Raphael Maier // Portfolio // Craft + Future = DIY

Student Portfolio

craft + future =

DIY

Raphael Maier Master of Design (Interiors) Semester 02/04

craft + future = ?

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

Student Portfolio

craft + future =

DIY

Raphael Maier Master of Design (Interiors) Semester 02/04

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 =

DIY

Raphael Maier Master of Design (Interiors) Semester 02/04

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. Drawings 12. Illustrations

Reflections

CRAFT. PRACTICE. PRODUCTION.

01

FIELD MAPPING

By visiting the craftsmen’s workshops we had the first insights into the work of the craftsmen, this was the foundation for our further work. In order to be able to work with the idea of craftsmanship, one must understand craftsmanship, work and craftsmen. This insight into the different workshops gives you an idea of what the daily routine is like there.

Let`s get to know metal-casting Origin and History Casting technology can be traced back to 5000 BC. The technology of metal casting was found in the Middle East, suggesting that the process was developed in India and China.

The technique was found to produce early tools and weapons. They have been cast in relatively simple single or double piece moulds, usually of ceramics or stone.

The first steel products were made in India in 500 BC. but through time the process was lost.

Gold, silver copper, iron, lead, mercury and tin are the metals that are able to be metal casted. The basic method of melting of metals and using patterns, solidifying the metal in mould has remained the same.

There were also some religious practices of casting like the lost form or bell casting which are still followed.

Philosophy of the craft The craft of metal casting is a very common industrial process with a simple principle that can be applied all over the World. This method realizes a reduction of the work in the forgiving processes.

The poring of steel leads to many possibilities in the three dimensional designing process of complex parts which can be hollow. The process still regards a cretin amount of rules in the process of designing parts. The process is made for high quantity, for single peaces or low quantity it is a to high in expense.

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Know the PROCESS

1.

Pattern or the masterpiece for outer shell.

2.

Course sand is added to the mixer for the mold making. It is added 75% by weight.

3.

Pattern or the masterpiece for inner shell.

Molasses is added to the mixer for the mold making. It is added 25% by weight.

4.

Pouring the mix in the lower mold.

Pressing it manually and leveling it with hand and wooden ply piece.

5.

Fixing the upper form-work to get the upper impression of pattern. The mix is compressed firmly to get the shape perfect.

6.

Fixing the pattern for the outer shape. It is done very carefully and then talcum powder is applied to make the lower mold non-sticky.

Pouring the mix in the upper mold to get the complete impression of the pattern. It is then compressed firmly, and kept for some minutes.

11

Know the PROCESS

7.

8.

It is then opened to keep the negative

It is then opened to keep the negative

randomly and with a torch it is the fired

created.

pattern, so that the empty space can be

mold. Talcum powder is spread up.

9.

10.

Cavity for the molten `metal to flow into the mold.

The carbon bucket is then kept on the sand for the further refining of the metal.

11.

After the negative pattern is carefully kept

on its place, Holes are made for liquid metal to flow into the mold. Now, the form-work is closed and it is ready for the casting.

In the molten metal, salt is added to

remove the impurities and then further more chemicals are added to remove the air and gases.

12

Know the PROCESS

Sectional View of the Formwork and Casting Cavity

12.

Upper form-work Sand mix Negative Pattern Sand+Silicon+co2 Lower formwork Cavity to hold the negative

Form-work lock Now, the molds are ready for the casting and

with the help of bucket thongs, it is slowly tilted to pour the metal into the mold. A heavy weight is kept on the mold so that there is no excess of liquid metal.

Form-work

Casted metal in the sand mixture. It is hammered to

extract the casted piece

Final casted piece, which

then goes for buffing and other finishing processes

13

Know the TOOLS

Sand Mixer

Weight Bar

Heat resistant gloves

14

Edge picking Thong

Bucket Thong

Carbon

Plyer

Hammer

Form-work

Bucket

Know the TOOLS

Sand mixer-1 Large capacity Aluminum furnace 3 Small furnaces Coal storage pit Working pit for the negative mold making Sand Pit

Sand mixer-2 Sand mixer-3 3 Small furnaces Aluminum furnacelarge capacity Gun-metal furnacelarge capacity

15

Know the CRAFT

Fig 01: Automobile parts

Fig 02: Ornaments

Fig 03: Icon of Ghandi

16

Know the CRAFT

PRODUCT RANGE OF METAL CASTING The process of metal casting is a very common method. Formed parts can be produced through poring melted metal into casts, which can be out of sand, ceramic or reinforced metal. There are two main production methods, the reusable casts where the cast is out of reinforced steel, which gets filed with the hot metal under pressure ore in a vacuum, this is used to do a big number of pieces. The form thou can not have any kind of negative bevel, this is relevant to get the form piece out of the cast.

The other process, which is the most common way of casting is the lost cast process. In this process the cast can not be reused after poring the metal in, because the cast has to be destroyed to get the peace out of the cast. This method can also be used for pieces that have a overlapping surfaces, for a wax model gets placed in the sand which will disappear after the hot metal is poured in to the form.

Products that are build: - Metal screen - Automobile parts - Metal box - Ornaments - Sculpures / Icons - Tools

17

Card sorting - attempt 01: what matters to you?

Attempt 02 18

02

CARD SORTING

The task of sorting cards was the introduction to the Craft topic and broke the ice to start talks in the semester group. Herewith the principles for the further work were laid down, what is important to me, what do I want to achieve, what are the key elements of further work. Here one has already early noticed what is important to the individual students.

After the reduction to the five final terms were still left for me: - design innovation - functional - identity - collaboration - community

Final cards

These five notions were for me fundamental elements in working with crafts today and in the future. For me as a designer it is important to make progress in a certain way. Because without progress there is no innovation. Everything that is designed should also have a function, because if this is not given a product becomes irrelevant and decorative.

This can be through identity, craft is an expression of culture and the people behind it. There is little that people can identify with more than their local handicraft.This is also always a local indicator, through craftsmanship can always be defined where something comes from or originates. This has to be concerted and should not be lost even with all innovation. Because when this happens, things usually become irrelevant again. This can be avoided by working together with local craftsmen and designers and by exchanging ideas with local people. My idea was to bring the individual craftsmen together to create connections between the different disciplines. Through the newly created connections it should be possible to form and strengthen a community. Whoever works together will also get along with each other. The final product should be even more diverse.

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03

POSITIONING CRAFTS

The aim of this task was to analyze 25 realized examples of the topic Crafts and to look for a clear reference for our further work. Here the boundaries of Craft were defined. The task illustrated what is possible with craft and what the consequences are. For me, the previously interpreted terms became the guide for the selection. In addition, one could ask the first concrete questions.

What is Craft for me?

What are the possibilities?

Who are the users?

What are the functions of the individual elements?

Who benefits from them?

All these questions could be worked on in the task and made visible. Questions about the areas of application were clarified, whether for communities, stores or exhibitions.

This insight was necessary to be able to estimate the scalability for further work.

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Exercise 03: Positioning Crafts

Represent India

Project: Samskara, Made in India Built in: 2014

Designer: Anupama Kundoo Location: New Delhi, India

Image

Image

Why this project?

Key Words

The store “Made in India� is a project that focuses on the interaction between the craft of North, West and the Nothe/West of India. For that Anupama Kundoo build a interior out of handcrafted large white granite slabs to show how they could also be used. These slabs are finished with waxed and coloured cement pigments, either off white or turpuoise blue.

integrativ different use craftspeople/designer landscaping referring

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

Craft + Future = ?

Raphael Maier | no code jet

21

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Travelling pavilion Project: The Bonjour India Experience Built in: 2018

Showing process Project: Devon countryside villa Built in: 2018

Designer: SpaceMatters Location: New Delhi, India

Image

Image

Designer: Peter Zumthor Location: South Devon, England

Image

Image

Image

Why this project?

Key Words

Why this project?

Key Words

The pavilion showes how indien crafts can tranform in something new and modular. The strukture was able to be moved to several places an serve the purpose of the exebition.

modular indo-French innovation partnership

Peter Zumthor always showes what a high level of detailing and craftsmenship does in a building.

The rammed concrete walls show the proces of building, every layer showes a day´s work. This kind of building makes processes understandable.

detailing low-tech process true

https://www.archdaily.com/892989/the-bon-

https://www.dezeen.com/2018/10/29/

jour-india-experience-spacematters?ad_

peter-zumthor-secular-retreat-living-architec-

source=search&ad_medium=search_result_

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

Craft + Future = ?

Raphael Maier | no code jet

Exercise 03: Positioning Crafts

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

Craft + Future = ?

Raphael Maier | no code jet

Exercise 03: Positioning Crafts

Discrede tradition Project: House of Giants Built in: 2018

ture-villa-devon/

Transforming craft Designer: Interare Arquitectos Location: Valencia, Spain

Image

Image

Project: Brick Vault Library Built in: 2015

Designer: sP+a Location: Kopergean, Maharashtra

Image

Image

Image

Why this project?

Key Words

Why this project?

Key Words

The project showes how simple and discrede tradition can be.

The Architects used local materials on the flore and on the surfaces as well on the front facade. Stone carvings has been placed on the front facade.

discrede craft local carving blending in

The project showes very good how new technologys and traditionol crafts can build a whole new tipologie of buildings.

In a form it is a very global projects, know-how from all around the gloub has been used to build the project. The recurses thoe are local.

hybride global/local networking transforming craft

https://www.dezeen.com/2020/01/14/

https://www.sp-arc.net/?p=39

house-of-giants-valencia-interiors/

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

22

Craft + Future = ?

Raphael Maier | no code jet

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

Craft + Future = ?

Raphael Maier | no code jet

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

New ways

Project: Vitra Schaudepot Built in: 2015

Old pathern Designer: Herzog de meuron Location: Weil am Rhein, Germany

Image

Project: Historisches Museum Built in: 2017

Designer: LRO Location: Frankfurt, Germany

Image

Image

Why this project?

Key Words

Why this project?

Key Words

The project shows how you can make something new something unique with a standartised materil.

Herzog de Meuron used standart bricks and let them split in half, throu the broken surface a relieflike facade results.

relief-like inovativ low-tech

This project works with old patherns in the facade an how the surface strucktue changes the look of a material.

They also used red sandstone which is really common for the area.

historic refering pattern relief-like

https://www.archdaily.com/794052/gallery-her-

https://www.detail-online.com/artikel/

ra-campus-photographed-by-laurian-ghinitoiu

torisches-museum-in-frankfurt-31198/

zog-and-de-meurons-schaudepot-at-the-vit-

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

Craft + Future = ?

Raphael Maier | no code jet

Exercise 03: Positioning Crafts

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

Craft + Future = ?

Raphael Maier | no code jet

Exercise 03: Positioning Crafts

Simplicity of craft Project: Inside out school Built in: 2017

urban-development-expansion-to-the-his-

Layers Designer: Andrea Tabocchini and Francesca Vittorini Location: Gahna, Africa

Project: Spinelli Built in: 2016

Why this project?

Key Words

Why this project?

Key Words

This is a grate project to show how cllaboration can work, the planing was made by the designer together with the community.

The simplisity of the construction makes it easy to build - just earth, wood and vegetation.

community independent low-tech

It was build with a group of students. The projekt showes a wooden pattern throu layers of wooden planks.

relief-like surface regular transparent

https://www.designboom.com/architecture/

https://www.archdaily.com/58695/atelier-bar-

inside-out-school-in-ghana-andrea-tabocchi-

dill-valerio-olgiati

ni-francesca-vittorini-11-13-2017/

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

Craft + Future = ?

Raphael Maier | no code jet

Designer: Andreas Kretzer Location: Mannheim, Germany

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

Craft + Future = ?

Raphael Maier | no code jet

23

Exercise 03: Positioning Crafts

Modern-relief

Project: Atelier Bardill Built in: 2007

Designer: Valerio Olgiati Location: Scharans, Switzerland

Image

Image

Why this project?

Key Words

The architect showes how concrete can be also used to make a reference to old patterns.

The irregular placement of the pattern thaks the monotonically of a concrete facade and lets the viewers eyes wonder over the surface.

relief-like surface irregular ornamentation

https://www.archdaily.com/58695/atelier-bardill-valerio-olgiati

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

24

Craft + Future = ?

Raphael Maier | no code jet

Exercise 03: Positioning Crafts

Divers

Project: Yardhouse Built in: 2014

Designer: Assemble Location: London, England

Why this project?

Key Words

The Yardhouse is a example where the Designers them self are also crafting the building and create a divers facade. They use differnt coloured concrete tiles which they produce them selfes.

collaborative Designer=Craftspeople Diverse

https://assemblestudio.co.uk/projects/yardhouse

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

Craft + Future = ?

Raphael Maier | no code jet

25

ESTABLISHING DESIGN POSITION

05

VISUALIZATIONS

Interior practice Collaboration as a interior practice leads to a more divers product, the scale of things ca be changed and the design possibilities will be bigger and more innovative.

The idea is to combine, layer or influence two practices with each other and through that build a new and innovative product. Thinks will be able to be used in different ways.

Different materials can influence the crafts and make it possible that new and sustainable ways of building or products are made.

The collaborating will influence the product, so you might see common products in a other material. Products which you used to know in a other relation. Products or methods which were used to be practiced in furniture or in a small scale will be used to build houses or pavilions. So the design possibilities are in size, layer and purpose.

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Craft production The idea is to combine and work more interdisciplinary among the different craft‘s.

Give the craftspeople a platform where they can work together. Through the combination and the collaboration of crafts a influence among each other will appear. The craftspeople will be able to learn from each other in term‘s of practices, process and design. Technology, infrastructure can be shared an innovation can happen.

Due to the different advantages of the crafts and the different materials, there will be a changes in the size, the structure and the variety of the products. Still the products will blend in due to the fact of tradition. The different traditions will influence each other and there might be a change in the patterns as well. Through that the products will be more divers. Combinations of materials could be wood and fabric, steel and bamboo or brick and Jali.

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„I believe there is another world waiting for us. A better world. And I‘ll be waiting for you there.“ David Mitchell // Cloud Atlas

Future scenario To reduce cost and build for a constantly growing population, thinks and building materials will be standardized. Through the standardizing the personality will be reduced, buildings will more and more look the same.

The daily manner will be optimized and standardized. All Kindes of Infrastructure will be reduced from the streets, such as shopping, delivery & mobility. This functions will be provided by robots or underground.

The world will be given back to the nature. Energy, food and water will be provider by the buildings them self’s. When parts of the building get intelligent the building will be able to adapted and get more energy efficient. This will be adapted from nature. Buildings will be able to build and transforms on there own.

In all this, craft will be the indicator of location and time. This will be a important part for human kind, through time travel and teleport-ion people need indicator where thy are. The craft also has the possibility to be the transition of old and new.

The world will be beyond borders. Space, time and the matrix will be merching, there won’t be borders anymore.

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CRAFT + FUTURE =

DIY

31

05

POSITION PAPER CRAFT + FUTURE = DIY

What is the future of a designer?

For me the essence of design is craft, it is the way through which a designer can show his imaginations and approaches for the future. But for decades craft was just a reproduction of traditions, patterns and techniques. This led to no innovation and reproduction of static constructions. If you go back and see for what and who these products where made you understand why these products where build this way. The products where made for local people which was at the time the right approach but as the world gets more and more comprehensive craft should do so as well. In the future where the world is mostly ruled by a few firms like Google, Apple and BP which operate on a global scale and try to get on the Indian market. IKEA just now has opened its first store in Hyderabad, India.

With specialized products for the need of India’s people. In the future there are 24 more stores planned, so we can tell that there is a trend and also a market for such systems. IKEA will have to invest 1.5 Billion for the expansion, one reason for this is that they have to rebuild the infrastructure at the chosen destinations. (SVZ, Christian Strahl, 2018). That is the big advantage that Indian firms have, they already have the infrastructure here in India, so instead of giving up, the Indian craftsmen should use the advantage, learn from firms that are operating on a global scale and even collaborate with them.

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The practice for the craft peoples is divided in to three parts.

The first part is that the local workshops should collaborate to save resources and combine the knowledge and know-how. Further on they should also build combined workshops where the different crafts have the possibility to work interdisciplinary together and optimize they’re products. This will help to increase the production and the product variety.

The second part is work and establish cooperation’s with the big firms. The majority of companies are always searching for new and innovative products, which still have a identity to them. In the last few years the product identity has mainly increased, costumers seek to know where the product is coming from and who is the person behind it.

The third step is “learn from the big ones and adapted systems” What are the systems. The system behind this is simple, combining function, quality, design and value to a product that is affordable. All the products have a simplified design, are totally functional and are optimized which can be seen in the packaging of products.

This is still a big economic factor, “make the products transportable”. There is the possibility for a designer to use, combine and work with the different practices to make a more practical and functional product.

Cr af

er ign

tp eo

ple

s De

Product

Customers The base of the most IKEA furniture’s is a modular system, that makes the product easy to construct and deconstruct on your own. So the customer is free to chose how he whanst his product. To prevent a loss of tradition and craft the process of redesign should always be in a three way discussion between the customers, craft people and the designer. One can not be without the other. The Craft people bring the experience. The Designer will bring the innovation and combines all the crafts. For the customers it is impotent to have a connection to the craft people and for the designer it is needed to know what the marked wants.

In the future everything will be prefabricated and standardized especially in metro poles all over the world. In “S, M, L, XL,” (Rem Kohlhaas,1995) instead of one quintessential city we will have “generic city`s” repeated across the globe. For Rem Kohlhaas the generic city is free from context, history and identity. It is a blank page, that allows its inhabitants to make out of themselves what they want. History has no place in the generic city, except as a neatly packaged experience for tourists. A great example is Singapore`s Chinatown, Malay Quater or Little India. The residents of the generic city look ahead, not behind them. The generic city represents the ultimate triumph of modernism and science.

The generic city is modular, it can just as easily be taken apart as put together. As seen in many Asian city’s while once designed to please

western eyes they now set their own agendas including instituting such practices as “artificiality, non-democracy, mass housing, cultural and racial manipulations.”

In his book Rem Koolhaas saýs that the “Generic City” is free form context, history and identity but can’t in this scenario craft be the bridge between old and new it will have the possibility to combine both worlds historic and modular.

It can be a indicator of space and time, showes you where you, in a future that is more global than ever. The products will be able to get soled in a global scale, showing the world that India is more than Sari and Shiva icons.

The quintessence for me as a designer is, making the traditional products modular and self at home constructible. Giving back identity to every household that will lack from identity because of its generic. It will be a standardized product but over all it shows a sense of Craft. The customer will be able to feel this sense through the process of DIY.

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06

ABSTRACTION

After we had set our design position it was possible for us to abstract it as a physical model. Here it was important to specify the position and to go into the elementary things. For me it was important to show the reproducibility and the optimizability from the beginning. Which, however, is loosened up by the individual blue colored elements. This approach should show the connection between modern and tradition a handcrafted element is connected by an optimized element. it shows the possibility of Craft as a bridge for old and new. it shows the possibility of a more global craft. The modular is and can be changed by simple hand movements.

Simplification Optimization Modularity

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35

ESTABLISHING DESIGN POSITION

07

PROJECT MANEFESTO CEPT - Well

I chose the two-storey building because it best fits my idea of the future and the „generic city“. In the discussion we decided on a combined construction, the lower part of the building will be built from a solid concrete foundation, on which a light metal structure will rest. This structure will be very light (mies van der Rohe) and put on top.

The shop will be located on the first floor, which is divided into two areas and with a central counter. On one side books and products produced at CEPT will be displayed and sold. Here it should be possible for the individual institutes to exhibit and offer work dealing with the topic „innovation“. On the other hand, an area where students of CEPT can rent a shelf in which they will be able to display and sell their produced products, artworks, articles. The counter will be a fixed part of the interior and will visually belong to the building structure.

For the shop a flexible and modular system has to be designed that can function as an exhibition or as a shop. These areas will be constantly changing and redesigned.

A principle will be established that can be adapted to all occasions. In the interior the connecting parts will be made of brass. As they have to be of small size and can be worked in high quality in detail. Separating elements will be fabric parts clamped which can also be used for stiffening.

The construction in the middle is to function as a connecting building, this must be crossed to get into the shop, it is also the access for the 1st floor. In the construction there are different functions, such as an area for resting, learning and celebrating. These individual functions will change and alternate over a daily cycle. On the one hand the rest and meeting point in the morning and on the other hand the party location in the evening. The second cycle of construction is the adaptation to the seasons. In summer, light shading elements are used to cool the area and create a pleasant climate. In the rainy season, elements are used to help keep the area underneath dry.

On the ground floor, courses are offered where children are given the opportunity to explore and experience „the Maker space“ through modular construction systems. Here the children can understand building in different scales, from Lego to constructions that are fixed to the scale of Human. The furniture can be changed flexibly and the modules can also be modified to build new structures.

The construction should be a self-sustaining, ecological construction. Which in the future gives the possibility to charge electric vehicles.

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ELEVATION // A-A

ELEVATION // B-B

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08

DESIGN DEVELOPMENT

Architecture Innovations The wall will display architectural models, made by students.

Experience - The models will get light from behind.

Frome far just the out line is visibe and the details get reveald when you come closer.

Single shelf Students of CEPT will have the chance to display and sell products. For a smal amount of money a student can rent one of thes shelfes.

Craft Wall Crafts of Gujarat will be displayed.

Elements of the Graft take over the construction.

The Structur it selfe acts like a time capsul that stores the past.

GROUND FLOOR

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FIRST FLOOR

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First Visualisations and drawings showing the Interior practice.

On the Right you see a comic how the system could funktion ore what the experience for the user could be.

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IDEA WORKSHOP

SHOP

LANDMARK QUBE

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09

CRAFT MATRIX S M L

STRUCTURE JUNCTION // WOOD // METAL CAST

// STRING WELDING CONNECTOR // WOOD TURN // METAL // BAMBOO

// CANE

INFILL ELEMENTS STONE // JALLI // CHISLED // CARVED

TEXTIL

// MONOGROM // PATERNS

WOOD // JALLI // CARVED

// TURNED METAL // BEATING // PERFORATED

PAPER

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// KITE MAKING

// Ajrakh // Appliqué // Batic // Embroidery // Phulkari // Tie & dye

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10

CRAFT DESIGN IDEAS

DIY

STRUCTURE

THE SYSTEM THE SYSTEM

EVOLUTION

The System is here shown. The different possebilitys it gives. The Different ellements and the evolution.

Mono different shades of a colour put together to make a patchwork.

The idea of the patch work is the main design element. The patchwork showes a divers surface. A monolog of different materials pattern and colours.

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Block Block print in the three primary colours partly overlapping. showes different layers.

47

MANIFESTING THE DESIGN POSITION

DIY

STRUCTURE

DIY

STRUCTURE

To akt on a more global scale i came up with a onlin platforme.

I called it DIY Structure

DIY

STRUCTURE

CHOOSE YOUR SIZE

SMALL

SMALL

MEDIUM

MEDIUM

LARGE

On the first Page you have the chance to chooce a structure size.

There are three sizes avalable S, M and L. 50

DIY

STRUCTURE

CHOOSE YOUR CONFIGURATION JUNCTION // WOOD

// METAL CAST CONNECTOR // WOOD TURN

// METAL

INFILL ELEMENTS

MEDIUM JUNCTION

STONE // JALI // CHISLED

CONNECTOR

TEXTIL // MONOGROM // WOOD // JALI // METAL // BEATING //

Here you can finde the different craftes which are possible.

DIY

STRUCTURE

GET TO KNOW THE CRAFTMAN INFILL ELEMENTS

STONE // JALI // CHISLED

GET TO KNOW THE CRAFTMAN

PRODUCTION CLUSTERS: Surendranagar district: Halvad, Dhrangadhra, Wadhwan

PRODUCTION CLUSTERS: Surendranagar district: Halvad, Dhrangadhra, Wadhwan PRODUCTS: Idols Garden objects Statues Figurines

PRODUCTS: Idols Garden objects Statues Figurines

TOOLS: Gutahdi or Paniyu – large chisels Takno, Aniyu, Chainu – fi ne chisels

TOOLS: Gutahdi or Paniyu – large chisels Takno, Aniyu, Chainu – fi ne chisels Hammers Patchwork Design

If you have selected a craft you can get to know the people behind the craft, the process. Similar to the field work.

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CEPT WELL

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Cept-Well is a place where students can meet and exchange ideas, an interface between students and external people who are interested in the publications and projects created at Cept. The name originated from the stepwell that were originally used as a community place. Which invited to exchange or trade. It gave access to water for people and animals, which was essential for life.

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.5 0

0

UTILITY / STORE

49

LIFT 01

SHAFT

UTILITY / STORE

MALE TOILET

DRAWINGS

LIFT 02

11

FEMALE TOILET

(-)1.80m

(-)1.440m

(-)1.440m

PL=1 (-)1.515m

0.30m

0.00m

(-)1.50m

PL+1.50 (-)1.065m

(-)0.80m (-)0.80m

± 0.00m

KANARIA GALLERY FOR ARTS

(+)1.000m

PL=-1.00

PL= (+)1.935

(+)0.60m

Concrete Surface

CLASSROOM & LIBRARY

PL=+1.00 Concrete Surface

U5 DICRC WORKSHOOP FFL(+)1.350m

PL=+1.00

FFL(+)1.350m

FFL(+)0.693m

FFL(+)0

FT FACULTY OF TECHNOLOGY GARDEN

FD FACULTY OF DESIGN

The Cept-Well is located in the middle of the CEPT campus. It is easily acassable from the campus and from the out side. It is a possibility to conect the inside with the outside.

PL=+1.03 PL=+1.00 VIKRAM SARABHAI

4,5153

COMMUNITY CENTER

54

TOILET

KOTAH SEAT

(+

Ground floor - CEPT & I 55

Publications

Furnitur design exibits

Exebition Craft of Gujarat

Furnitur design exibits

view out side

First floor - SHOP 56

Architecture Model wall

Single shelf

Exebition Craft of Gujarat

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12

ILLUSTRATIONS

58

59

60

61

62

63

SHOP

LANDMARK

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IDEA WORKSHOP

Cept Well is existing out of three bulding parts.

The „Landmark“ qube serves as vertical conection between the ground floor and the first floor. It also serves as hang out and multi use space.

PT E C LL E W

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CEPT WELL

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Architecture models

Here architecture models are exibit from students of CEPT

Furniture exebition

Here furnitures an mockups can be exibit from studens of CEPT

Exebition Craft of Gujarat

There will be a exebition, where you can learn and inform about the Craft in Gujarat

Publications CEPT

Papers and Publications of CEPT facultys can be found here

One-shelf

Students of CEPT can rent a shelf and sell products they produced them selfe.

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South wall

Produced out of Jalli to produce ventilation.

Cept & I

Workshop where kids ore studnts learn about Architecture. Using the DIY System to build an prototype.

Floor

The floor is build out of the same raster than the DIY System, so the kids can evan build in the room and on the walls

Wall

Partition wall out of fabric.

Locker

Here Kids and the Students can leave theyer stuff.

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REFLECTIONS

Describe what does craft mean to you as a Interior designer/architect ?

For me, crafts are mainly the people who make crafts that make the object with their high skill level, this cannot be imitated by a machine or someone else. It is the story, the identity that is in a craft object. This is what makes Craft for me, it is an art form in itself, but it is not only about the use of being. Craft is made from a certain material for a certain use that serves the community.

Discuss the design position you took with reference to the established theoretical position.

The basis of my idea was to make the product more efficient, for centuries Craft hasn’t changed a bit, but with the possibilities we have today we can make products more marketable without losing atmosphere. It’s no longer the static product that doesn’t have the ability to change in appearance and shape.

With the possibility of the DIY a product can be designed individually and self-determined. We deliver the canvas and the customer chooses the artist. The principle of the DIY can be interpreted in different ways. On the one hand, the idea of “open source” knowledge is shared and accessible to a broad mass, but also the process of “I do something myself and deal with the product during construction”. But also the process and the possibility to change the product shows the possibility of “Do it your selfe”. The whole idea is that there is a product based on a conscience grid.

In this grid I as a customer have all possibilities to design freely. Through this process of designing but also through the process of building, social connections are established and the community is strengthened. People come together and have to deal with their counterpart.

The idea of the “Generic City” as described in Rem Koolhass book does not exclude craft for me, it is the possibility that craft develops itself and does not rest on its history and tradition. It has the possibility to function there as a connection between tradition and modernity. Until today the Generic City is still an idea, a vision but the spirit has been there much longer. People from big cities lose their tradition and their roots. People from rural areas, on the other hand, are forced to be even more anchored in their traditions. as a urban person, as a “generic person” DIY offers the possibility to deal with Craft, because there is athe need.

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

People get the opportunity to actively deal with interior design interactively with my system, this process increases identification with the product.

It should not only be a pure wall possibility for the customers, no the customer/user should have the possibility to get in contact with the craftsmen through the online portal. To discuss the possibilities with them and to have the possibility to design.

The customer should not only be able to choose from A, B or C, he should become an interactive part of the community. If you like, as a designer I will give a “white canvas and the colours” and the customer can decide for himself what to grind.

The Basic framework is based on a 330mm grid and can be combined in all three sizes.

But it is not only the design that shows the possibility of DIY, the user can intervene in the interior design by the modular system itself. As in Le Corbusier’s Modulor Body Study, the system enables them to deal with heights and human proportions. Due to the three possible sizes, different spatial situations can be played with. Sund M can function as spatial separation elements or as a shelf or non-bearing wall system.

The L system can function as a support system similar to a scaffolding system. This way whole installations and pavilions can be built.

Discuss how does your design position impact the craft production?

For me, the focus was on the technology. By combining different trades to improve the interdisciplinary work. Details should be solved by craftsmanship but in the cooperation the details can develop further. Nodal points can be solved better and do not have to lie on top of each other, but can lie in one point, for example. This principle makes the product more suitable for the global market. It can be better packed and shipped. By collecting the craftsmen in an online portal, they can be directly addressed by the customer and the product can be adapted to the customer’s wishes.

Without losing the identity of the product. Since the craftsmen are still involved in the process People make crafts!

By bringing the trades together in perhaps even joint workshops, resources are saved. Logistics can be brought together, administration can be shared and the community is strengthened.

For this purpose, building structures are needed that allow for a good infrastructure and can include the individual workshops.

The online site gives the opportunity to understand the processes behind a product. Get to know the people behind the product and get in touch with them directly. This creates transparency which is nowadays elementary for the end user, he wants to understand where a product comes from, what kind of resources are used?

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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.