Furniture design project

SIMPLE FURNITURE DESIGN PROJECT

CRAFT DESIGN CENTRE INDIAN INSTITUTE OF CRAFTS AND DESIGN J-8, JHALANA INSTITUTIONAL AREA JAIPUR-302004 ph: +91-141-2701203,2701504 Email: info@iicd. ac.in

COURSE GUIDE :- Mr. Chandra vijay singh CO-FACUTY :- Shiuli Mahato SUBMITTED BY :- Ravi ratnam COURSE DURATION :- 6 week (19th april-28th may) 4th SEMESTER, UG 2009-10

INDIAN INSTITUTE OF CRAFTS DESIGN Jaipur

ACKNOWLEDGEMENT

I would like to give my gratitude to Mr. Chandra Vijai Singh, our course faculty for guiding us throughout and also Ms. Shiuli Mahato for her timely feedback and constant support. I would also extend my thanks to our craftpersons Madan Lal ji, Mukesh ji, Trilok ji and Ratan lal ji. I would also thank O.P Jangid ji our workshop incharge for much needed technical support.

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ABOUT IICD ABOUT CDC INTRODUCTION OBJECTIVE MOTHODOLOGY RESEARCH BARMER VISIT MARKET SURVEY PRODUCT LIST CATEGORIZATION OF THE LISTED PRODUCT PRODUCT SEARCH CONCEPT DEVELOPMENT DESIGN BRIEF JOINERY FINAL CONCEPT SOME PROPERTIES OF WOOD PROTOTYPING FINAL CONCEPT COSTING ARTISAN PROFILE

CONTENTS

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ABOUT IICD

Institute of Crafts and Design is an autonomous institute of excellence, set up by the Government of Rajasthan, to act as a catalyst for the crafts sector. Presently, the institute is being managed by the Ambuja Educational Institute (AEI) under the Public Private Partnership (PPP) model. It is also recognized as a nodal center for excellence in the area of Crafts and Design.

The Institute is in continuous process of building up facilities of high order to support these recognitions. The central idea of the Institute is to evolve a sustained programme of growth and development of both craftsperson and craft sector in an integrated manner. It seeks to generate requisite knowledge, upgrade relevant skills and foster right attitude in order to develop high quality, motivated human resource and change agents, in a vibrant climate of experimentation and innovation.

The Indian Institute of Crafts and Design has been set up to function as a research, knowledge and skill based Institute that makes craft sector contemporary and relevant in the present macro economic scenario. The main programmes of the Institute are Education, Training & Outreach, Research & Documentation and Advisory & Consultancy Services. The Indian Institute of Crafts and Design has been set up to function as a research, knowledge and skill based Institute that makes craft sector contemporary and relevant in the present macro economic scenario. The main programmes of the Institute are Education, Training & Outreach, Research & Documentation and Advisory & Consultancy Services.

The Mission of the Institute is: “To evolve a sustained programme of growth and development of both craft sector and craftsmen in an integrated manner i.e. to generate requisite knowledge, to upgrade relevant skills and to foster right attitudes in order to develop high quality, motivated human resource and change agents in a vibrant climate of experimentation and innovation.� A synergy between the traditional knowledge and skill set with contemporary requirements has to evolve.

In the Budget speech of 2005-06, the Hon’ble Chief Minister allocated a sum of Rs. 50 lacs for Craft Design Centre. The Industries Department, GoR, gave a grant-in-aid of Rs. 50 lacs to Indian Institute of Crafts and Design (IICD) to form this society and CDC came into existence on 28th June, 2005.

ABOUT

CDC has, among others, Director IICD as Chairperson, President, FORHEX as CoChairperson and among the staff, a CEO and office-helper. The Governing Council consists of 3 IICD members, including the Chairperson, who is also Director of IICD and 7 FORHEX members, including the Co-Chairperson, who is also President of FORHEX

Craft Design Centre is a joint initiative of IICD and FORHEX (Federation of Rajasthan Handicraft Exporters) with a vision: -to motivate the industry to continuously build and strength en their design database -to adapt the arts and crafts of Rajasthan to the requirements of the international market -to be able to provide required services in the area of

design interventions as well as offer ready prototypes -to initiate the process of identifying the languishing crafts of Rajasthan and work on their revival CDC has, among others, Director IICD as Chairperson, President, FORHEX as Co-Chairperson and among the staff, a CEO and office-helper.

INTRODUCTION

This project was sponsored by Craft Design Centre (CDC) which aimed at working with and uplifting the ‘Barmer’ wood carving. This project aimed at developing a range of furniture which represents ‘Barmer’ wood carving and keeping in mind as to not to overdo it.

OBJECTIVE

• To understand joinery and application of the crafts of Bar mer Furniture.

• Utilize the above understanding of joinery to ensure struc tural ability of the furniture.

• Apply the techniques and skills of the Barmer Craft in the furniture aptly.

• To provide the learner with some fundamental tools to understand structure and construction using different ma terial.

• To use Hand – Crafted skill and Techniques.

Research and study Group discussion and feedback Presentations Concept development, selection and refinement Concept mock-ups and detailing Prototyping Documentation

METHODOLOGY

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RESEARCH Our aim was to promote Barmer craft so, Initially we visited ‘BARMER’ to see their wood carving furniture.

THE JOURNEY

We visited ‘Barmer’ on 19th - 20th april. We boearded the train named `Delhi-Jaisalmer Express’ from Jaipur junction on 18th april evening and reached ‘Barmer’ on 19th april early morning. Then we returned from th same train on 21st april.

BBarmer ARMER is a district situated in the south-western side of Rajasthan

state. Its shares its border with Jodhpur, Jaisalmer and Pali (rajasthan districts) and Gujarat state and also has a international border shared with Pakistan. The journey to Barmer makes you aware of the fact that the train does not go beyond it, it is the last station that the railway offers and thus signifies how near one is to the prohibited area (border).

BARMER

VISIT

It is part of the Thar desert, traveling through which many barren lands, trees with minimal leaves and more thorns but most important and striking part was the blowing sand, which indicated the presence of Jaisalmer (nearer district famous for its sand dunes) as well as gave us the feeling of being in a desert whose sand use to prick us every time our body came in contact with. Mud-houses thatched with the ‘bajra’ straw, women dressed in bright colored clothes and ornamented with silver jewellery and ‘kadas’ worn all over the hands, men with ‘safas’, camel, cows etc were most commonly observed in the villages of Barmer district.

BARMER

In terms of craft, the region of Barmer (which is observed to come under the path of the indus-valley civilization) is very rich and share a commonness with the region of Kachchh in Gujarat, not only in craft but in terms of climate, soil, clothing etc.

The Region of Barmer is famous for wood carving and embroidered leather pouches. It also has terracotta and ‘ajarakh’ block printing practiced in the region.

VISIT

We visited Mr. Madan Lal who is the owner of Jai Ambey (a small unit of wood carved furniture). It is located in ‘Bhisala’ which is near ‘Bhadresh’.

It is 30 Kms. far from Barmer. He is practicing his ancestral craft from 15 years. He learned the skills from his father. Earlier they only worked on ‘Rohida’ wood but now they also work on jungle wood. Both of these woods are locally available.

VISIT TO “BHISANA” VILLAGE

Traditionally they are working on ‘Charpai’ and carving is only done on ‘Pahyas’, i.e., the legs of the ‘Charpai’. Earlier they were using hand drill (Shyar), now, they are using electric drills. They used to work in standard sizes. They have very less amount of design interventions as they mainly emphasize on traditional motifs and carvings. Tenon mortise is the joinery which they extensively use. They also used nail to join blocks of wood. Before using the wood for their artifacts, first they dry the wood in full sunlight for the removal of moisture for few days.

VISIT TO “BHISANA� VILLAGE

They are not doing much precise work as we saw that there is no appropriate gapping between their traditional floral motifs, Somewhere the designs are getting overlapped or there are gaps. They are making router blades according to the designs themselves. They are also using lacquer colouring on the surface as per the order but it is not of their interest. They have seating lathe machine. They have less knowledge of ergonomics. They are supplying their artifacts mostly in Jaisalmer.

VISIT TO “SURA” VILLAGE

Sura a small village in Barmer district is about 40 kms away from Barmer city and has a cluster of 10 people working with teak wood and metal sheets together. In conversation with the master artisan, Shri.

Ramswarupji and our observation the following points can be concluded about the cluster :- The main raw material used by the cluster was sheet metal (1.5 mm thick), teak wood, sheesham wood powder and fevicol.

- Carving (jali-cutting) was done on metal sheet. No use of machineries (no dye-cutting) was observered in this, jali-cutting thus was hand done and experience based.

- This cut sheet metal is placed on the wooden block on the desired shape and size, is then coated with paste of sheesham wood powder (burada) and fevicol for the finishing of the product.

- There are traditional motifs (such as that inspired from flowers, geometric play of shapes and animal figurines etc) - The Angular tools (90 and 45 degrees) required for production were made by them and are called ‘gunniya’ - The variety of products that they made were : Doors, Doorframes, bed, Sofa-sets, Dinning sets, Dressing tables, tea-tables etc.

“LAHUA FURNITURE UDHYOG”, BATADA

This unit is established under the scheme of Alp Bachat Yojana. It is located in Batada (Jhaak) Tehsil, Shiv, Barmer. There we met with a master artisan Shri Cheta Ram Lahua. He has an experience of 15 years. He is practicing traditional wooden carving since his childhood.

He is following his ancestral occupation. Traditionally, he is working on ‘Pahyas’. He is also making small square blocks of doors which they carve separately. He has 10 more artisans who are working in his workshop. They are also making beds, mirror frames, chairs, tables, etc.

Their motifs were somewhat different from what we saw earlier. All the bed and other furniture has square base on ‘pahyas’, so that it will not slot in sand. They lay emphasis on manual work rather than machine carving. It was more of traditional work, no design intervention has seen.

Kamdar Company is a manufacture of wooden carving furniture and interior design.Shambhu Mankand and Naresh Mankand are the owner of this company. It is located in Rai Colony Road in Barmer , Rajasthan.

VISIT TO “KAMDAR CO.�

It was started in 1971 by his father. They work on sagvan and teak wood. There designs are repetitive but in comparison to other work which we have seen, they are more advance. They have a precision in their work and all the products have a good finishing. There was no overlapping in the design. The designs were developing on the order basis and export their products to Australia and Europe.

They develop Sofa set, mirror frames, table frames, panels, beds, dressing table and dining table. It takes 15 to 20 days to complete a sofa set .Melamine coating is done, which seals the wood.

MARKET SURVEY

MARKET SURVEY

Top stool Book rack Mirror with rack Shoe rack Table Dressing table Partition Wine rack Chauki Lap stool Slippers Photo frame Jhule(swing) Mirror set of drawers Serving trays Khat Paper weight Stools Cradles Hangers Candle stand Book and magazine holder Trunk and sitting showcases

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Laundry bag Waste bins Lampshades Pen stand Salt and pepper case Flower vase Toys Jewellery box Slippers Ashtray Spoons and fock Napkin holder Curtain holder set Book stopper Buttons Sticks ,chopstick Judas tick Reading stand Chauki Mandir Drawers Bedding area Photo frames

PRODUCT LIST

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CATEGORIZATION OF THE LISTED

PRODUCT TABLE

•Coffee table •Dining table •Centre table •Side table •Corner table •Nesting table •Study table

SEATING

•Stools •Resting chair •Arm chair •Without arm chair •Hip resting chair •Without hip resting chair •High stool •Middle stool •Low stool

STORAGE

•Jewellery box •Set of drawers •Bar counter •Showcases •Book shells /book rack/book stopper •Magazine holder

TABLE

TOP ACCESSORIES

•Living •Office •Dinning •Paper weight •Pen stand •Waste bin •Ashtray •Coasters •File tray •Holders in different size •Photo frames •Candle stand

PRODUCT SEARCH

I am decided work on heigh stool.

SKETCHES

CONCEPT DEVELOPMENT

SKETCHES

SKETCHES

DESIGN BRIEF

My final concept is heigh stool. the main aim was to represent Barmer wood carving in the in the final prototype, keeping in mind the fact as to not to over do it. my prototype has heigh stool carving on leg. keeping it minimal yet appealing to a buyer.

Dovetail joints

Dowel joints

JOINERY

Half lap joints

Loose tounge joints

Tenon mortise joints

JOINERY

Dowel joints

FINAL CONCEPT

prospective view done in autcad and rendered in 3ds max

SOME PROPERTIES OF WOOD

Moisture content is a major factor in the processing of wood because it influences all physical and mechanical proper ties, and durability and performance during use. Moisture con tent is defined as the ratio of the mass of water contained in the wood to the mass of the same sample of dry wood.

• Shrinkage occurs when wood loses moisture below the fiber saturation point. The amount of the shrinkage depends on its direction relative to grain orientation and the amount of mois ture lost below the fiber saturation point.

• Wood is stronger when stressed along the grain (longitudinal ly) than it is when stressed across the grain (radially and tan gentially).

• Glue is highly effective for joining wood when both surfaces of the joint are edge grain. A properly glued joint may be as strong or stronger than a single piece of wood. However, glue is notably less effective on end-grain surface • In describing the application of a woodworking technique to a given piece of wood, the direction of the technique may be: with the grain (easy; giving a clean result) against the grain (heavy going; giving a poor result such as chipping or tear-out) across the grain (direction of cut is across the grain lines, but the plane of the cut is still aligned with them) end grain (at right angles to the grain, for example trimming the end of a plank We used hard wood named ‘chaap’ which is easily available in locally available in shops at Tonk road (Jaipur).

This wood is imported from Arunachal Pradesh and parts of Assam and Burma (mainly northeast parts of INDIA). This wood is mainly used in making small furniture, doors etc. This wood costs around rs. 85 per sq. ft.

PROTOTYPING

plain wood

Wood plaining

PROTOTYPING Marking done after wood plaining &cutting

PROTOTYPING

Mortise machine for mortizing member

After mortizing

PROTOTYPING

Taining machine for taining member

Taining machine for taining member

PROTOTYPING

Before carving leg member finishing

Marking for carving pattern

PROTOTYPING

Carving

Hand carving

PROTOTYPING

Machine carving

PROTOTYPING

Biscuit joining to the top member

2

1

3

4

5

PROTOTYPING

Finish the edge of the top member

Turning on the top member

PROTOTYPING

Finishing top member used send paper

Finished top member

PROTOTYPING

join tenan and mortise member

PROTOTYPING

Finishing used in sand paper

Finishing used in wax

FINAL PRODUCT

FINAL PRODUCT

FINAL PRODUCT

FINAL PRODUCT

FINAL PRODUCT

CALCULATION OF THE TOTAL WOOD USED (with respect to dimensions): Leg x 4 top members x 2 Tie members x 2 Tie members x 2 wastage

= = = =

= 4.21 sq ft 3.12 sq ft 0.78 sq ft 1.25 sq ft 0.93 sq ft

Total

=

10.29 sq ft

cost of wood used + Tax (14% VAT) + 1.5% Cartage

=10.29 X 85 = rs. 875.16 = 123.oo = 50.00

TOTAL

+Labour (carving) +Labour (structure) +Polish +screw

TOTAL

=1235.00 =1200.00 =600.00 =300.00 =10.00

= Rs.2110.00

COSTING

The cost of the wood is Rs. 85 per sq. ft.

MADAN LAL JANGID

ARTISANS PROFILE

Age - 32 years.

Working Experience - 16 years Address - Jai Ambey Furnitures, Bishala, BARMER

TRILOK KUMAR JANGID

Age - 20 years.

Working Experience - 2 years Address - Jai Ambey Furni-

RATAN LAL JANGID

Age - 40 years.

Working Experience - 22 years Address - Nath Adervasthi, Voya, Bishala, BARMER

MUKESH JANGID

Age - 37 years.

Working Experience - 19 years Address - Village Post, Bishala, BARMER