Student Portfolio
craft + future =
MINIMALISM
Priyanka Dalvi International Masters of Interior Architectural Design Semester 04
craft + future = ? Tutor: Rishav Jain TA: Karan Verma Spring 2020 Faculty of Design, CEPT University
Student Portfolio
craft + future =
MINIMALISM
Priyanka Dalvi International Maters of Interior Architectural Design Semester 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 =
MINIMALISM
Priyanka Dalvi International Masters of Interior Architectural Design Semester 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 the 21st century
Establishing a 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
Field visit experience, observation & learnings For field visits, we went to Hunnershala Foundation, Khamir, and Shrujan LLDC in Bhuj and also to the potter’s village in Gundayali, Mandvi. During the visit, we got to experience the making of different crafts like CSEB brick making, rammed earth construction, handloom weaving along with different textile printing methods, and pottery. Through the study of local crafts cluster in Ahmedabad, we identified and witnessed Block printing in Khadia, Stone carving & inlay in Gota also wood carving in Gita mandir and Mata ni Pachedi in Vasna. Further, I have detailed wood carving crafts. The factor that took my attention during all these visits was the little improvisations craftspeople made in the available machines and/or resources to adapt to the new demands of buyers and to get better products. While accommodating the innovations in craft technique the soul and authenticity of the craft were kept intact.
10
Know the CRAFT WOOD CARVING
In ancient times, people wanted to establish a balance in their daily activities and create a positive atmosphere in the community through craft. In almost every region wood was available, therefore many different wood crafts have developed in India. Each region developed its style of detailing based on the local traditions and available wood. One of the most used wood types is Sheesham along with Mango, Walnut, Deodar, Ebony, and Sandalwood. In Gujarat, the wood used for different crafts always came from outside. The main communities of carpenters are the Vansh, Mewada, Gajjar, Pancholi, and Vadnagara in Gujarat. CARVED WONDERS IN WOOD Gujarat’s vernacular architecture in wood has documented from the 12th century onwards. The common residences within neighborhood called the ‘pol’ were made in Burma Teak Wood. The decorative wooden lintels and lacing in the walls were not mere decor but also important earthquake-resistant construction techniques. The carvings are not only the ornamental elements but also have meaningful articulations of culture and identity. 11
Know the CRAFTCLUSTER Gita Mandir, Ahmedabad - wood cluster
A South-West road stretch of the Walled City, lined with wood workshops, is a cluster where craftsmen carry on the legacy of wood carving that is unique to Gujarat. This 12thcentury craft is continued not by locals, but craftsmen who migrated here from Delhi, Utter Pradesh and Kolkata some 15 years back. A growing population and rising cost of living coupled with increasing competition compelled them to look for clientele in other parts of the country. The shop owners and craftsmen have now established themselves as experts in richly carved wooden furniture and accessories. Sagwan (Teakwood) is procured from nearby states Madhya Pradesh and Maharashtra. The designs to be carved are made by the head craftsman/shop owner. They create a unique cross-cultural style of motifs. The artisans trace these paper stencil designs on wood and then lightly engrave over the outlines. Many crafts have a blend of cultures and religions. This wood furniture market is one such model of harmony and beautiful co-existence. Lati Bazar
12
Wood Carving Shops
Know the PROCESS
Surfacing of Wood on Planer
Cutting of Wood on Table Saw
Sketching the Carving Pattern on paper
Sketch Stuck on wood with adhesive
Outline Trimmed by Band Saw
Carving in the direction of Wood Grain
Rough Carving
Highlighting the Carvings
13
Know the PRODUCT RANGE
Accessories
Temples
Wooden carving can be done on various products ranging from Interior partitions to smallest accessories. The customization is possible in selecting the type of wood, size of the product, intricacy, and design of the carving along with the finishing layer. The costing of the product depends on the following factors: • Type of Wood • Size of the Product • Intricacy of Design • Man hours put to make the product 14
Mirrors
Furnitures
Sculpture
Interior Partitions
Know the EVERYTHING Know the TOOLS
Scanned by CamScanner Right Angle
Chisel, Bent & Spoon Gouge, U-Gouge
Hammer
SWOT analysis of the craft practice Strengths:
•
• •
•
The knowledge & experience with
the incorporation of technology has
manufacturing the large quantity
according to the client’s brief.
The seasoned wood itself is the very
durable material which increases the life of carved wood products.
Scanned by
Every product is unique and handcrafted.
The wooden carving craft can be evolved in terms of technology, produce the work in a lesser
•
As the carvings are handmade, of products is time-consuming.
The products can be customized
which will help craftsmen to
•
•
strengthened the craft practice.
Opportunities:
•
Weakness:
amount of time.
The craftspeople can collaborate with the designers and furniture factories.
Online marketing strategies to be
Threats:
•
•
Due to Urbanization, the
availability of seasoned wood might reduce in the future.
As the cost of hand-carved products is more, the
competition with the modular furniture is on of the biggest threat.
incorporated in the craft practice for better sell.
15
Technology
Resources
Collaboration
Craftspeople
Community
Global
Sustainability
Design
Identity
Local
Functional
Economy
Designer
History
Handmade
Technique
Demand
Mass
Employment
Women
Design
Sustainabilty
Innovation
Production
Empowerment
Card sorting - attempt 01: what matters to you?
Collaboration
Attempt 02 16
Craftspeople
Innovation
Technology
02
CARD SORTING
Technique
Collaboration
The basis of our understanding of crafts formed during the field visits to Bhuj and Ahmedabad. The idea of craft differed for each individual which was reflected in the card sorting exercise. The first attempt was made considering both the future technology and craftspeople which lacked in the design innovation resulting in increasing market demand.
Design Innovation
Technology
Further filtering the cards, my idea of craft redefined considering the collaboration of techniques with technology, craftspeople with the designer, and traditional material with design innovations. The continuous progression in crafts practice has resulted in functionally optimized products that cater to the changing demands globally. Today, the ultimate value of a craft lies in its process and not in the product or artifact.
Functional Final cards 17
03
POSITIONING CRAFTS
A study of crafts in the 21st century lead towards the projects’ global identity with the cultural heritage of India including varied and diverse craft traditions. While mapping the contemporary craft practices around the world, many practices believe going back to their roots where reinterpretation of traditional crafts, material, or technique bridges the gap between local and global. While few practices believe in new-age technologies but their construction techniques take inspiration from the regional materials. The concept of mass customization can be widely seen in craft-based projects where a particular module or pattern is used in repetition. Also, recycling or up-cycling of resources perform a significant role in reducing the project cost and leading a project to sustainable construction. While imitating tradition in terms of cost-effective construction, few projects challenge the material properties to create unique design solutions.
18
19
20
21
22
23
24
25
26
27
28
Positioning Crafts - Analysis After analyzing all 225 projects in the studio,
individually we categorized those according to the keywords. It helped me to understand my notion of craft production, contemporary craft-based interior design practices, and possibilities of crafts’ future. While finding the common threads between the different projects, I group them in the following four sections • Scaled up techniques, • Material innovation & Technique, • Technology, • Cost-Effective/Upcycling projects.
29
ESTABLISHING THEORETICAL POSITION
05
VISUALIZATIONS
Craft production Craft production in India is inspired by the historical elements & events in the past that lead to the observation of conventional materials, traditional techniques & precise craftsmanship in the earlier projects. The present production industry is based on the experimentation on contemporary as well as traditional materials where Design innovation plays an important role in creating a unique identity.
32
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft Production Craft production is inspired by the historical elements & events in the past. One can see the abundant use of conventional materials, traditional techniques & precise craftsmanship in the earlier projects. Today’s production industry is based on the experimentation on contemporary as well as traditional materials and improvising the conventional techniques as per the context. Design innovation plays an important role in creating a unique identity. The concept of mass customization can be widely seen in craft-based projects where a particular module or pattern is used in repetition. Also, recycling or up-cycling of resources perform a significant role in reducing the project cost and leading a project to sustainable construction. While imitating tradition in terms of cost-effective construction, few projects challenge the material properties to create unique design solutions. The budget constrains leads craftsmen to invent the low-cost technology within the available resources which helps them to easy execution and increasing market demand. Whereas the value of handmade products is very high the crafts have become the luxury. Craft + Future = ? Priyanka Dalvi | PG180748
Interior practice Experimentation, Reinterpretation, Experience, Innovation
The current interior practice lies in-between the traditional and modern approach which is not just limited to décor but also about creating identity through experimenting with design.
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Interior Practice Experimentation, Reinterpretation, Experience, Innovation Today’s the interior practice is not just limited to décor but also about creating the identity through experimentation in design and branding aspects. The scope of designer is to create a unique experience according to the clients need. To create the desired experience designers are taking inspiration from site context, the function of the space, tradition, and technology. Innovation is the crucial into design practice. Many practices believe going back to their roots where reinterpretation of traditional crafts, material or technique bridges the gap between local and global. While few believe in new age technologies but their construction techniques takes the inspiration from the regional materials. The execution of the project in designated budget decides the materials most of the time. Using locally available materials or recycled materials can help designer to achieve the desired result.
33
Craft + Future = ? Priyanka Dalvi | PG180748
Future Scenario The future could be a new codependent - ideation is done by humans and executed by machines. There could be few actions which will require the human efforts. The world could be masterpiece crafted by humans with technology.
Future scenario Technology, Mass Production The future could be a new codependent -
Future Scenario Technology, Mass Production The future could be a new codependent - ideation is done by humans and executed by machines. There could be few actions which will require the human efforts. The world could be masterpiece crafted by humans with technology.
ideation is done by humans and executed by machines. There could be few actions that will require human efforts. The world could be a masterpiece crafted by humans with technology.
M.Des, Faculty of Design
34 Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Priyanka Dalvi | PG180748
CRAFT + FUTURE =
MINIMALISM
Craft + Future = MINIMALISM To retain the skill of the craftspeople and craft, we
have to match the global trends by using limited resources to create the desired results. Hence I M.Des, Faculty Design of craft is in Minimalism. believe theoffuture Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Priyanka Dalvi | PG180748
35
05
POSITION PAPER CRAFT + FUTURE = MINIMALISM
Defining Crafts In the Indian context, crafts have been both for personal use and an expressional fulfillment and economic activity. It evolved out of being a product of use, then was ornamented and given an aesthetic appeal to it. (Dhamija, 1979). Future Scenario For the manufacturing sector, automation is the key to development which will be done by the mass-production. What is Minimalism? The term Minimalist is often applied verbally to suggest anything which is spare or stripped to its absolute essentials. The principle of Minimalism is about the understanding of reduction, and simplicity in its various aspects. It means using limited material to create the desired effect. A minimalist artist will typically use a limited palette of colours and have a simplified geometric design. Minimalist sculpture, on the other hand, is greatly focused on the materials. Usability is the core of many design concepts. The 36
designer aims to create an interactive system that is so non-complex. It becomes unrecognizable as a system, but instead simply fades into the background while quietly enhancing the abilities of the user to get the best out of it. Minimalism means a user-centric approach to all things, whether painting a canvas, designing a car or producing a piece of computer software. Comfort is an important feature in our world today; we end up purely using a trendy approach of interior design. The original aim has somehow been lost in the process of solely using the essence as a form itself. This approach supports an ideology that is not only fashionable but also inescapable in the future. Minimalism is about the meaningful utilization of elements. Unfortunately, it is very often mistaken for simplicity. Minimalism is not an idea, but a fact. There is a strong unconscious thirst for less.
Why?
How?
In the recent past, globalization has brought great changes across the world. The key characteristic of today’s global market is the speed with which the demand for a product and change in its style, design, and colour, offer greater opportunities to producers.The uncertain nature of handmade craft markets invites strategic approaches to reach global consumers. But, a delayed response can push these deep-rooted traditional handmade products out, replacing them with mass, factory-made, machine crafts. (Vanaja Menon Vadakepat, Faisal Al-Khateeb2012)
Minimalists say that it is not just a design philosophy, it’s a way of life, celebrating simplicity & clutter-free existence. Traditionally however India craft is quite opposite colourful, bold and intricate. Minimalism can take on warmer earthy colour palette, natural material, and traditional textures to uplift the design. The essence of Minimal Indian craft products would be designed to re-imagine the old-world charm through the simplicity and intricacy of patterns. We may lament the loss of the beautiful objects we now view in museums, but what if the ultimate value of craft lies not in the artifact but rather in the process by which it comes to be? (Ken Botnick, Ira Raja, 2011)
As consumers, we’re more aware of materials now – not just their visual and sensual appeal, but also where they come from, why they matter. We’re more curious about how things are made and who made them (The Craft of Design- Joyce Lovelace-2013) In India, the craft and design sectors share a symbiotic relationship. Through craft, the designer connects with the natural world and the collective past. Traditional craft skills are adapted to contemporary design (Sanjeev Kumar and Nandini Dutta2011)
It is this process that seems to be getting lost as the artisans are trained in the art forms by their ancestors over generations and craft was not about making a product. Rather, it was about a historic legacy of generations and centuries and a proud skill, a battle between tradition and industrial products, an expression of unique style and a vision of revival, all connected to the heart and spirit of each artisan. (Alexandra Soteriou,1998) 37
Figure 1: Mindmap
Figure 2: Atmosphere Fabrics ‘Chilman’ drapery • •
38
Varma.A. (2014). Samskara, made in India. Retrieved from https://www.anupamakundoo. com/samskara-made-in-india/ Chilman. (n.d.). Retrieved from https://www. atmospheredirect.com/chilman-3742.html
Figure 3: Samskara, Made in India designed by Anupama Kundoo
Design interventions have a very important role in each step of the process in creation of 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. (Design Intervention and its execution in Crafts of India- Amrita Panda) In short, collaborative innovation between designer and craftsperson is a good means of expanding the Craft vocabulary and tapping contemporary markets. Designers are thus an interface, between past & future, traditional & modern, trying to match craft production to the needs of modern times and demands (Sethi, 2005) Implementation The Indian fashion industry today is a great example of minimalism in terms of crafts. Designers today are working with the textile craftsmen with little innovation in traditional techniques. They have refined the product range relevant to an overseas audience. “It appears simple but there’s a lot of thought behind it,”
says Ruchika Sachdeva, who launched her label Bodice in 2011, and who follows a design
philosophy that is ‘neither more nor less, but just enough’. Made in India’ is a new brand that presented its products in an exhibition in Delhi with an international luxury store look; starting from a reference to Indian culture but developed into a contemporary international concept. The project investigates the survival of craftsmanship in an increasingly technological world, exploring traditional crafts as a way to develop new ways to approach the future, and ‘mixing crafts and design’. Architect Anupama Kundoo used large white granite slabs with grey speckles, finished with traditional hand leveling techniques to reveal a more interesting texture and enhancing the natural material rather than its common current application as shiny machine polished reflecting surfaces. The craft-based minimalistic project recall references to Indian culture in a contemporary application with the focus on particular crafting of the material, rather than the material itself. 39
06
ABSTRACTION
A minimalist artist will typically use a limited palette of colors and have a simplified geometric design. Minimalist sculpture,
on the other hand, will greatly focus on the materials.
Crafts = Technique + Material Further developing the theoretical position with an
abstract vision, I was working with the idea of how a seamless Cube can be designed with minimum required edges. The joineries are not visible because of its precision
in the craft production technique. This process broadened my notion of craft, about its simplicity in aesthetics and complexity in the process.
Understanding the Geometry of Cube to minimize the Number of edges. 40
8mm width square section welded together to get the desired geometry. 41
ESTABLISHING DESIGN POSITION
07
PROJECT MANIFESTO
CEPT as an institute, through its research and design approach, continues to work in the field of Building Crafts in India. To showcase this work, CEPT House accommodates the design shop which will exhibit and sell CEPT archive publications along with the student’s academic work like products, furniture, miniature models, and posters. The display will also have a student’s non-academic design products which will encourage them to work innovatively. It will also give the visitor a glimpse of CEPT’s journey through the decades. The campus is the architectural heritage, lacks in navigating the visitors. Thus, there is a need for a concierge area and eatery for an increased number of students and visitors by 2030. It will host an architectural tour of the campus and creates tourism awareness. The theme-based eatery will be the platform for connecting the tech-savvy generation to the traditional culture, architecture, and crafts of India. This will be a great platform to interact with students from different countries. Weekly International coffee breaks could be one of the initiatives organized by the University here. It will involve students by giving them exposure to architectural projects and craft practices which cannot be visited generally (requires permissions). The event will be organized every week. Students will be briefed about the design process of a project by the architect or master craftsmen. 44
Understanding Structure & Facade
The perpendicular G+1 level steel structure selected to
accommodate the shop and theme-based eatery. This
configuration provides the balance between indoor and outdoor spaces perfect for interactive activities.
Program Details 1. Design Shop – 130 Sqmt (50% of area)
3. Cafeteria (100sqmt)
• Display Racks for Publications & books (1Rack) • Furniture (Try and Buy) • Miniature Models pedestal display • Crafts Products by Students (Know the process & buy) • Souvenir’s Display Rack • Storage area • Billing Counter
• • • •
2. Concierge Area – 20 Sqmt • • • •
Information Desk Brochures Rack Display Screen Guided Tour
Kitchen Seating Area Outdoor seating area Gathering Space (30Sqmt) (For Talks & Forums, Movie Screening, and Guided Tour Briefing)
4. Outdoor Exhibition Area (50 sqmt) • Flexible Exhibition space will change every month. • Viewing Deck
45
08
DESIGN DEVELOPMENT
1 3
5
6
7
Site Plan 1. 2. 3. 4. 5. 6. 7.
Pedestrian Entry Vehicle Entry Proposed Shop & Cafe Parking (2 wheelers) CFP Building North Lawns Faculty of Architecture Building
Before Mid-semester, the site selected for the project was near the North entrance in lawns. The jury suggested placing a structure to another possible location to preserve the integrity and identity of the north lawns intact. The following drawings were the turning point in the design process, changing the location and overall design approach.
Preliminary Design Stage 46
2
4
2 6
5
4
7
3
1
8
Ground Floor Plan 1. Books & Publications 2. Student’s Models 3. CEPT Model 4. Furniture
5. 6. 7. 8.
Souvenirs Concierge Area Outdoor Exhibition Courtyard
5
4
6
3
1
2
First Floor Plan 1. Retail Area 2. Digital Order Display 3. Community Seating Space
4. Pantry Counter 5. Store 6. Viewing Terrace
47
Understanding the Context
Interior Experience The concept of interiors developed to work with one seamless element which will run through the flooring, display walls, and even in the ceiling. The intention was to evolve one system for the entire space.
Preliminary Design Stage 48
Interior System Development Functionality is the core of the design concept. An attempt to create an interactive system that fades into the background enhancing user experience.
Further developing the interior system with the series of wire models to understand the different configurations and design possibilities.
Concept Development 49
09
CRAFT MATRIX
50
51
10
CRAFT DESIGN IDEAS
An interior language is developed incorporating the metal and clay material craft techniques. The metal elements introduced in the space are customized to become a display and lighting systems. Keeping the essence of the craft technique intact, the interior follows the minimalistic design approach. I have taken metal as an important resource complementing the exposed structural steel members for craft detailing. Further studying metal crafts in India, I have learned that the sandcasting process was one of the conventional techniques. Along with that engraving and bending process is used which does not have an archival background. Thus design reinterprets the craft technique which will focus on the functional aspects of the product rather than the ornamentation.
52
Junction - Facade Clay Tiles 1. Craft - Molela Clay Tiles 2. 5 Diffrent types of Textures for standard tile size (600mm X 600mm)
53
Space Making Element - Wall Mounted Shelf display with light fixture 1. 1. Craft - Metal bending and casting 2. 2. 24 mm Dia Metal Pipe with 3 mm thk sheet metal in Brass finish
54
Hardware : Glass Door Handle
Hardware - Glass Door Handle
Craft : Ceramic, Metal Bending & Casting
1. Craft - Ceramic, Metal Bending and casting 2. 38 mm Dia Brass Metal Pipe with pattern in white ceramic
55
Space Making Element - Shop Display System 1. Craft - Metal Bending, Engraving, and casting 2. 24 mm Dia Brass Metal Pipe with 3mm thk sheet metal in brass finish
56
SME : Display Pedestals
Space Making Element - Shop Display Pedestal
Craft : Sheet Metal Embossing & Clay Cast Tiles
1. Craft - Metal Engraving and Clay casting 2. 3mm thk sheet metal in brass finish and matt finish clay tiles
57
Space Making Element - Coffee Counter with seating 1. Craft - Metal Engraving and Bending, Clay casting 2. Matt finish clay tiles
58
Hardware - Hanging Light Fixture 1. Craft - Metal Bending 2. 24 mm Dia Brass Metal Pipe with brass finish
59
Junction - Floor Fixing Detail of display system in shop 1. Craft - Metal Bending, Engraving, and casting 2. 2. 24 mm Dia Metal Pipe with 3 mm thk sheet metal in Brass finish
60
Space Making Element - Cafe Facade Pivot Windows 1. Craft - Glass etching and sandblasting 2. 6mm thk glass with hatched surfaces as textures in transperenet glass
61
MANIFESTING THE DESIGN POSITION
11
ILLUSTRATIONS InterCEPT
InterCEPT will become the physical link between Shrenikbhai Plaza and SID Plaza, making it an ideal location for students’ shop and interactive activities. The campus is the architectural heritage, lacks in navigating the visitors. Thus, there is a need for a concierge area and eatery for an increased number of students and visitors in 2030. It will host an architectural tour of the campus and creates tourism awareness. The theme-based eatery that will be the platform for connecting the tech-savvy generation to the traditional culture, architecture, and crafts of India. An interior language is developed collaborating the metal and clay material craft techniques. The metal elements introduced in the space is customized to become a display and lighting systems. Whereas textured clay tiles form exteriors of the building, following the color palette of campus. Keeping the essence and the production process of craft technique intact, the interior follows the minimalistic design approach.
64
65
12
DRAWINGS 10
9
11
0.00MLvl.
+0.80 M -0.48 MLvl.
+1.61M 1
12 2
4
66
8
MLvl.
MLvl.
Site Plan
3
7
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
Pedestrian Entry Proposed Shop & Cafe Library SID Plaza Faculty of Design Faculty of Technology South Lawns Faculty of Planning Garba Ground North Canteen Toward Kanoria Centre Toritos
67
2
2
1
3
4
9
5
8 7 6
Ground Floor Plan 1. 2. 3. 4. 5.
68
Retail Area Digital Order Display Communal Seating Space Pantry Counter Coffee Island
6. 7. 8. 9.
Seating Area Outdoor Seating Store Grey Granite Flooring with brass spacers
8
7
9
11 4
2
5 6
10
3 1
11
First Floor Plan 1. 2. 3. 4. 5. 6. 7.
Books & Publications Student’s Models CEPT Model Furniture Souvenirs Concierge Area Outdoor Exhibition
8. Flexible Display System for Outdoors 9. Courtyard 10. Grey Granite Flooring with brass spacers 11. Store
69
Library
Pedestal Entry
South Elevation
South Elevation Showing grid of Facade clay tiles with the contrast of Steel structural members and glass show windows 70
Outdoor Seating Area
Proposed CEPT Shop Stacked on cafeteria
Towards Kanoria Centre
SID Plaza
Seating Area
Coffee Island with food display counter
Pantry Counter
Section AA
Library
Pedestal shop entry Books, Catalogues, & stacked on store Publications Display
Communal Seating Space with retail & digital order display
Models & Miniature Furniture model Display
Signage Wall
Conceirge Area with Souvenier Display
Shrenikbhai Plaza
Towards Kanoria Centre
Section BB
Section AA Showing different activity zones in the cafeteria with the shop’s outdoor exhibition area
Section BB
Showing Shop Display System with cafe seating area 71
Towards Kanoria Centre
Cafeteria - Highlighting the retail display and lighting system. Clay tile pattern
Sectional Perspective Showing overall space experience
72
Showing grid of Facade clay tiles with the contrast of Steel structural members and glass show windows
Outdoor seating connecting the SID plaza & Shrenikbhai plaza visually
Store
Library Premises
73
13
CRAFT PROTOTYPE PLATE
Detailing The Making of Display System in Shop
Key Plan
Highlights the detailed display area in shop
The display system in shop is designed with minimal lines. It consists of a structure of iron pipe, rod, and sheet metal shelves which terminates with a subtly engraved fold. Enclosed within the sidewalls, the assembly is supported by a series of struts to create visual lightness.
Sheet Metal engraving and bending process
Sand Casting Process
Positive Pattern made of wood/3D printing is place in sand to create mold. Negative Mold is made with casting mix, Sand & molasses. 74
Tools - Pneumatic gravers of diffrent shapes
Clean the Metal surface with the cloth.
To get the negative, Positive mold is removed sand is compressed & vents are created for firmly in the form work. molten metal to flow in formwork.
Molten metal is poured into mold & allowed to set.
Polished Brass Finish for Cast Iron support members
Brushed Matt Brass Finish for Sheet metal horizontal shelves
Material Finishes Craft Techniques The display system is designed with the craft techniques of Sand Casting, Metal Bending, and Engraving. Designed considering the minimalistic approach, the engraving is done on the folded edges of shelves which can be used to tag the particular product. 3-axis Bending of iron pipes gives the floating effect to shelves. Display System View
Models, Poster and book display
Draw the design on metal surface.
Compression benting of pipe & rod against the stationary form. After Bending and casting of metal members, the brass electroplating is done.
Clamp the sheet metal to place, to prevent it from slipping.
Insert sheet metal into the bending brake beneath the removable clamp bar. Adjust the edge of sheet to set desired bend line.
Cut into the design.
Attach a pair of C-clamps to hold the sheet in place. Lift the handles of the apron to bend sheet to desired angle. 75
455
110
1
1 455
100 110 100 100
100
350
350 100
100 100 110 100
150 110
100 150
135 100
135 295
100 135 70 100 70
295 135
2400
100
100
425
425
2400
455
110
100
100
350
100
100
110
150
100
135
295
135
100 70
2400 350
100
110
150
100
135
295
135
100 70
2400
30 75
15 20 105
230 250
1160 435
40
75
75
15 20 105
Plan 230 250
15 15 15
135
230 250
30
30
15 15 15
15 15 15
40
40
230 250
270 320
270 320
320
76
270 320
55
Book Shelf
Material - 3mm thk Sheet Metal Finish - Brused Matt Brass finish Production - Process - Engraving - Punching - Bending - Finishing (Electroplating) 55
40
Material - Carbon Steel Finish - Brused Matt Brass finish Production Process - Sand Casting Finishing (Electroplating)
40
Floor Fixing Hardware
Elevation 55
Section
Plan
55
320
280 320
40
40
40
320
280
270
40
40
40
320
280
40
Elevation 280
135
15 20 105 15 15 15
- Finishing (Electroplating)
40
435
40
135
Material - 25mm dia Iron hollow pipe Finish - Polished Brass finish Production Process - Punching - 3 axis Bending
40
135
15 20 105
Supoorts For Shelf
30
Section
75
Elevation
40
435
700 1160 435
435
435
1160
1160
435
700 435
700
700
1160
1160
Plan
1160
100
700
100
700
100
1160
110
700
700
455
15
850
15 15
15
15
525 495
525 495
15
850
Elevation
65
65
50 10 1515 10
50 10 1515 10
Plan
Section Shelf
Material - 3mm thk Sheet Metal Finish - Brused Matt Brass finish Production Process - Engraving - Punching Bending - Finishing (Electroplating)
Orthographic Drawings with Material Specifications 77
Supoorts For Shelf
Material - 25mm dia Iron solid pipe Finish - Polished Brass finish Production Process - Punching - Bending - Finishing (Electroplating)
Struts
Material - Carbon Steel Finish - Brushed Matt Brass finish Production Process - Sand Casting - Thread Rolling Finishing (Electroplating)
Supoorts For Shelf
Material - 25mm dia Iron hollow pipe Finish - Polished Brass finish Production Process - Punching - 3 axis Bending - Finishing (Electroplating)
Elevation Shelf
Material - 3mm thk Sheet Metal Finish - Brused Matt Brass finish Production Process - Engraving - Punching - Bending - Finishing (Electroplating)
Poster Display
Material - Variable as per display requirement
Cable Hanging Display
Material - Brass (Wire 1.2mm dia) Finish - Brused Matt Brass finish Production Process - Sand Casting Finishing (Electroplating)
Exploded View with Material Specification 78
Supoorts For Shelf
Material - 25mm dia Iron hollow pipe Finish - Polished Brass finish Production Process Punching - 3 axis Bending - Finishing (Electroplating)
Wall Mounting Hardware
Material - Carbon Steel Finish - Brused Matt Brass finish Production Process Sand Casting - Finishing (Electroplating)
Elevation Book Shelf
Material - 3mm thk Sheet Metal Finish - Brused Matt Brass finish Production - Process - Engraving - Punching Bending - Finishing (Electroplating)
Floor Fixing Hardware
Material - Carbon Steel Finish - Brused Matt Brass finish Production Process - Sand Casting - Finishing (Electroplating)
TAG Section & Elevation
Signage
Material - 3mm thk Sheet Metal Finish - Polished Brass finish Production Process -Engraving -Bending -Finishing (Electroplating)
79
REFLECTIONS
Describe what does craft means to you as an Interior designer/architect?
Discuss the design position you took with reference to the established theoretical position.
I believe the ultimate value of a craft lies in its process and not in the product or artifact. As a designer, I would like to work with the techniques of the craft in interior projects rather than restricting it to just the theme-based interiors or artifacts.
The crafts being evolved out of need, functionality is the core of it which also applies to the concept of minimalism. The principle of Minimalism is about understanding the reduction, and simplicity in its various aspects. It means using limited material to create the desired effect.
The design should bring together the sheer diversity in crafts expression, process, and innovation. A designer needs to think of the wellbeing of the crafts community by understanding the global market trends and improving craft production accordingly.
Further my notion of with its simplicity and complexity in
Primarily Interior design can become a medium to preserve crafts by incorporating material exploration study in their educational curriculum. The innovative craft design approach should use as the basis of design in projects of various scales. There is a need to have a collaborative approach to broaden the craft vocabulary by the designer to capture the modern markets. This integration will help the designer to project a holistic concept for positive results.
82
craft in the
broadened aesthetics technique.
It helped me to develop the system which defines the overall design language. This functionally interactive system simply fades into the background enhancing the user experience. This process was taking place simultaneously with the idea of space planning. An interior language is evolved using metal and clay material techniques. The metal elements introduced in the space is customized to become a display and lighting systems. Keeping the essence of the craft technique intact, the interior follows the minimalistic design approach.
Discuss how do you imagine your design position to manifest in interior architecture practice?
Discuss how does your design position impacts craft production?
Minimalism means a user-centric approach to design. This approach supports an ideology that is not only trendy but also inescapable in the future. Minimalism is about the meaningful utilization of elements. Unfortunately, it is very often mistaken for simplicity. It is not an idea, but a fact.
The craft has always been about the optimum utilization of materials and techniques, later the ornamentation is added to give an aesthetic appeal. The craft is in the technique, whether it is handcrafted or precisely machinemade. To attain and retain the simplicity of crafts minimalistic approach is essential.
Traditionally, Indian crafts are quite opposite colorful, bold, and intricate. Minimalism can take on warmer earthy color palette, natural material, and traditional textures to uplift the design. The essence of Minimal Indian crafts would be designed to re-imagine the old-world charm through the simplicity and intricacy of patterns keeping the production technique intact.
The craft production will explore the survival of craftsmanship in an increasingly technological world and traditional crafts as a way forward in the future mixing crafts & design.
The craft-based minimalistic project associates a relation to the Indian culture in a contemporary form with the focus on the particular crafting technique on the material, rather than the material itself.
The present production industry will experiment on contemporary materials with conventional techniques or inversely to achieve desired unique results. The design position of minimalism concentrates on retaining the techniques and processes of the diverse crafts while transforming the aesthetics according to the modern era.
83
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.