SEWA Banas Na Aana Museum
Textiles and Space
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PG Textile Design & UG Exhibition Design
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March- April 2012
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Guide: Vineet Diwadkar & Romanie Jaitely
National Institute of Design Textiles and Space 2012
Timeline experience
Students Textile Design :Amruthalakshmi Rajagopalan, Ankita Sood, Monika Bairwa, Naresh Guduru, Nimisha Kale, Raksha Shisav, Saiqa, Smita Ngairangbam Exhibition Design: Anna Lena, Arpit Verma, Arpita Bhattacharjee,Kuldeep Gohel, Harnehmat Kaur, Himanshu Chauhan, Sumedha Vemuri
Contents SEWA and Radhanpur: The journey so far
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Understanding the space: Kamala Sadhan, Radhanpur, Gujarat
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Understanding the space: Environmental concerns
24
Developing Responses: mapping needs 29 Responses: 33 Concept 1: Bloom Concept 2: Reflection Timeline 65 Bibliography 76
National Institute of Design Textiles and Space 2012
SEWA Banas Na Aana Museum
The brief
Create an immersive cultural experience Components : A timeline of the lives of women | Display units for showcasing work | Installation Focus: Narratives of the womens’ lives and their empowerment. An experience built on their expression and meant to inspire both the women and museum visitors. The experience needs to be interactive and inclusive Intended use of space: - garba - community meetings - workshops Environmental concerns: - stark contrast in temperatures - rain - wind - dust and maintenance - temperature Physical conditions of space - dimensions - scale - structure - sound - heat Community semiotics - colour, structural and form associations
National Institute of Design Textiles and Space 2012
Timeline experience
SEWA & Radhanpur: The journey so far
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Understanding the organization / journey so far
Awareness of rights of labourers
1920 Trade Labour Association founded
two goals Full Employment and Self Reliance
1968 classes for mill workers‘ wives in sewing, knitting, embroidery, spinning, typing & stenography
1954 Female wing started by Ela Bhatt
April 1972
SEWA was born
in a meeting to discuss a solution for problems faced by head loaders and other women
early 1970s
cart puller migrant women come for help (shelter, work)
now From 320 members Now, SEWA is family of over 13 lakh women 5
National Institute of Design Textiles and Space 2012
Timeline experience
Understanding the organization / organizational structure Sewa initiatives
SEWA‘s membership
A democracy elect
Representative
} 1 : 100
elect
Trade Council
Pratinidhi Mandal meets every 3 years
Executive Comittee Dhandha Samiti meets monthly
elect
President National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Understanding the organization / Radhanpur and SEWA
Banaskatha District Santhalpur and Radhanpur (102 villages)
Hostile climatic conditions degraded soil, saline water, severe heat, hot blasts of winds
history shows prolonged droughts(1850 -1857) (1985-1989)
Occupation 1
Occupation 2
Agriculture mostly dependent on rains (semi arid region so rainfall is less) single crop
Dairy summers shortage of green dry fodder for cattle poor economic condition of the area
GWSSB installs pipline for portable drinking water
forcing people and cattle to migrate in search of livilihood,food. SEWA-Research: Drinking water did not help stablise household income
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National Institute of Design Textiles and Space 2012
Timeline experience
Understanding the Women / Her everyday wear Aahir Brahmin Skirt (ghagro)
Motifs
Moyali (peacock), Ladva, Bhamedo
Rabari Veil (Ludki)
National Institute of Design Textiles and Space 2012
Top: Bajania jewellery Bellow right: Aahir Brahmin blouse
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SEWA Banas Na Aana Museum
Understanding the Women / Her wedding trousseau and dowry sack
motifs
Jhaad (tree) , gota phool, sudo (bird)
Khambino = mashru = fabric with silk warp and cotton weft Choradia Aahir dowry sack Choradia Aahir khambino wedding wear
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National Institute of Design Textiles and Space 2012
Timeline experience
Understanding the Women / Her children
motifs
Anjanu na phool (like kohl lined eyes, pandadi, jhaad
Choradia Aahir jhulodi, toplu, Rabari jhulodi
Jhulodi: Child‘s jacket
National Institute of Design Textiles and Space 2012
wooden baby crib with cradle cloth
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SEWA Banas Na Aana Museum
Understanding the Women / Fetching water
thendoni when viewed from the front
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Top: birds‘ eye view. Above: the fringe
National Institute of Design Textiles and Space 2012
Timeline experience
Understanding the Women / Her home
1- thoran | 2- doorway | 3- goliyo 4- sakhiyo | 5- chaklo | 6- latkaniyo
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1
4
2
5
6
thendoni when viewed from the front Top: Chaklo Above: thoran
National Institute of Design Textiles and Space 2012
latkaniyo
motifs
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SEWA Banas Na Aana Museum
Understanding the organization / Radhanpur and SEWA Pre-SEWA life and Life now milk co-operatives
construction work embroidery
fodder Bank
cooking
gum forestry and nursery
PRE SEWA
WITH SEWA
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National Institute of Design Textiles and Space 2012
Timeline experience
Understanding the organization / Radhanpur and SEWA / Timeline
SEWA- the timeline 1663 The State of Radhanpur was established in by the founder of the Babi dynasty, Khan Jahan.
?
1813 Radhanpur came under British control.
1819 Palanpur Agency is formed under control of Bombay presidency.
1857 First school an Library at Radhanpur. (Drought for 7 years, 1856 Drought, Plague before 1857)
1859
1871
First mill in Ahmedabad floated by Shri Ranchhodlal Chhotalal.
Second mill was built in Ahmedabad by Rai Bahadur Bechardas Ambaidas.
1924
1920
Palanpur agency merged into Indian States Agency.
Started selling cotton
1880 BATA company had commissioned some work to the mochi karigars of RADHANPUR, in 1980s, hrough Gurjari.Mashru mojaris were in fashion then.
1899 FAMINE (Mitti Bartan- use by 100 yrs old mother in law, Aluminum, 1980’s post steel vessels)
The National Uprising, across India.
S
1950 First Train/ Railway (Koliwada), Electricity (post)
1948
1947
1944
Pucca Road
Whole area became part of Bombay State Stopped use of Teracotta utensils. (post 1947)
WISA amalgamated with Baroda and Gujarat States Agency.
1933 Palanpur State transferred to Rajputana Agency. Banaskantha Agency merged with Mahikantha Agency to form Sabar Kantha Agency, subordinate to Western India States Agency (WISA)
1927
1925
VADIYAR BANK AT RADHANPUR
Designation of Palanpur Agency changed to Bans Kantha Agency.
1914 Commencement of World War I resulting in stoppage of mill building in Bombay.
1910 First radio with license.
World War I
INDIAN INDEPENDENCE
1952
1957
Famine, Red coloured wheat, Parents would go to Government jobs.
DROUGHT
1960 Brocade Kamkha fabric stopped. It came from Surat.
Divided into state of Gujarat and Maharashtra
1961 Electricity came to Radhanpur, 15yrs post 1947
1966 DUSHKAAL TIME. People collected in spoons and bowls from the bottom of the well. There was a small pond and then it was built into a larger pond
1970 FLOUR MILLS came up and in the same year village suffered from severe tapeworm infection.
1971 INDO-PAK WAR (blackout, bombarding, people would stay indoors)
1975 First TV in Radhanpur. Pushpaben Thakkar married and travels to USA. First person from Koliwada to travel abroad. POLYESTER was introduced.
1978 WATER SUPPLY PIPELINE BY GUJARAT AND NETHERLANDS GOVT.
1980 Kerosene primas used. When Indira Gandhi Died only 1 TV in village. Since 25yrs Newspapers in Radhanpur. When Indira Gandhi Died ther was only 1 TV in the village.
National Institute of Design Textiles and Space 2012
Gujarat National International
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Khan Jahan.
1813 Radhanpur came under British control.
1819 Palanpur Agency is formed under control of Bombay presidency
SEWA Banas Na Aana Museum
1857 First school an Library at Radhanpur. (Drought for 7 years, 1856 Drought, Plague before 1857)
1859
1871
1880
First mill in Ahmedabad floated by Shri Ranchhodlal Chhotalal.
Second mill was built in Ahmedabad by Rai Bahadur Bechardas Ambaidas.
BATA company had commissioned some work to the mochi karigars of RADHANPUR, in 1980s, hrough Gurjari.Mashru mojaris were in fashion then.
1899 FAMINE (Mitti Bartanuse by 100 yrs old mother in law, Aluminum, 1980’s post steel vessels)
The National Uprising, across India.
1910
Understanding the organization / Radhanpur and SEWA / Timeline
First radio with license.
1914 Commencement of World War I resulting in stoppage of mill building in Bombay.
1920
1924
1925
1927
Started selling cotton
Palanpur agency merged into Indian States Agency
Designation of Palanpur Agency changed to Bans Kantha Agency
VADIYAR BANK AT RADHANPUR
1971
1970
INDO-PAK WAR (blackout, bombarding, people would stay indoors)
FLOUR MILLS came up and in the same year village suffered from severe tapeworm infection.
World War I
1999 Aid to Artisan in New York
1998 1st TV in village in premnagar gam kaka kke ghar. MARRIAGES POSTPONE FOR PARIS EXHIBITION Women revolution’, in order to complete their production for a French exhibition, 216 weddings were being postponed for eight months
1996
1993
Cyclone, Malaria hit the village of Radhanpur.
91 groups with a total membership of about 40,000 women formed a district-level federation called BDMSA ( Banaskantha DWCRA Mahila SEWA Association)
1992 Dead Stock Crisis, crisis with finished goods worth 20 Lakhs piled up in Radhanpur office. All production stopped for a full 3 months.
1991
1990
SEWA started mobilizing the local communities for taking up the revival of the traditional water sources and building local resources.
Electricity present in villages.
1989 Reema ben inititiated milk co-ops again in Banas region.
Shades of India designer Jeeni Hoasebo did workshop with Radhanpur.
First TV in Koliwada.
2001
2002
EARTHQUAKE
87 houses rebuilt by SEWA
Fair South Africa with Indian Merchant Chamber
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Lotus Bazaar at the Smithsonian Folk Life Festival in June & Exhibition in Singapore
2005 Lotus Bazaar in Barcelona with Universal Forum of Cultures and fair in Japan.
Koliwada SEWA SANSKAR Kendra.
2006 Karman bhai Rasubens’s Nephew who was a lawyer, Now dead.
1987
1980
1978
Caste Panchayat had put a ban on women doing work which involved moving out of the village. to which women revolted by not cooking and serving in the meetings.
Ela Bhatt visited Santhalpur and Radhanpur with a team of SEWA members to look into a proposed Indo-Dutch program of supplying drinking water through pipelines to these Villages.
Kerosene primas used. When Indira Gandhi Died only 1 TV in village. Since 25yrs Newspapers in Radhanpur.
WATER SUPPLY PIPELINE BY GUJARAT AND NETHERLANDS GOVT.
1st exhibition outside Gujarat held in New Delhi in which Reemaben participated with Puriben and Bhachiben.
SEWA outlet on C.G. Road, the inauguration was done by Naveen Shastri, the then Ministry of Rural Development.
2000
1988
2009
2010
First Gobar gas plant in Rasuben’s house. 7 more Gobar Gas plants followed in Koliwada
Vavdi and Vadlitha received electricity. Last 10-15 years electricity started coming. Now all villages are covered.
1975 First TV in Radhanpur. Pushpaben Thakkar married and travels to USA. First person from Koliwada to travel abroad. POLYESTER was introduced.
When Indira Gandhi Died ther was only 1 TV in the village.
Hansiba Store in Delhi was opened in 2006.
National Institute of Design Textiles and Space 2012
Timeline experience
Understanding the organization / SEWA Trade Facilitation Center Designer
Sample Swatches
Finished Goods
65% of the profit goes to the SEWA members
Tracing
Sewing, packaging and marketing - STFC
Pattern on fabric
Handwork is handled by Radhanpur office where work is equally distributed among the women.
Sampling Unit
Embroidery Production center
-Workshops are organized for women based on projects SEWA takes up. Four to five project workshops and two to three training workshops per annum. Each workshop is of about five days if for project or 2 days if it is for skill development. -Training period is for 15 days or 1 month - 32 products with different color ways are made . -There are 2 women who look after the sampling once the production is done. -SEWA uses only natural fabrics. cotton, silk , handloom khadi, wool and mashru are most commonly used. -The Products that are made during the workshops are either taken by the Designers for whom the workshops are organised or are made for the Hansiba store. HANSIBA DESIGN : Designing is in-house. For the products that are made for home furnishing the women are free to use their own design and colors.In all projects, the patterning that the women make are the design that the designers asks them to.The color ,design and the materials are decided by the designer or the buyer .
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Understanding the space Kamala Sadhan, Radhanpur, Gujarat
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National Institute of Design Textiles and Space 2012
Timeline experience
Studying the space / location on the map
SEWA Kamla Sadan
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Studying the space / walk through
I
A II gate
II I
III
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courtyard
C
B
installation room
III
National Institute of Design Textiles and Space 2012
Timeline experience
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Studying the space / walk through
installation room
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Neem tress
B
4 STEPS 30/18.5
A E
III
4 STEPS 30/18.5
C
H Bore hole
Tank
II
H -1.05LVL
F 3.00 x 1.60 Tank Elect. Pole
Elect. Pole
G
I
G
9.00M Opening CENTRE LINE OF ROAD
National Institute of Design Textiles and Space 2012
20 • • •• ••
SATUN RADHANPUR ROAD
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
SEWA Banas Na Aana Museum
Studying the space / walk through
IV
installation room
V
A VI
gate courtyard
C 21
B
VI
installation room
V
IV
National Institute of Design Textiles and Space 2012
Studying the space / section with measurements
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT National Institute of Design Textiles and Space 2012
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ED BY AN AUTODESK EDUCATIONAL PRODUCT
Timeline experience
SEWA Banas Na Aana Museum
Studying the space / floor and ceiling plan
Floor plan
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Ceiling plan
National Institute of Design Textiles and Space 2012
Timeline experience
Studying the space Environmental conditions
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Studying the space / environmental conditions / climate and festivals
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National Institute of Design Textiles and Space 2012
Timeline experience
Studying the space / environmental conditions / wind data
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Studying the space / environmental conditions / rainfall
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National Institute of Design Textiles and Space 2012
Timeline experience
Studying the space / light, heat, sound and dust
light in the space in june
light in the space in december
National Institute of Design Textiles and Space 2012
reverberation of sound due to monolithic dome
ventilation and heat sink capabilities of the dome
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SEWA Banas Na Aana Museum
Developing Responses
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National Institute of Design Textiles and Space 2012
Timeline experience
Developing responses / mapping needs
what would the women want to show their younger generations & the world?
Traditional lives of the communities
what story would they like to tell?
connect use their visual language Bringing communities together
The experience inspire infuse with stories of their lives create positive energy
materials available
space & activities workshops & meetings Radhanpur timeline immersive cultural experience
environment extremes in temperature sound
20 april 2011 : 45 degree celcius 10 january 2011: 9 degree celcius reverberation due to monolithic dome
light available ventilation maintenance National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Developing responses / structural interventions
mezzanine
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plinth
National Institute of Design Textiles and Space 2012
Timeline experience
Developing responses / circulation pattern
Garba & other festive occasions workshops visitor circulation
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Concept 1 for experience : BLOOM
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / initial ideas
would taking reference from a form as intimate as the ghaghra and placing it up in space have negative conotations like looking up a skirt?
to what level should we abstract? Isn’t our form like the blooming of a flower? maybe blossoming might be a better metaphor for transformation - then, it is more than transformation of just a form, but signifies transition, growth and change
Could this work as an open-close mechanism for the installation so that it can be closed when the space is not in use to avoid accumulation of dust and reduce risk of pigeons crapping on it?
when standing
turning
swirling at garba
the transformation of form from the closed state to a full circle National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / bloom / initial ideas / form explorations
panels joined to create circle: collapsible
gathered at the center: radiating outwards
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crochet to show a twirl-like edge: looks a little floral
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / exploring structures something constantly hovering overhead might be distracting.
can the structure be mobile? will that make allow it to be more dynamic?
do these vertical supports have to be straight? it looks rigid?
full circles in helix
branching, like a tree with might look more fluid than the straight verticals
too pizza like. looks sliced and angular. not wholesome
parts to make a whole circle A circle made of panels positioned at different heights. The central space at the dome is blocked without creating a flat ceiling. Each unit can be closed and latched when the space is not in use to prevent accumulation of dust
many circles at varying heights
Several small circular units are strung from a grid on the dome to create a large twirling ghagro at the center of the dome. This composition allows for play of colour | some pieces could be lit
needs to be precicely caliberated. too complex led us to look at the motif vocabulary of the communities and the use of circular forms and flowering shapes
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / bloom / idea development
keywords: branching | blooming
“trees without flowers don’t look beautiful”
Ladva
Garba & the ghagra dancing in circles and swirling skirts
Bhamedo Phool spinning like a top Gota phool Composition of forms
motif on Rabari phulakia ludki understanding their visual representation of flowering
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Branched out flowers
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / idea development / mapping the experience
Can they take away something as a memory of the experience? Installation How do the women experience the space? Timeline
The space is about the womens’ expression. They will frequent the space. The language of the space has to come from their visual vocabulary
National Institute of Design Textiles and Space 2012
How will museum visitors experience the space?
They should be able to curate the content of the space. How do we facilitate this?
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SEWA Banas Na Aana Museum
Responses / bloom / idea development / mapping the experience
blooming like a flower
flaring out like the ghagra moves in space
evolves over time
gored and gathered panels to create circle Display system interspersed in the timeline used to showcase textile pieces - can be changed as and when workshops happen
Keywords rooted in tradition looking ahead interconnected transition & change dynamic interactive 39
floral branching like the bhamedo phool
Tradition is not frozen in time. It is ever-changing and evolving
Expression
inspiring
mobile structure?
the experience
Timeline modeled on oral traditions - not linear or static - ability to interact with the themes and scope for interpretation
Interactive The women develop a sense of ownership with the space. They actively participate in the nurturing of the space
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom/ idea development / structural variations
This structure has been taken forward for development Easier to construct and lowering of parts is easier for change of fabric sections.
when seen from below, looks like a flower in full bloom
similarity to ladva motif used by several communities
the height of a space creates relief. with this structure, the verticality of the space is kept intact. at the same time, the textile layers of the forms make the space feel more personal
helical arrangement of straight lines with blooming
Why branching?
branching stricture with bloom National Institute of Design Textiles and Space 2012
Traditionally, women spent leisure hours sitting in groups under trees and embroidering. Today, because possiblities of the pieces being soiled, this working style has been abandoned. The branching installation tries to recollect the tradition of working under trees 40
SEWA Banas Na Aana Museum
Responses / bloom / developing an idea / form
two-dimensional flat bloom each unit opens out in 6 steps. by opening at any particular step, six patterns can be generated.
Both structures have an open & close mechanishm so that when the space is not in use, the installation can be ‘switched off’. This will prevent dust accumulation and ease maintenance
The form can be bloomed whenever the space is to be used. As the museum is not fully functional yet, this mechanism allows the installation to be unveiled when necessary, avoiding accumulation if dust
the expression is richer than flat bloom and the colour & composition possiblities here is more varied. The mechanism for opening and closing has been figured out for this form and has been taken forward.
three-dimensional flower bloom The flower can either be closed, to create a semi-circle or opened to create a three-dimensional flower. The form can be bloomed whern the space is used. At workshops, as women have a tradition of starting the day’s work with song, this blooming of the flower can be included as a pre-work activity.
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What does bloom mean? like the blooming of flowers on a tree, the form opens to signify: growth transition reaching out to the world
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / 3-D scale rendering of model with structural interventions
installation with mezzanine
installation with plinth
installation with no structural interventions
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / bloom / dimensions of installation
1.0m
0.5m
5m diamenter
1.5m
2.0m
3m
3.5m
4.0m
vertical heights 2m diamenter
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / 3-D rendering of mechanism
To maximize the verticality of the space, the installation has been planned at ascending heights. From below, the form of their traditional Ladva motif is maintained. The pulley mechanism is used to lower each section of the installation at the same time using a single hand crank at ground level. Once lowered, the elastic textile form can be removed or replaced.
crank at ground floor level
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / bloom / lowering of discs
view from top of central frame
pulley mechanism for lowering
detail: connecting the pulley system to each vertical rod
lowering
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / opening of form
Each floral form is opened up with the help of a pulley mechanism. When the space is not in use, the forms can be closed to prevent accumulation of dust and bird droppings. When workshops are conducted, the women begin the session with a song. The flowers can be opened up when the session begins like the switching on of a light. Blooming represents the growth of SEWA and the communities of Radhanpur through their textile traditions. Each ‘flower’ is 2 metres in diameter and is made of textiles available at the SEWA Trade Facilitation center.
stages of blooming
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / bloom / colour palette
Based on the traditional colours used for embroidery and the darker, warm base cloth colours, a colour palette has been derieved to be used in the installation and timeline. Colours can be chosen from available fabrics at STFC and co-ordinated according to the preferences of the women. Medium to heavy weight fabrics are to be used.
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / construction of form
A
1) Cut circular fabrics of 2 mts in diameter.(8 to 10 pcs) They can be in one solid color
2) Now divide and mark into 8 equal parts on all the cirular fabrics as shown.
B
B
A
A
B
B
This is to guide where the stitches are to be made and with which fabric
A
44 inches eight circles are layered and stitched. Each circle is made from two pieces of fabric as the average width of fabrics available is 44�. This allows for several composition possiblities based on available fabrics
second and the third pcs to be stitch here
joinery
Or can be stitched in two different colors according to your choice along the diameter.
Stitches to be made with the first and the 2nd pc.
3) The First and the Second circular fabric are stitched 2 inches from the circumference inside to the centre on A as shown in the figure.
A B
B
A
A
B
B A
4) Now take the Third fabric and put it on top of one Second and stitch the second and the third on the point B Then we take the Fourth on top of the Third and stitch on point A again. This goes on until all the remaining pcs are done. 5) The last stitch has to be made with the same piece so it joins all of them together.
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / bloom / attaching form to structure
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / bloom / timeline, display and visitor takeaway Interactive timeline display unit
The thematic timeline traces the changes that have taken place in the womens’ lives These changes can be represented on this swirling circular display graphically.
Visitor takeaway
to carry a piece of the experience back home, visitors can take a blooming token from the space as a keepsake. The package could be an embroidery starter kit. We believe that to appreciate the skill and complexity of embroidery, one must try it firsthand.
textile sample display within the timeline, spaces are included for display of textiles produced at the workshops. The women can curate this section of textile display
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Concept 2 for experience : reflections
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / reflections / initial ideas
The idea of reflecting the work of the women, their lives , in response to the changing times, and the strength they draw from it.
Choradiya ahir
Desi rabari
The vibrant colours and their combinations in the pieces traditionally made by the women at Radhanpur.
National Institute of Design Textiles and Space 2012
Chaudary Patel
Women at workshop
Bajania -jewellery
Ahir brahmin
Vagadiya rabari
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SEWA Banas Na Aana Museum
Responses / reflections / brainstorming
Indirect
Feminine
Reveal
Change
Reflections Amplified
Growth Distinct
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Illusion
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / reflections / inspiration The spark came from the mirrorwork done across communities by these women, both on fabric and as wall reliefs.
Traditional and contemporary peices
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / reflections / the space We have tried to create an experience by looking into structural elements that would complement the language of the concept. We looked into the mezzanine, the plinth, and then just the hall with no intervention . Considering the variety of users, and the uses of the space, we understand that it has to be a unified, yet dynamic space, such that each element has its place in varied functions. We’ve tried to evoke a sense of grandeur, and spark a feeling in the ladies , who now see embroidery on such a scale .
Cirrculation path with mezzanine
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / reflections / installation and timeline
The layout of the timeline here can easily moulded into this concept, wherein, all the narrative units will be framed in the same manner as the concept structure. These frames also act as a flexible, interchangeable display system, allowing the ladies at SEWA a means of control over their narratives, as well as ready frames for any other forms of display of pieces of work and so on. These units put together become a mural on the wall, that the ladies can use as they see fit .
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / reflections / initial ideas Intial explorations were with circular rings. Here we tried to capture the way mirror work is done on the fabric. We tried various techniques such as wraping the thread around a ring,crocheting and punching holes into the circular wooden ring.
Installation in the space
Detail 57
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / reflections / structure / helix
Helix with mezzanine
Helix without a structure
Helix with a plinth
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / reflections / structure / assymetric
Asymmetrical with mezzanine
Asymmetrical without a structure
Asymmetrical with a plinth
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / reflections / structure / concentric
Concentric with mezzanine
Concentric without a structure
Concentric with a plinth
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / reflections / final installation The structure of the stitches used to capture mirrors on fabric, wherein, earlier, they were only used as means to create form, but here, in this treatment, every thread gains prominence, as does every lady at SEWA. The result is a dynamic , engaging installation , addressing the various needs that the space has.
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / reflections / final installation
Installation without any intervention in the space
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / reflections / construction
Reflections
overhead ropes
ropes extending across floors
Veiw of installation from bottom
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National Institute of Design Textiles and Space 2012
Timeline experience
We propose to add 2 cm diameter round hooks screwed into wall, 50 cm apart , for the rope to loop into. And small open hooks for display units.
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
timeline
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / timeline
SEWA- the timeline 1663
Time Line is a narrative of women living in and around Radhanpur . The entire time line is based on the evolution of women as an individual to someone who play a major role in running of an N.G.O. It tells us about their past and their present. The life of women has been divided into 6 themes. ( story of struggle, leisure ,celebration and play,embroidery private and public, connecting with the world, freedom, future each theme is treated individually representing the changes that have happened in their lives. the Time Line was developed by - swasti, tanishka and students of NID .
The State of Radhanpur was established in by the founder of the Babi dynasty, Khan Jahan.
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1813 Radhanpur came under British control.
1819 Palanpur Agency is formed under control of Bombay presidency.
1857 First school an Library at Radhanpur. (Drought for 7 years, 1856 Drought, Plague before 1857)
1859
1871
First mill in Ahmedabad floated by Shri Ranchhodlal Chhotalal.
Second mill was built in Ahmedabad by Rai Bahadur Bechardas Ambaidas.
1924
1920
Palanpur agency merged into Indian States Agency.
Started selling cotton
1880 BATA company had commissioned some work to the mochi karigars of RADHANPUR, in 1980s, hrough Gurjari.Mashru mojaris were in fashion then.
1899 FAMINE (Mitti Bartan- use by 100 yrs old mother in law, Aluminum, 1980’s post steel vessels)
The National Uprising, across India.
S
1950 First Train/ Railway (Koliwada), Electricity (post)
1948
1947
1944
Pucca Road
Whole area became part of Bombay State Stopped use of Teracotta utensils. (post 1947)
WISA amalgamated with Baroda and Gujarat States Agency.
1933 Palanpur State transferred to Rajputana Agency. Banaskantha Agency merged with Mahikantha Agency to form Sabar Kantha Agency, subordinate to Western India States Agency (WISA)
1927
1925
VADIYAR BANK AT RADHANPUR
Designation of Palanpur Agency changed to Bans Kantha Agency.
1914 Commencement of World War I resulting in stoppage of mill building in Bombay.
1910 First radio with license.
World War I
INDIAN INDEPENDENCE
traditional colour palette 1952
1957
Famine, Red coloured wheat, Parents would go to Government jobs.
DROUGHT
1960 Brocade Kamkha fabric stopped. It came from Surat.
Divided into state of Gujarat and Maharashtra
contemporary colour palette
National Institute of Design Textiles and Space 2012
1961 Electricity came to Radhanpur, 15yrs post 1947
1966 DUSHKAAL TIME. People collected in spoons and bowls from the bottom of the well. There was a small pond and then it was built into a larger pond
1970 FLOUR MILLS came up and in the same year village suffered from severe tapeworm infection.
1971 INDO-PAK WAR (blackout, bombarding, people would stay indoors)
1975 First TV in Radhanpur. Pushpaben Thakkar married and travels to USA. First person from Koliwada to travel abroad. POLYESTER was introduced.
1978 WATER SUPPLY PIPELINE BY GUJARAT AND NETHERLANDS GOVT.
1980 Kerosene primas used. When Indira Gandhi Died only 1 TV in village. Since 25yrs Newspapers in Radhanpur. When Indira Gandhi Died ther was only 1 TV in the village.
Gujarat National International
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SEWA Banas Na Aana Museum
Responses / timeline / themes
Story of struggle Leisure, celebration and play Connecting to the world Embroidery pricate to public Freedom Future
Climatic Crisis No Agriculture No food, money Migration Women start working with SEWA Women were forbidden to work Together in SEWA
On the base of the Time Line we devided the stories into 6 themes. Each theme itself has individual subtitles which will be discribed in graphical abstraction. This allows the women of Radhanpur to tell their own stories on the base of the themes and might inspire them to new ones. 67
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / timeline / themes
Story of struggle Leisure, celebration and play Connecting to the world Embroidery pricate to public
Technology (radio,TV, electricity)
Freedom Future
Pucca Road
First ever exhibition in New Delhi South Africa Fair Lotus Bazaar Exhibition Craft Exhibition Exhibition in Paris
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / timeline / themes
Internal elevation ground floor South east and North east
Scale 1:100
5.08
3.29
3.29
2.35 +0.60
1.50
2.95
eye level of average indian
-0.60
9.55
3.01
9.55
1.50
1.20
1.50
1.20 0.50 0.17 69
National Institute of Design Textiles and Space 2012
3.01
9.55
9.55 Timeline experience
1.50
Responses1.20 / timeline / bloom Circle Internal elevation South East and North East
Scale 1:100
Celebration
Connecting to the world
Future
1.50
1.20 Struggle
Embroidery private-
Free-
0.50 0.17
Perspective Room (view to south) Time line in combination with bloom installation
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / timeline / bloom
frame to place abstraction of subtitles remolvable and therefore redesignable by the women after their one interests
further information about themes like dates or incidents
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National Institute of Design Textiles and Space 2012
Timeline experience
Responses / timeline / bloom
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum 5.08
3.29
2.35
3.29
Responses / timeline / reflection
1.50
2.95 Mirror work Internal elevation South East and North East
3.01
9.55 Scale 1:100
Struggle
Celebration
9.55 Connecting to the world
Future
1.50
1.20
Embroidery private-public
Freedom
1.50
1.20 0.50 0.17
Inspiration Wall relief NID
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Perspective Room (view to south) Time line in combination with reflection installation
National Institute of Design Textiles and Space 2012
Timeline experience
Responses / timeline / reflection
Mirror work
frame to place abstraction of subtitles remolvable and therefore redesignable by the women after their one interests
further information about themes like dates or incidents
National Institute of Design Textiles and Space 2012
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SEWA Banas Na Aana Museum
Responses / timeline / reflection Mirror work
- The Circles will be attached on the wall but protruding out of the wall a bit. - The abstraction is changable and can be interpreted in way the women of radhanpur wants it to be . - The information written will be through embroidery . or any other medium they choose it to be. - Fabrics - Their traditional fabrics or fabrics availaible in STFC can be used.
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National Institute of Design Textiles and Space 2012
Timeline experience
Bibliography Bhatt, Ela R. “Embroiderers.“ We Are Poor but so Many: The Story of Self-employed Women in India. Oxford: Oxford UP, 2006. 141-65. Das, Sethu, Interview with Ela Bhatt. Ahmedabad: NID, 2012: http://www.designandpeople.org/creativeresistance/ela_bhatt_conversation.html Nanavaty, Reema. We Can We Will: Women’s Empowerment and DWCRA Programme. Ahmedabad: SEWA Academy, 1994. Tyabji, Laila, and Siddhartha Das. “Threads and Voices: Embroidery as Identity and Empowerment.” Threads & Voices: Behind the Indian Textile Tradition. Mumbai: Marg Publications, 2007. 120-133. Frater, Judy. Threads of Identity: Embroidery and Adornment of the Nomadic Rabaris. Ahmedabad: Mapin Pub., 1995
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