

-Shigeru Banhe found cardboard says Ban.China Museums, residences, halls arranging theoftubes and elsewhere.

Imagine a logand cabin—concert except for vertically instead of horizontally. and Ban says that what the paper tubes are cheap and abundant. And unlike conventional building materials prices, the quality and availibility never affected. Ban says that even if a building shocked him. wereis made designed Ban. He is best of paper, by it willShigeru become permanent if people love it. And the opposite can also be true: A permanent building can become temporary if it’s destroyed by a disaster, or a developer. Building made in concrete can be very temporary.” -Shigeru Ban

known for a more modest type of work: the t

cardboard cathedral

cardboard cathedral Process

ProcessProcess comes after the material, as it is the synthesis of

Carta Chair

Carta Chair

Champagne ARGONNE 2008 HENRI GIRAUD

Champagne ARGONNE 2008 HENRI GIRAUD

material. Yet, The process could synthesize many possibilities.

Process A process is the key to material that can scaled to different

Processcomes the the material, asKundoo, it is the synthesis ofbroken Process after material, as it isshethe becomes seen inafter the works of Anupma Where has material.

The process couldatsynthesize theYet, limitation of process its definedmany scale.possibilities.

One such example A process is Volontariat the key to Home material that can scaled tocould different synthesis material.

Yet,forThe process is of the Homeless Children, Where she has levels. A good example of process as the key totoscalability canscale. upscaled the process of baking pottery architectural be seen in the works of Anupma Kundoo,A Where she has broken synthesize many possibilities. process is the the limitation of process at itsyour defined scale.

One such example “Would you define process of design as the combination Volontariat for Homeless Children, Where she has key istothematerial that can scaled to different of researchHome and experimentation? upscaled the process of baking pottery to architectural scale.

I thinkexample we are in a moment of great as transitions, where levels. A Yes good of process the key tothe “Would you define your processare of design as themore combination current ways of building producing problems than of research and experimentation? they solve: well as socially. scalability can beenvironmentally, seen in theeconomically works ofas Anupma Since architectural design is a process of synthesis of responses Yes I think we areconcerns, inshe a moment of great transitions, where the of toWhere various and innovation isthe very much the need Kundoo, has broken limitation ofthe currenthour, ways itofis building arethat producing moreinnovation problems would than need but natural any relevant they solve: environmentally, economically as well socially. to be supported by scale. extensive research andas experimentation, process at its defined One such example Since architectural design is apractice processinofan synthesis responsesgives an balancing theory and inclusiveofapproach to various concerns, innovation very muchwhere the need of the have answer for itsand evolution.

Theisinstances, designers is the Volontariat Home for Homeless Children, hour, itdefined is but natural anyfor relevant innovation need a newthat stage craft practice can would be seen in various to be supported byunderstand extensive research andofexperimentation, projects.

To the scope Scalability, we need to Where she has up scaled the process of baking balancing theory and anattain inclusive understand thepractice processinto it.” approach gives an answer for its evolution. The instances, where designers have pottery toa new architectural scale. can be seen in various defined stage for craft practice levels. A good example of process as the key to scalability can

34

projects. To understand the scope of Scalability, we need to understand the process to attain it.”

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Volontariat Home for Homeless Children

Volontariat Home for Homeless Children

Craft + Future = ?

Prakhar Saraswat | PG180706

Detail

them as well, as the weaving of threads in cloths can be seen in the weaving of cane as Detail well. An understanding of detail opens doors The intersection of two or more than two to immense possibilities.

Designers like Kengo materials, which can be similar or different, The intersection of two or more than two materials, which canisbe similar or different, is called detail.

A detail is very subjective to a designer and it is a system as well as an expression to design. Designers develops the details and evolves them as well, as the weaving of threads in cloths can Kuma, are the pioneers in design who has called detail.

A detail is very to aof detail opens doors to immense possibilities. Designers like Kengo Kuma, are theused be seen in the weaving of cane as well.subjective An understanding pioneers in design who has used similar details in different scales, such as the joinery of GC Prostho museum and Odunpazari Modern Museum. similar details in different scales, such as the designer and “The cement structure of the GC Prostho Museum Research Center has a rectangular floor plan on 3 levels surrounded by a parametric decorative joinery ofwith GCinterlocking Prosthojoints. museum it issystem a system ascypress wellwood as an expression design. formed of elements generating to regular prismatic combinations created This detail,and which Odunpazari is repeated over and over again to cover almost all the cement, is made even more poetic by Kuma’s explanation that he drew his inspiration from a wellMuseum.

Designers develops the detailsconstruction and evolves known Japanese toy, Cidori, a miniature made of wooden rods 12Modern mm long which are fitted together by simply joining and rotating the parts.” -Kengo Kuma,

GC Prostho Museum Research Center

Odunpazari Modern Museum

ThusI Iwould would conclude that, When the When craft has adaptability materiality, process andof details, Thenis it can be taken up with to a new scale.

We need Thus conclude that, the craftinhas have crafts combined the technology, the scalability in craft for its sustenance, as evolution required the adaption of needs of time. When immense knowledge that we have of crafts is combined with the technology, it can create a future that is not mundane and Grey. adaptability in materiality, process and details, it can create a future that is not mundane and Then it can be taken up to a new scale. We Grey. “ Crafts and Craftsmanship will be there but the scale may differ. “ need the scalability in craft for its sustenance, “ Crafts and Craftsmanship will be there but the

as evolution required the adaptation of needs of time. When immense knowledge that we

scale may differ. “

Carta Chair: Image source : https://www.google.com/search?q=carta+chair&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjYmK_2oqTnAhWy6XMBHd5YCGEQ_ AUoAXoECAsQAw&biw=1536&bih=754&dpr=1.25#imgrc=Bm8WiRYB5Tbi0M Cardboard cathedral: Image source :https://www.bbc.com/news/world-asia-23698795 Champagne ARGONNE 2008 HENRI GIRAUD : Image source :https://www.selfridges.com/US/en/cat/foodhall/henri-giraud/ Volontariat Home for Homeless Children; Image source : https://urbannext.net/anupamakundoo/volontariat-home-for-homeless-children/ GC Prostho museum; Image source: https://www.archdaily.com/199442/gc-prostho-museum-research-center-kengo-kuma-associates

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

35

06

ABSTRACTION

The exercise was to form a model to elucidate the equation Craft + Future = Scalability. This model is an attempt to understand scalability through three parameters Material , process and detail. Wood as material is incredibly adaptable hence it had been chosen as a primary model material. Two differing kinds of wood was used teak and chir wood Process exploration in wood was to explore a technique which may be used on various thickness of wood . the method chosen was steam bending to form the shape Three different thickness of wood were used and bent along the three axis using the process of steam bending. The three members were joined using the identical detail of dowel at the joints.

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37

ESTABLISHING DESIGN POSITION

07

PROJECT MANEFESTO Nestudio Design Intention

Programme

The intent of the design is to use the essence and techniques of craft at various scales - from macro to micro level. The three scales in which craft has been incorporated in the proposal

To design CEPT Shop at CEPT University, along with the added function of co-working studio.

The retail shop of CEPT House will showcase the archives press and students selected works

are micro-level of hardware, intermediate level of space making elements like furniture and louvres and macro-level of architecture in the form of art of vault construction. The making of these elements uses the same craft techniques at three different levels of scalability. The intention is to understand the philosophy, the underlying principle and essence of a particular craft and derive possibilities of expanding its scales of production.

This role of the craft will allow it to play an important role in the field of architecture, it will not be limited as a medium of art but will expand its horizons to construction, aesthetics

and space-making elements.

The architecture will then be a collective journey of artists, architects, craftsmen-each enabling it with their creative and innovative sensibilities rather than a scientific and technological process which could be devoid of human intuitions.

While exploring the design, there are three scales that are addressed i.e.

Architecture Product/Space making element Hardware/detail 40

and innovative ideas. The Nestudio will cater the students and graduate of the university to kicks-tart their idea into an enterprise. It will also promote the students to showcase their products in the CEPT shop. The Idea is to provide a collaborative environment between Nestudio, the college and the Cept-shop workshop.

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08

DESIGN DEVELOPMENT

Single axix bent split bamboo joint for seat

Split section bent for inner support and joinery (X 2)

Two axis bent bamboo with lap joint for back rest

Double split bent, Combination of three bamboos (X 2)

Linear Bamboo for bracing (X 2)

Cane peel for weaving

Linear bamboo (X 2)

42

Cane peel for weaving

Linear bamboo (X 2)

Work chair for Nestudio.

Craft + Future = ?

Prakhar Saraswat | PG180706

43

Strucutral Product: Bamboo vault Type - 1 Structure: Hollow bamboo, bamboo splits Infill: Bamboo mesh and cement plaster, terracotta shell, stones, clay tiles, thatch (any 1) To Express the adaptability of Bamboo by keeping the structure naked inside. It is the expression of strength in this scale.

Waterproofing layer (eg: cement plaster as in illustration)

Bamboo mesh

Hollow bamboo

Bamboo splits Waterproofing layer (eg: cement plaster as in illustration)

Bamboo mesh RCC beam Hollow bamboo

Bamboo splits

RCC beam

RCC column (as per design provided in studio brief)

Isometric view showing various layers of bamboo vault construction RCC column (as per design provided in studio brief)

Isometric view showing various layers of bamboo vault construction

Waterproofing layer (eg: cement plaster as in illustration) Bamboo mesh

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43

Bamboo splits

RCC beam Waterproofing layer (eg: cement plaster as in illustration) Bamboo mesh

30

43210

Bamboo splits

210

Section showing various layers of bamboo vault construction

44 GSPublisherVersion 0.0.100.100

RCC beam

45

Section AA’

Section BB’

Section CC’

Section DD’

Section EE’ M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

46

Craft + Future = ?

Prakhar Saraswat | PG180706

A

C

E

D`

D

Scale - 1:100 1

9 8

A’

5

B`

1. Student’s work Retail shop 2. Conference room 3. Entrance for the Nestudio 4. Courtyards 5. Informal Gathering area 6. Transition 7. Archives retail shop 8. Nestudio 9. Stage

B

2

8

3

A’

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

4

C’

E’

Craft + Future = ?

Prakhar Saraswat | PG180706

47

ce For Nestudio courtyard nce room io 48 al workspace rchives Press shop

1

9

3

8

2

4

5

6

7

Vaults constructed with terracotta tiles.

Rammed Earth Wooden partition

All elements are made with cane.

Cane louvres

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50

f Design ain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

51 M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Prakhar Saraswat | PG180706

09

CRAFT MATRIX

52

CRAFT

CORE VALUE

MATERIAL

Split Bamboo Matrix

Reflection of structure

bamboo slates

Split cane Stacking

Geometrie Pattern engangement by composition

Cane splits

Bamboo slate mesh

Exo-skeleton

Bamboo slate

Basketry

inter-woven

Bamboo peel

PREDOMINANT USAGE

FUNCTION

POTENTIAL

Structural, Furniture, products

Exoskeleton

Expression of equation

Structural, Furniture, products

Infill

Adaptability for scales in designs

Structural element

Outer shell

Light weight strurcture

Basket and hat making

For making seating for furniture

changing the use of v

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10

CRAFT DESIGN IDEAS

Furniture Stool is designed using the technique of basket making and sieve making. It is proposed in the archive shop for casual seating.

54

Furniture Chair is designed using bamboo splits through the process of split bending.

55

Space making element As bamboo is a lighter material, the splits makes a better option as an infill in the sliding doors.

56

Space making element From door handle to the pivot door, bamboo is used as key material, inspired from the tribal homes in eastern parts of India.

57

Space making element The making of the module is easy to assemble, which is attained by a simple joinery of dovel. The main base is the whole bamboo. Firstly, the base is attached, now the upper modules are attached as per requirement.

58

Space making element The fire bending of lathi bamboo is used to make a permanent apparel hanging unit, which is fixed at both ends.

59

MANIFESTING THE DESIGN POSITION

11

ILLUSTRATIONS

62

Illustration showing the overall space organization and giving the impression of various activities related to different spaces.

63

a

b

a’

Illustration showing transition between different hierarchical spaces - Open, semi-open and closed

64

a c

b

b’

c’ a’

ng transition t hierarchical emi-open and

65

Intimacy with the environment and the structure.Engagement with the inner court.

66

and the

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12

DRAWINGS

6 5

9

4 6

7

3

9

1

2

7

3

8 1 2

1. Faculty of Planning Building

2. South Canteen 3. South Lawn 4. Library 5. Faculty of Technology Block 6. SSO 7. Pavallion

2

8. Garba ground 9. Cept Student shop + Nestudio

68

1. Faculty of Planning Building 2. South Canteen 3. South Lawn

9

69

CEPT - House

70

NE(ST)UDIO

71

72

73

Section AA’ The section shows the part of the Nestudio and the student’s shop.

In this section Scalability can be seen as the structural mesh of vaults, the purse hangers in the shop and the furniture in Nestudio is made out of bamboo.

74

75

Section BB’ In this section, the transition of the student shop a the Archive’s shop is shown with its relation to the inner court. The different openings lead the user to reach out to the landscape and ultimately to the Archive’s shop.

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77

Section CC’ The section shows the parts of Nestudio and the Archive’s shop. This part of Nestudio is formal working space where each area is allocated to individuals.

It is based on the CEPT studio culture with facilities like model making space for each bay etc. The Archive shop acts as a small library with the retail part.

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79

13

CRAFT PROTOTYPE PLATE Split bamboo stand

mer

Knife

bit

Bamboo is one of flexible material,and bamboo craft acquires great adaptability because this characteristics of material. One of the technique to enhance the possibilities in bamboo is split bending.

This bamboo craft is one of the most contemporary practice , which designers have marked great explorations in this technique. The intention was to adapt this technique to make a simple design that functions as a daily object.

Mogri - Dye

Bent bamboo split section, 10mm thickness 80mm diameter

Nails

Bamboo culm 80mm diameter

The making of the module is easy to of dovel. The main base is the whole upper modules are attached as per re Bamboo Slate 8mm thick Saw

Bamboo Slate bracket 10mm thick

15mm diameter wood dowel for holding the module

Bamboo 70mm diameter

ain

Many variations can be done as the requirement of the design.

act

Base with the same repetition of module

Each piece is bent with the help of blow-torch and zig.

s acesired le

80

This is a modular design with flexibilit requirement of the space and showca examples are showing the same mod

Split ba

Process of craft

Chaku - Knife

Plier

Hammer

Circle drill bit

Knife

Bamboo is one of flexible m adaptability because this charac enhance the possib This bamboo craft is one of designers have marked great e was to adapt this technique to m

Mogri - Dye

Gas torch

8 - split

Nails

Cutting machine

Drill

Saw

Process of craft

Bent bracket made from bamboo slate is attached for the support.

Slate is used again as a horizontal member, which act as a holder.

Many variations can be done as the requirement of the design.

It is then split into the number of members required for the module.

Bamboo culm is acquired in the desired length of module

Each piece is bent with the help of blow-torch and zig.

81

Making a module

at

to oquestand

Making a module

ch ntion amboo craft acquires great aaterial. daily One of the technique to

o stand

Making a module

boo is split bending. amboo craftpractice acquires, which great ntemporary One of theThe technique naterial. this technique. intentionto boo is split bending. design that functions as a daily ntemporary practice , which n this technique. The intention design that functions as a daily

m

k

Bent bamboo split section, 10mm The making of the module is easy to assemble, which is attained by a simple joinery thickness 80mm diameter

of dovel. The main base is the whole bamboo. Firstly, the base is attached, now the upper modules are attached as per requirement.

Bamboo culm 80mm diameter Bent bamboo split section, 10mm thickness 80mm diameter Bamboo culm 80mm diameter

Bamboo Slate 8mm thick Bamboo Slate bracket 10mm thick

The making of the module is easy to assemble, which is attained by a simple joinery Alterations of module of dovel. The main base is the whole bamboo.

Firstly, the base is attached, now the upper modules are attached as per requirement.

The making of the module is easy to assemble, which is attained by a simple joinery of dovel. The main base is the whole bamboo. Firstly, the base is attached, now the upper modules are attached as per requirement.

Alterations of module

Bamboo Slate 8mm thick Bamboo Slate bracket 10mm thick 15mm diameter wood dowel for holding the module

Alterations of module

15mm diameter wood dowel for holding the module Bamboo 70mm diameter

Bamboo 70mm diameter

82

This is a modular design with flexibility of making an arrangement as per the

Base with therequirement same repetition ofofthe space and showcase of product. As, in the figure above the two module

Making a module

ontemporary practice , which in this technique. The intention e design craft that functions as a daily bamboo acquires great

material. One of the technique to boo is split bending. ontemporary practice , which n, 10mm rin this technique. The intention e design that functions as a daily

meter Bent bamboo split section, 10mm of the module is easy to assemble, which is attained by a simple joinery The making thickness 80mm diameter of dovel. The main base is the whole bamboo. Firstly, the base is attached, now the

upper modules are attached as per requirement.

Bamboo culm 80mm diameter

mm thick Bent bamboo split section, 10mm thickness 80mm diameter

Bamboo 80mmthick diameter Bamboo culm Slate 8mm wel

Bamboo Slate bracket 10mm thick

15mm diameter wood dowel Bamboo Slate 8mm thick for holding the module

Bamboo Slate bracket 10mm thick

The making of the module is easy to assemble, which is attained by a simple joinery Alterations of module of dovel. The main base is the whole bamboo. Firstly, the base is attached, now the upper modules are attached as per requirement.

Alterations module The making of the module is easy to assemble, which is attained by aof simple joinery of dovel. The main base is the whole bamboo. Firstly, the base is attached, now the upper modules are attached as per requirement.

Alterations of module

Bamboo 70mm diameter

15mm diameter wood dowel itionforofholding the module

Bamboo 70mm diameter

This is a modular design with flexibility of making an arrangement as per the

Base with the same requirement repetition of of the space and showcase of product. As, in the figure above the two module examples are showing the same module with different arrangements.

Base with the same repetition of module

This is a modular design with flexibility of making an arrangement as per the requirement of the space and showcase of product. As, in the figure above the two examples are showing the same module with different arrangements.

This is a modular design with flexibility of making an arrangement as per the requirement of the space and showcase of product. As, in the figure above the two examples are showing the same module with different arrangements.

83

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.

For me, Craft and design practice is not different. It is something that we inculcate in the daily practice. The designers today, take craft and design as two different entities because of lack the understanding of craft.

Craft is should not be taken as product, but as a process, sometimes for designers, it is just one outcome that they take as the final product but in reality there is no limitation to the end product. It depend on the understanding of the process , material or the detail that what we want to achieve through it or what scale we want to take out of the craft.

My theoretical position was, future of craft is Scalability. In my project, I wanted use one craft in different forms and at different scales. For this, I chose Bamboo as my craft, as bamboo and process of it both had great adaptability to address the different scales of the design.

I tried to explore, different bamboo craft at architectural, furniture/ space-making scale and hardware/ building product scale.

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For this I tried to understand the present usage of the crafts and then tried to rethink its possibilities in different areas. For example, the seat of the stool at Archive’s shop would be done by sieve making craft of bamboo.

Discuss how do you imagine your design position to manifest in interior architecture practice ?

Discuss how does your design position impact the craft production?

According to me, the only way to manifest my theoretical design position in interior architecture practice is by understanding the process/ technique. When we know the core of the craft then it is our decision on How and where we want to use it.

For the craft production, my theoretical equations widens the scope of the craft people.

As now, they are not only responsible for practicing that craft but also to spread the practice and educate designers about that craft. And to understand the craft , there has to be a need to understand maker of it. This education cannot be like a formal education, that we get for design, but more like learning from experiencing. Many designers pratice this and has proved that scalability exist and can be achieved by going through the process not craving for product/ outcome.

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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.