Studio Dossier _ Craft + Future = ? | Speculative Interior Practices

Course Dossier

CCCCCCCraft Faculty: Rishav Jain TA: Shail Sheth

Future Future Future Future Future Future Future Future Master of Interior Design Spring Semester 2021 Faculty of Design CEPT University

C Future

First Edition: 2021 This is an academic publication outlining the details of the Studio: Craft + Future = ? offered for the students of Master of Design (Interiors).

This course was conducted at the Faculty of Design, CEPT University during the Spring 2021.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form now known or hereafter invented, including photocopy and recording, or in any information storage or retrieval system, without permission in writing from Studio Tutors or Students.

Publication Design: Shail Sheth

Course Dossier

CCCCCCCraft Faculty: Rishav Jain TA: Shail Sheth

Future Future Future Future Future Future Future Future Master of Interior Design Spring Semester 2021 Faculty of Design CEPT University

Overview RESEARCH PROCESSES

DESIGN POSITION

CRAFT PRODUCTION

INTERIOR PRACTICE

DESIGN METHODS

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The studio intends to discuss and identify the position of craft in contemporary interior architecture practices. With a combination of research and design methods, the studio focuses on envisaging future directions of craft productions through design concepts and craft design prototypes. The studio is largely divided into two parts: the first part uses intensive research techniques to establish a theoretical position of craft and the second part intends to test the position through a design problem. The studio involves rigorous reading sessions, theoretical analysis, field studies, hands-on explorations with craft techniques, along with design discussions.

The studio responds to the diverse pluralistic landscape of interior architecture practices in India and positions craft as one of the forerunners in the design decision making. It intends to delve into various future directions that craft productions can lend to interior practice.

The studio is largely divided into four modules,each emphasize the learning outcomes of the course: Know the contemporary position of craft, Ideate possibilities about the vision of the future, Develop an individual design position and Make relevant design explorations representing the design position.

The key outcomes of the studio include a listing and categorization of contemporary craft design practices of India, essays based on student’s own developed theoretical positions, field notes, visualizations of design positions along with prototypes and material samples.

Learning Outcomes: • Analyze and categorize the contemporary craft design practices of India • Evaluate and critique literature and research done on contemporary craft and write/derive/formulate a theoretical position on craft • Formulate a craft-design solution based on pre field studies and given design constraints.

• Devise design solutions that use craft in a future-relevant and contextual manner, rather than a mere aesthetic tool.

• Construct contemporary craft design prototypes, material boards and make presentation drawings

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The first module emphasized the importance of theorizing and experiencing three essential keywords of the studio : CRAFT. PRACTICE and PRODUCTION. The aim was to sensitize the students to the basic qualities and key aspects of craft, design practices and craft productions.

Ideate

Know

Course Modules

The second module intended to ideate a theoretical position taking references from mapping of craft practices and craft productions. It also encouraged the students to envisage future scenarios and translate the theoretical position to a design position through an illustration .

Make

Develop

The third module emphasized on developing the design position taking clues from the ideation process. During this module, the students also developed a detailed design manifesto and a craft design matrix with specific craft techniques and its making processes.

The final module emphasized on the culmination of all the exercises into the final project. The main aim of this module was to make presentation drawings, craft design prototypes / details/ material samples along with models of the interior space.

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10

Absorb

Amplify

week 06

Abstraction

model making as a design tool

Ex.7 Elementalism

Develop

Ex.6 Abstraction

On Field

Critical Review 01

week 04

Research | Information Gathering

Ex.5 Accumalizer

Ideate

week 01 Library/ individual research

Ex.4 Field Mapping of Crafts

Ex.3 Theoretical Position

Ex.2 Positioning Crafts

Ex.1 Card Sorting

Know

Studio Pedagogy Conce devel throu

Reflections

Critical review 04

Project Delivery

Lap 04

Lap 03

Lap 02

Lap 01

week 10

loping a design position ugh drawings and text

Ex.10 Speculative Interior Practices

Make

Critical review 03

Ex.9 Manifest-To!

Ex.8 Generation of Space

Critical review 02

eptualization Realization Design Manifestation

detailing design using prototyping and detail drawings

Assimilate

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Students PG190622 . Nimmi Elizabeth Thomas PG190700 . Pratiksha Nair PG190973 . Sonali Gupta PG191054 . Payapalle Teja Siva Srinivas PID20078 . Ayooshi Jain PID20150 . Parikh Jhanavi Jigishbhai PID20360 . Sucheetra Pradhan

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Exercise Brief & Student Works 13

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Content

Ex.1 | The idea of Craft

page no. 16

Ex.2 | Positioning Crafts

page no. 20

Ex.3 | Deriving a theoretical ‘POSITION’

page no. 28

Ex.4 | Field Mapping of Crafts

page no. 36

Ex.5 | Accumalizer

page no. 44

Ex.6 | Abstraction

page no. 52

Ex.7 | Elementalism

page no. 60

Ex.8 | Generation of Interior Space

page no. 70

Ex.9 | Manifest-To!

page no. 72

Design Development

page no. 84

A | Nimmi Elizabeth Thomas

page no. 86

B | Ayooshi Jain

page no. 94

C | Jhanavi Parikh

page no. 108

D | Pratiskha Nair

page no. 118

E | Sonali Gupta

page no. 126

F | Sucheetra Pradhan

page no. 140

G | Teja Payapalle

page no. 152

Studio Moments

page no. 168

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Ex.1 The Idea of Craft

An intuitive approach through card sorting

Learning Outcome: To identify various connotations and associations with crafts.

Brief: Look at each card carefully, each card has associations with the keywords: Contemporary. Craft. Design. Future.

Understand each card: what it means and why is it important. Each of the students need to sort the cards in the order of what is most important to what is least important.

Each student needs to make three iterations, out of 24.

Step 1: Organize 24 cards in the order of importance where 01 is the most important and 24 is the least important.

Step 2: Now pick the 10 most important cards from the provided 24. Remaining 14 cards are not available anymore.

Step 3: Finally select 05 cards which matter the most to you, from the present 10.

After selecting the top five cards, think: What do these cards mean to you?

How do they affect craft or design or practice?

How will you take them ahead?

Do they need a different design process?

The exercise is meant to act as an ice-breaker, encouraging a dialogue within the newly formed group of students. The keywords from the above selection shall be re-organized according to its order of importance to form a phrase or a sentence.

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Students are encouraged to consider a fresh perspective rather than agreeing to conventional ones. Once the dialogue is kick-started, all participants should consider opinions from the discussion that may or may not support their “Idea of Craft”.

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24 Cards arranged by students respectively in the sequence of their choice

Out of 24, 10 cards having most importance are selected by students through external readings

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Jhanavi Parikh . PID20150, 5 most important cards according to her are finalized

Ayooshi Jain . PID20078, 5 most important cards according to her are finalized

Sonali Gupta . PG190973, 5 most important cards according to her are finalized

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Ex.2 Positioning Crafts

A study of craft in contemporary design practices

Learning Outcome: To know the canonical works related to craft and contemporary interior architecture practices from the recent past.

To analyze and categorize the contemporary craft design practices of India.

Brief: The relevance of crafts in interior architecture, especially, during the last two decades is dominated by various factors remaining at the centre of advocacy, both in theory and practice. With an effort towards the glorious past of the cultural heritage of India with varied and diverse craft traditions, the aspirations towards a global identity cannot be neglected.

There are various degrees of application and integration of crafts which can be seen, each showcasing an individual interpretation of craft in the built environment. As a designer, it is crucial that one is aware of the interior practices that surround us. It is important that these practices are reviewed critically- not as what they are but rather what they do and how they do it. This exercise revolves around developing a position on current interior practices and built it on the work done by design professionals across spectrum. This exercise intends to examine works of various architects and designers who have worked with craft - in any capacity.

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Methodology: All students are required to select a set of 35 projects which best fit the idea of the contemporary craft and interior design practice.

The idea is not to merely describe a project but to critically examine the core key values of the project. Each student prepares a detailed review of individual projects which contain: a tag line of what describes the project, description of why is this project crucial to know and what are the e merging keywords that best describe the project.

Stage 01: Each student is expected to identify 35 contemporary craft design practices/projects in India and around the world post - 2010. (Maximum 5 projects can be from outside India) Stage 02: Decode the various clues and information the project has to offer and formulate a tag line that describes it.

Stage 03: Understand the selected projects in totality by jotting down the various details such as the name of the designer, the location of the project, methods of construction, materials and technology used; and the year that it was built.

Stage 04: Once the project details have been written, give a brief description about the project, why it was selected and along with it, identify keywords that describe the project.

These keywords will later be used as base study for Exercise 03.

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Exercise 02: Positioning Crafts in 21st century

Glamourous craft Project: Atrium Tower Lobby

Built in: 2016

Designer: Oded Halaf and Crafted by Tomer Gelfand

Location: TEL AVIV-YAFO, ISRAEL

Why this Project ?

Key Words

A masterpiece depicting true meaning of collaboration between master craftsman and designer.

collaboration

craft used in spatial design as a tool of beautification in the space. extensive material stregth in craft directive projects

ornamentation structural development of craft technology and ideation

Citations/References

MID, Faculty of Design Faculty: Rishav Jain | TA: Shail Sheth

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Craft + Future = ?

Sonali Gupta | PG190973

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Ex.3 Deriving a theoretical ‘POSITION’ Learning Outcome: To comprehend learnings from the field study and derive a theoretical position about Craft and Future.

Brief: In continuity to the positioning of contemporary craft practices, all students are required to gather the data and process it critically in order to form a comprehensive theoretical position in relation to crafts and its future.

The card sorting exercise and the coding/categorization from the initial exercises will enable one to generate a standpoint which needs to be elaborated further by the reading materials provided as inputs.

The assignment is briefly divided into three stages.

Stage 01: The student is expected to look through all 245 projects that have been pinned up in class to try and comprehend what all has been explored with respect to the topic: Contemporary. Craft. Design. Practice in India as well as abroad.

Stage 02: After having scanned all the projects, the student is expected to identify keywords that they relate to in accordance to craft and the future later grouping them together to arise at a common concern or issue.

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For example: Finding projects with the keyword technology. Clubbing all such projects together and generating a key issue that arises from the selected keyword such as; “Craft in the future will be produced with the aid of technology.”

Stage 03: The next step will be to support the issue by looking for references via literature. The same shall be derived by reading works written by scholars and referencing examples on the same idea/issue.

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Jhanavi Parikh . PID20150 In the case of India, craft and design have been a coherent part of the process of making. The making processes were organic ones that contained knowledge of the local region, materials, activities, and needs which were handed down from generation to generation. With the onset of colonization, the idea that ‘crafts’ needed interventions began, followed by industrialization and globalization .

Today, the interior practices are conducted with a pinch of an adaptation and reinterpretation of crafts and culture. They inspire from the communities of the past and try to implement a similar thought and design processes for the generations

early decade of the 2020’s showcase the intervention and interpretation of craft with the fusion of materials and techniques. By the middle of the decade, the experimentation and collaboration consisted of communities and functional requirements along with materials and techniques. In the current times, the use of technology is limitless, and therefore, the innovations turn out to be an amalgamation of all the above-mentioned aspects. Hence it can be deduced that the output of craft+future is Fusion.

The use and applications that crafts have found on a commercial platform are varied like the objectives behind integrating them. This has shown the way to participatory design processes, where craft and design amalgamate, and

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to come. These practices can be termed as “Global yet Local”. The collaboration with the artisans brings out a meaningful output represent¬ing the contemporary design attached with a particular art and craft form. Hence, Collaboration is the key to today’s interior practices. There is a piece of prominent evidence of the essence of craft in design approaches that were adopted after the first decade of the 21st century.

Design approaches mainly focus on solving issues by fixing things at an industry level, while craft focuses on making of things through a flexible approach addressing the communities.

The interior practices carried out in the

designers and craftspeople work together on a common platform to create and produce something. A conscious effort of collaborating the two segments of craft and design together can be seen as an emerging approach to design . Hence, this fusion of materiality & techniques, technology, functionality leads to the variation in scales of craft implied in the interior practices today.

This act can be looked at from a vice-versa perspective stating that these variations in scales through craft can be achieved four major factors like modularity, symbolism, interpreted ornamentation, and simplified ornamentation. The aspects together or in many permutations and combinations form variations in scales and proportions.

These variations lead to the formulation of

craft in current interior practices.

The interpreted form of ornamentation can be seen in Avadh Shilpgram where the ‘Chikankari’ Jali has been used to give the perception of long arches depicting the local art form using modern material.

The Boys hostel by Zero Lab Design Studio falls in the repetition form of scale where the orientation of bricks having the same module performs for an articulated façade and thus fulfilling the purpose of a climate-responsive façade.

symbolism at its core. Lastly, the façade for Raas, Jodhpur has a simplified version of ornamentation that transforms the harsh scale of light into little patches, making it a functional element.

Therefore, the idea of craft in current practices can be associated with the variations in scales, further leading to functional, material and program based aspects.

The cardboard cathedral having stained glass and repetition of the paper tube as a structural element translates itself as a voluminous element of the craft having

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Pratiksha Nair . PG190700 Interior practices today is transforming with the growing trend and evolution of mindsets. That include driving towards local, sustainable, visual appearance of the built. Craft has also evolved in terms of its usability, thought process and implementation. The practices that have been analyzed opened up multiple arguments and ideation to understand the notion of craft.

Some contexts drive the designer to adapt to local and easily available material, whereas in some implementation is limited to space making elements. As Designed by Anahata’s Padival house

ideology resulted in creative contrast. Craft acts a factor to break monotony in the space with exposed concrete and plain façade.

This makes the space to stand up with traditional touch defining the culture and context. This can change the look and feel of the space and change the experience of the space. Like in project Amazon Bink Studio by ultra-confidential design the idea was not to focus on purpose but to give the essence of the origin through single crafted panel.

Reinterpreting the idea of Mughal Jalli in modernist approach that go with industrial feel of the place.

The designer with multiple design innovative ideas can position the craft 32

Karnataka, where they intended to use craft as an surficial element to break the monotony of the space. On the other hand, the current practices also try to connect the roots by merging the traditional aspects with current trend as done by Cambridge Central Mosque by Marks Barfield Architects, London. The idea of Islamic Architecture was translated and narrated in a modern way.

The Idea of merging the Local with the global created a collaborative platform for the exchange in ideas, yet craft being strongly used as a space making element to represent culture and origin essence. As done by Hèrmosa Design Studio merging the Rajasthani essence with the Swedish

to its maximum with the help of local craftsman to promote the collaborative working to withstand the emerging trend, which is the current need of the hour.

The cube represents the notion of the interior practices with involvement of craft as an element to connect the space and break the monotony in the space.

The Practices today are more into surficial implementation either to connect to the context, or to give the essence of the tradition, history. Moreover, these are used in space making element and majorly to connect from inside and outside. In near future the idea may differ from place to place according to the function, user or context. Some may use an ornamentation to highlight the tradition or as an integral part of the built space.

Overall this opens up to multiple iteration and proposition in a built space that can interconnect to every element in the space.

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Sonali Gupta . PG190973 Designing as a practice is all about decision making. The decisions regarding where to place what, how to place what, what materials to choose, what light, what color and so on. Nothing can be guided by one’s sheer will, likings or inclinations, unless it’s the client whom we are talking about.

As a designer every design move should be backed by a strong reasoning and the same goes while choosing to involve craft in their space design scheme. Be it functional need of the program or an initiative to save local art and have a sustainable approach. Apart from this,

indirect way of application of crafts. Also, we tend to use the word “involvement or participation” in the reference to craft when talking about interior practice, implying that craft will always be an overlay over the design scheme or it could be part or the interior design scheme but not the seen of the entire design. It can be part of design, but not the entire design.

Or can it be that significant?

Despite whatever is the deriving reason or intention behind the making craft a part of the interior scheme, the end result of involving craft in spatial design will always have a warm effect. Be it warmth driven from a memory or association with a certain graphic, or warmth of handmade gesture which feels relatable, or be it warmth from the local material and 34

craft can also act as a tool to achieve a desired mood/character in the spatial or as a source of symbolism of one’s concept. But using craft just as an object of beautification might be considered surfacial.

The fact that it’s uniqueness is what makes crafts desirable and at the same time expensive to afford, and hence we can term such clientele as “Glamorous client”. While the audience that acquire the taste for traditional aesthetics is low here in India for majority demand westernization, the current outcome of involving craft in interior practice comes out to be subtle blend of contemporary and traditional aesthetics. Be it literal or

local people. The cube hence, represents the same, the position of craft in the field of interior practice as a source of warmth, despite the way it is translated, literal, metaphorical, or somewhere in between these two. A source which is a representation of time and patience, which craft possess not only in the form of time invested in making it happen but also the potential it carries to represent heritage which makes not only the craft installation timeless but also the space in which it stands.

The purpose of craft installation in the above projects holds a meaning and message other than just visual beautification and hence makes the participation of craft more relevant and needful in the spatial design scheme.

Moreover, the indirect and symbolic representation of heritage and culture makes up to a more contemporary inclined aesthetics hence making craft’s involvement more relevant in today’s minimal interior aesthetics, while yet involving the traditional craftsmen and craft practice at the same time.

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Ex.4 Field Mapping of Crafts Learning Outcome: To identify the key qualities and characteristics of the selected craft technique and craft cluster.

Brief: The field mapping of crafts involves visiting a range of craft practices ranging from industrial scale to studio-workshop setup and individual craft workshop units. It requires the students to observe the craft, its techniques, methods of production and its tangible and intangible associations.

The idea of the exercise is to gain detailed knowledge of the craft and bring out the essence of the craft form. The exercise is divided into two parts: • Thorough documentation of the crafts through interviews and visits represented mostly through line drawings and diagrams.

• A 500 word write up on your inferences about each craft and establishing a position of the way forward.

Below is the general list of information that will be collected categorically based on various facets of each craft.

Please use the format provided for the submission.

01. Know Craft

a. The origin and history of the selected craft

b. The organizational structure of the craft in relation to its related crafts

c. Scope and limitations of the craft

d. Philosophy of the craft

e. Location of the craft 02. Know crafts people

a. Name 36

b. Age c. Gender d. How did they learn the craft? e. Experience f. Family system g. What do they feel about craft? h. Miscellaneous conversations

03. Know processes

a. The production process diagram

b. Procurement

c. Preliminary process

d. Production process

e. Finishing process

f. Packaging

g. Transportation 04. Know product range

a. Structural elements

b. Surface elements

c. Furniture

d. Sculptures

e. Others 05. Know infrastructure

a. Work areas

b. Lighting and ventilation

c. Site and context

d. Electricity consumption

e. Services

f. Tools and types of equipment

i. Hand tools, power tools

ii. Procurement process and place

iii. Indigenous innovations

iv. Traditional and modern tools 06. Know everything

a. Marketing and sales strategies

b. Sector of economy

c. Costing methodology

d. Profits

e. Business model

f. A SWOT analysis of the crafts practice

g. Particular nuances of the craft practice

h. Types of material and its properties 37

Trained crafts person sanding the ceramic mugs

Crafts person sketching motif and story line

Craft person making joinery

Mata ni Pachedi hand painted fabric

Janyenti bhai, Chitara family, Mata ni Pachedi

Weaving, cane, plastic and fabric threads

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Wood craving craftsperson, Gita mandir

Hand wood carving 39

Clay Club, Ahmedabad

Work of Studio SmitaMoksh

Bamboo craftspeople of Rhizome Studio

Clay club practicing Terracotta

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Material - Clay and Terracotta Clay Club, Gota

Material - Wood & Metal Studioworks, Ahmedabad

Material - Bamboo Rhizome, Ahmedabad

Material - Bamboo & Cane Artisan - Ratilalbhai, Panjrapole

Material - Wood turning Artisan - Rameshbhai, Gota

Material - Wood Carving Artisan - Vinodbhai, Chandlodiya

Material - Marble (Carving) Artisan - Lalbhai, Gota

Material - Metal (Embossing) Artisan - Kalpeshbhai Soni, Gota

Material - Tapestry Weaving Artisan - Rajenbhai, Raipur 41

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Ex.5 Accumalizer Learning Outcome: Ability to comprehend learnings of positioning interior practices and field mapping.

Ability to decode an architectural language and apply to a given context using constraints of craft.

Brief: An international interior architectural office ( based out of India currently) is proposing to open up a Country office in India. Though the firm is of international repute but doesn’t have any projects built in India currently. To set out an office in India, they are looking for a Principal Designer who can lead the team in India. The firm will select the final candidate in a two staged process- Shortlist and final selection.

The selection process will consider applications in form of a pitch presentation. The important points to be considered for the proposal are as follows: 1. The international interior architecture office’s ideationthought process needs to be evident and prominently visible.- Remember the design project is of the firm and not ‘you’ alone as a designer.

2. The design proposition should be well informed from the current notion of interior practices and the position of craft production.

3. The proposal is based on some ideas of future speculations - which becomes the context of the project.

Stage 01: Select an International Interior Architecture office ideation/ideology - decode the design language, philosophy, practice.

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Stage 02: Evolve the craft production proposition through Field visits and Field mappings- interact with makers, craft communities to establish a position of craft production.

Stage 03: Speculate future scenarios, Future Speculation needs to be envisaged through readings and exploring the possibilities and where the world of Interior-Architecture practice is heading towards.

Stage 04: Develop a language of the project, based on the above three stages- derive a language of the project that reflects the philosophy of practice and learnings of field mapping.

Stage 05: Present the project.

Program: Knowledge Centre- a new vision for library.

The requirements are as follows: 1. Reading space for 25 people.

2. Display capacity for the books: 5000 3. A space which can be used for the meetings/talks etc. by the people. Capacity of 50 people 4. Back office space for the library staff for administrative purposes.

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Sucheetra Pradhan . PID20150 Illustration for future scenario

Sucheetra Pradhan . PID20150 Illustration for future scenario with craft practices

Sucheetra Pradhan . PID20150 Illustration for material and making of a space system 46

Sonali Gupta . PG190973,

Ilse Crawford being a designer with a simple mission to put human needs and desires at the centre of all that she does. This means creating environments where humans feel comfortable; public spaces that make people feel at home and homes that are habitable and make sense for the people who live in them.

The proposal also tends to justify that. Naturally lit spaces with all kind of human moods and activities, is what she offers. Indian-ising her aesthetics with craft context of the country keeping in mind her minimal material and mood board which is more sensorial then just visual and surfacial.

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Jhanavi Parikh . PID 20150 The design ideology of the Knowledge center revolves around the idea of envelope of scales.

The variation in scales help to incorporate the idea of craft in the minimalistic way. The open plan provides the platform to have flexible public spaces on the outer edge while having private spaces on the inner periphery. The play with material is an attempt to provide the craft dimension in the design. The columns are crafted from stone, while the arches are done with wood having glass in between, thus giving it a minimalistic look.

Visualization 02 48

International Firm - Mies Vander Rohe Architects Visualization 01

International Firm - Mies Vander Rohe Architects Model Image 01 49

Ayooshi Jain . PID20078

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Nimmi Thomas . PG190622

Woods Bagot is a global architectural and consulting practice founded in Australia.

Inevitably for a firm with whose history spans more than a century, Woods Bagot has embraced a wide variety of architectural styles since its inception.

However, its current presence in an international landscape defines a design style devoid of materialism, symbolism and excess. This project proposed in India, uses traditional craft stripped of all symbolism, history and storytelling. This is an effort to have the craft blend within the rest of the structure and still provide the people with an experience as simple and clear as still water.

This project mixes handwork of the craftsmen and computational design so that one can see the mark of the maker, and yet be devoid of any symbolism and preconceived notions of the practice.

ulty of Design

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Craft + Fut

Ex.6 Abstraction Learning Outcome: The students will learn to translate their craft design position for future inclusive of one’s theoretical position, from their written understanding, into a model.

The students will also be able to represent their vision of craft production, interior practice and craft of future through abstraction.

Brief: After nourishing from the study of contemporary craft practices and production; and after forming one’s position about craft in future, all students shall represent their notion of craft through an abstract model. The focus of the abstraction process will be to generate new expressions and perspectives by fusing ideas of design with craft, based on your write up from the previous exercises.

The designer’s ideas have to be based on the wisdom of the craft tradition as well as inferences from what they saw, heard, discussed and learn from the field visits. In this abstraction exercise, students are expected to embody a theoretical construct into an abstract model by synthesizing the emerging craft design practices.

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Background: ‘The word, abstract, originates from the Latin, abstrahere, which means to draw away from. When we abstract, we begin with something and move away from it, yet remain connected to it. Abstraction, by definition, is the distortion or enhancement of elements in an image or form. It is based on a representational capture or depiction which is then simplified, exaggerated or otherwise stylized.

Think of it as a means of deliberate alteration or manipulation of shapes and forms for a specific purpose.

It’s based on reality but does not directly represent it.

Abstraction as a means of creating design and illustration goes well beyond one’s personal style or aesthetic. It becomes the means for effective visual communication. The process of abstraction compels us to carefully observe and analyze what we see, paying attention to how something is formed and how we can reform it for our own purposes. We become more aware of the parts, their relationships within the design space, and how everything comes together to express the whole design.

In design and craft, abstraction is the modification of representational forms. We reduce a shape to a more simple shape but still maintain the connection to the actual thing.

Simplification and stylization are methods of abstraction.’

Lundgren, Alvalyn (2020, January 22). Design through abstraction. https://cutt.ly/wrE6Rk0

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Sucheetra Pradhan . PID20360, Kit of parts of same module with customization depicting the future scenario

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Sonali Gupta . PG190973, First attempt at abstract model representing crafts ability of customization

Sonali Gupta . PG190973, Second attempt representing craft’s ability of creating contrast in a space along with customization

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Pratiksha Nair . PG190700, Reclaimed wood is repaired using resin inlay. Abstract model representing the position.

Nimmi Thomas . PG190622, Cube Abstraction - CRAFT + FUTURE = SOCIAL SYSTEMS

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Jhanavi Parikh . PID20150, Cube Abstraction - CRAFT + FUTURE = SOCIAL SYSTEMS

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Payapalle Teja Siva Srinivas . PG191054, Cube Abstraction - CRAFT + FUTURE = HYPER LOCAL

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Payapalle Teja Siva Srinivas . PG191054, Cube Abstraction - CRAFT + FUTURE = HYPER LOCAL

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Ex.7 Elementalism Learning Outcome: Conceptualise and detail out space making elements in relationship with established theoretical position.

Ideate a design vocabulary around the developed position.

Translate their craft design position for future inclusiveness of one’s theoretical position, from their written understanding, into ELEMENTS.

Brief: After nourishing from the study of contemporary craft practices and production; and after forming one’s position about craft in future, all students shall represent their notion of craft through Elements.

The focus of the Elements designing process will be to generate new expressions and perspectives by fusing ideas of design with craft, based on your write up from the previous exercises, the model of the cube and the theoretical position on craft+ Future=?

The elements have been categorized through idea of abstraction, the categories are as follows: Vertical Linear elements Vertical Planar elements Horizontal Linear elements 60

Horizontal Planar elements Horizontal Overhead Linear elements Horizontal Overhead Planar elements Elements representing Aesthetic Details Elements representing Ergonomic Details Elements representing Interior Details Elements representing Architectural Details The above mentioned categories are in general segregated and there would be overlaps of elements between more than two or more categories, students are free to decide which element fits in which category according to their stand and design concept.

To situate the elements into a space/context, here are some abstracted explanation of the spaces for student’s references: A A A A A A A A A

space space space space space space space space space

for for for for for for for for for

excitement and enthusiasm warmth and calmness reaching destinations knowledge curiosity bliss and fulfilment offering and belief trust dreams

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SPACE FOR WARMTH

SPACE FOR CURIOSITY

SPACE FOR REACHING A DESTINATION

SPACE FOR KNOWLEDGE

INTERIOR DETAIL

ERGONOMIC DETAIL

AESTHETIC DETAIL

HORIZONTAL PLANAR

HORIZONTAL LINEAR

VERTICAL LINEAR

VERTICAL PLANAR

SPACE FOR EXCITEMENT

Master of Design (Interior Design), Faculty of Design, CEPT University

Sonali Gupta . PG190973 62

ID 4000 | Craft + Future | Speculative Interior Practices | Faculty: Rishav Jain, TA: Shail Sheth

Sonali Gupta | PG190973

Sucheetra Pradhan . PID20360

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Pratiksha Nair . PG190700

Payapalle Teja Siva Srinivas . PG191054 65

A space for knowledge

A space for curiosity

A space for offering and belief

A space for dreams

Elements representing Interior Details

Elements representing Aesthetic Details

Horizontal Overhead Planar elements

Horizontal Planar elements

Horizontal Linear elements

Vertical Planar elements

Vertical Linear elements

A space for excitement and enthusiasm

Master of Design (Interior Design), Faculty of Design, CEPT University

ID 4000 | Craft + Future | Speculative Interior Practices | Faculty: Rishav Jain, TA: Shail Sheth

Nimmi Elizabeth Thomas . PG190622 66

Nimmi Thomas | PG190622

Parikh Jhanavi Jigishbhai . PID20150

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Payapalle Teja Siva Srinivas . PG191054, Models

Parikh Jhanavi Jigishbhai . PID20150, Models 68

Sonali Gupta . PG190973, Models 69

Ex.8 Generation of Space Learning Outcome: At the end of this exercise, the students will able to: To introduce and illustrate their objects/elements into a spatial narration using drawdel technique.

Brief: Each object/element based on its position with its surrounding elements evokes a spatial narrative of its own.

In, this workshop Drawdels; which is a composition of 2D and 3D elements were introduced not only as a quick representation model but as a thinking tool. The aim of the workshop was to introduce this technique so that students could quickly translate their object of studies into a spatial narration.

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Ayooshi Jain . PID20078, Sectional Elevation at different level through Drawdels

Sucheetra Pradhan . PID20360, Sectional Elevation at different level through Drawdels 71

Ex.9 Manifest-To! Learning Outcome: Ability to conceptualize a need for a design position which addresses future and relevance to interior practices.

Ability to structure and develop an idea for the design language of the design project.

Brief: Manifesto (Manifest-To) is referred to as a possible direction of a Bigger idea/need. It is structured as a single narrative, beginning from an abstract idea, need or a thought. The intention is to situate the thought, possible facts, readings that need to be incorporated to support or prove the potentiality of the design position.

The idea of the manifesto is to act as a starting point of the design project. This needs to be built up through vision for future scenarios, an idea about lifestyle of people, cultural nuances and habitation ideas . With all these acting as a raw material for the thought, all of these must generate a problem statement or a specific need for a design position.

After the problem statement, development of a possible direction or a process is laid out in an abstract form in the Manifesto with a probable conclusion or an outcome.

In the studio, the manifestos are in direction of future interior practice’s needs or problems which can be answered/ solved/ addressed by the Craft and/or Position on Craft.

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Sonali Gupta . PG190973 73

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Sonali Gupta . PG190973 75

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Sucheetra Pradhan . PID20360 77

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Parikh Jhanavi Jigishbhai . PID20150 79

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Ayooshi Jain . PID20078 81

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Payapalle Teja Siva Srinivas . PG191054 83

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Design Development

Craft + Future =

Open Source Nimmi Thomas | PG190622 Name of the project: CraftLab Function: A making and learning center with collaborative platforms Built in: 2030 Site: Sanskar Kendra, Ahmedabad

This is the first core model of Craftlab at Sanskar Kendra, Ahmedabad. This platform has two major functions. The first being the inclusion of technology and digital fabrication in the craft making process.

This helps to eliminate tedious processes and high skill levels, and opens up opportunity for anyone in the world to begin their path in the line of crafts.

Simply put, it’s the cake mix of craft. This allows school children, entrepreneurs and anyone with an interest to make, to be a part of the craft community.

Traditional craftsmen provide the knowledge and designers develop the kit of parts for the maker and when the maker sells their product, everyone in between benefits.

The second benefit is that this platform promotes trans-disciplinary collaboration.

For example: An UI/UX designer works with a Kalamkari craftsperson to develop a DIY wallpaper app. From bioplastic terrazzo to 3D printed joinery for bamboo, the explorations are endless.

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Bamboo structure with 3D printed plastic joinery

Bamboo structure with 3D printed plastic joinery

Bamboo joinery & narrative symbolism

Study of traditional bamboo joinery

Study of traditional wood carving

Wood carving of Kerala from D’source 67

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Warm Up Floor Maze

maze with varying levels that warms you up for the process of creation. The vertical panels also act as playful peg boards to pin up your ideas.

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Ideate & Create The ideate & create zone is a space for people to sit and create. With varying levels of seating, one can sit in different postures based on personal comfort. On the right are model making & digital fabrication workshops.

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Detailed drawings of the seating furniture.

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On the left you have the vehicle entry from road.

While moving in, you can see the a bunch of

that warms you up. Further above is the main entrance that leads to the ideate & create zone.

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Craft + Future =

Pattern Ayooshi Jain | PID20078 Name of the project: Yatra Function: Distressing centre Built in: 2030 Site: General Post Office, Ahmedabad

Imagine a future with lack of land and spaces to inhabit are getting disturbed, disordered and smaller, and since we are a fan of time-honored techniques as much as their contemporary interpretations, the government appoints a designer who manifests a space for distressing, revitalizing the people of the nation.

The problem of disorder is serious, the people want a solution. And since we value the 10-digit technology, here the designer then collaborates with craftsmen since we value things made by hand more, the original 10-digit machine. The objects envisioned necessarily needed to inhabit a space and not intrude. The journey is then realized as a pilgrimage, which once used to be the most famous expression of leisure and mindfulness, an activity that was for everyone. We value the unique and enduring, the built environment helps us build a narrative and resonate with it. It offers calm and peace.

Hence the designer and craftsmen collaborate to come up with spaces which evoke emotions and offer order to the beings. In this disordered world, the only thing monotonous is the pattern, our brain curates every expression creating an artistic expression. Pattern creates expression for everyone, its personal and calming.

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Interior view 1

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LEGEND 1. Entry 2. Maze 3. Transition to calm.

4. Space depicting chaos 5. Space for reflection/ Contemplation 6. Space meeting new people 7. Space for retrospection 8. Zenith 9. Towards exit 10. Space to self/ for self 11. Space to meet people 12. Space for guiding self and others.

The site manifested in a place called the General Post office in Ahmedabad. The space was earlier responsible for connecting people via letters, its actually ironical how this space now lies in almost ruin. It seemed apt to transform the space into a place which connected people from all walks of life and in more responsible fashion. Each space is manifested in series of transitional areas, each area depicted stages of life and helping people explore themselves.

The yatra started off with a maze, it was conceived so to make them realize and appreciate the value of calm. The maze sent people into a frenzy, at the same time it created different pockets providing sudden meeting spaces for people, seating areas in between maze were designed as pause points helping people understand the area around them.

The maze led them into an open expansive area which was now a journey through different walks in life, it started off with chaos, chaos in time and held a symbolic structure which looked so dense from afar that it almost intimidated the visitors from afar, yet the journey would take way from there only.

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LEGEND 1. Entry 2. Maze 3. Transition to calm.

4. Space depicting chaos 5. Space for reflection/ Contemplation 6. Space meeting new people 7. Space for retrospection 8. Zenith 9. Towards exit 10. Space to self/ for self 11. Space to meet people 12. Space for guiding self and others.

As one moved closer to the structure, they realized how simple and intricate it as, again symbolic of problems in life; no matter how daunting they were, the area made them realize that if they faced it head-on then it is a simple and can be solved easily.

The chaos let them to other areas which helped them contemplate and introspect in their own life following the great view of a zenith, which helped them further connect with their higher self. The entire plan remarked and totaled a journey of a temple via a pilgrimage which used to once the more leisured activity among people. In search of calm and then later connecting with like minded people. The entire floor plate didn’t compromise of walls in order to breakaway from self-imposed rigidity, in fact the vertical members provided seclusion wherever necessary but not so much so that it actually still could be seen as a part of the space.

The areas outside were completely for interaction or retrospection, the spaces encouraged conversations helping people guide others and leaving a legacy, encouraging the learning from various walks of life.

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Life is a journey where each stage of life impacts the other and different life experiences builds or furthers away from our comfort zone.

Thus represents the basics. In this time of life, you learn how to walk, talk and other simple tasks like feeding yourself.

So stage two helps us to stand apart. In this time of life, we are ready to discover who we really are. We are also ready to push boundaries that we were previously taught to respect. We are now making our own decisions, and learning what makes us unique to others.

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We are building skill sets, lifestyles, reputations, and habits within which we’ll engage in launching ourselves independently into the world.

We don’t usually think of it at the time, but this is when we begin building our own legacies for the future. It’s an exciting period, often for trying new things, for being creative, and for gleaning the first deep satisfactions we may experience from making a difference for good for other people as well as ourselves.

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The chaos let them to other areas which helped them contemplate and introspect in their own life following the great view of a zenith, which helped them further connect with their higher self. The entire plan remarked and totaled a journey of a temple via a pilgrimage which used to once the more leisured activity among people.

In search of calm and then later connecting with like minded people. The entire floor plate didn’t compromise of walls in order to break away from selfimposed rigidity, in fact the vertical members provided seclusion wherever necessary but not so much so that it actually still could be seen as a part of the space.

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Craft + Future =

Social Systems Jhanavi Parikh | PID20150 Name of the project: Karigarshala 2.0 Function: A making and learning center Built in: 2030 Site: Faculty of Architecture building, CEPT, Ahmedabad

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Karigarshala 2.0 contributes to a vital built and social environment in the context of post-Anthropocene through the broad field of design and the subject of making in different materials, from architecture to element design, from teaching to consultancy, events curation and research.

Post Anthropocene 109

FA Building, CEPT Campus - Post Anthropocene Scene-01

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Entrance to Karigarshala 2.0 - Transition from Inside to Outside

LEGEND 1. Entrance to Karigarshala 2.0 2. Bamboo and Cane Weaving Area 3. Formal Wood Workshop 4. Briefing Area and Working desks 5. Mezzanine for Office Administration.

6. Store and Packaging Area 7. Outdoor Workshop Area 8. Display area for Joinery and Systems 9. Informal Gathering and Working Area 113

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Detailed Axonometric of Mezzanine area Turned wood Partition Prototype

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Sectional Perspective

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1. CRAFT - Wood Turning and Bamboo joinery MATERIAL - Re-using the wood available, naturally available as well FUNCTION - Temporary shelters and ornamentation 2. CRAFT - Cane Weaving MATERIAL - Re-using the wood available, naturally available as well FUNCTION - Modular, Flexible, Easy to assemble

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3. CRAFT - Wood Turning MATERIAL - Re-using the wood available, naturally available as well FUNCTION - Modular, Flexible, Easy to assemble

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Craft + Future =

Re.use.generate Pratiksha Nair | PG190700 Name of the project: Nezzero Plant Function: Exhibition, Display, Factory Production, Making and Retail, Cafe Built in: 2060 Site: Abandoned Factory Site, Ahemdabad

This project is a bridge between the destruction and the green future. The project, Nezzero Plant, becomes a model for net zero emissions with the idea of collect, make, experience, intract, take away. This is a factory setup in the coming future where the user interacts with the production process and understands the value and process of creation.

User enters through the information zone, passes through the exhibition zone and goes to the experience/interaction zone.

This allows the user to get our hands-on experience with the material. The central part of the plant becomes a production zone. One can now climb up the stairs to the viewing gallary that gives a view of the overall factory, After the visual experience, the user comes down and can buy the finished products from the retail zone. Ending the complete journey, one can have a refreshing meal at the cafe area. This completes the user journey in Nezzero Plant.

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View of the entry and information screens at the Nezzero Plant.

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Front Axonometric illustration of the entire Nezzero Plant.

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The entry, information zone, exhibition zone and the experience zone of Nezzero Plant.

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Sectional perspectives of the Nezzero plant.

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Craft + Future =

Rebel Sonali Gupta | PG190973 Name of the project: ATMA 2.0 Function: Office space

Built in: 2021 - 2025 - 2030 - 2035 - 2040 - 2050 Site: Ahmedabad Textile Millowner’s Association, Ahmedabad

In order to showcase the extreme and sheer contrast and make a bold entrance in today’s world as a design movement, it was necessary to choose a site equally bold and memorable.

It was necessary to choose an iconic structure and redesign it using the philosophy of handmade. Hence, Le Corbusier’s Ahmedabad Textile Millownaer’s Association was chosen. A structure which is a representation of another design movement from past. with the idea of redesigning all the iconic elements of ATMA every 5 year, the first design intervention happened with redesigning the symbolic ramp. a wicker bamboo weaving inlay in existing concrete ramp which wraps up and become the hand rail was the initial stage of design. this wicker weaving then wraps over the triple height shear wall at entrance later taking over the adjacent concrete furniture and hence becoming a seamless handmade on-site design intervention using handcraft.

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Existing ATMA building 127

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R : 2030

In year utalise resultin

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In In year year 2035, 2035, the the symbolic symbolic fins fins and and sun breakers on west facade were sun breakers on west facade were reimagined reimagined with with hand hand carved carved yelyellow jaisalmer jaisalmer sandstone sandstone installed installed low by by breaking breaking concrete concrete fins fins

R : 2035

C A R V C A R V PAT T E R N PAT T E R N

In year 2035, the symbolic fins and sun breakers on west facade were reimagined with hand carved yellow jaisalmer sandstone installed by breaking concrete fins

I N G I N G

D E TA I L D E TA I L

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Today In year 2050, ATMA is fully reimagined and transformed into a masterpiece made entirely using local crafts and artisans. From the hand carved fins to fluted stone walls and columns along with stone slabs and beaten brass, it all comes together and sings as a monument of future made from the crafts of the past. This oxymoron hence becomes the ATMA 2.0, truly justifying itself as “A Tribute to Master Artisans”.

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Craft + Future =

Modular Sucheetra Pradhan | PID20360 Name of the project: Craft-ular Function: Flat Pack Dwelling Built in: 2030 Site: Adani Shantigram (2bhk), Ahmedabad

Modular living is already there and it is happening, near future is going to be entirely standardized.

To eliminate that the project focused on to interior space making elements.

2BHK floor layout was appropriate to showcase the generic future with crafted intervention.

Craft-ular, the application provide user with set of modules which are industrial manufactured, along with set of variation for surfaces, structure and materials through crafts. The space and layout remains the same but the element specification according to the module is what provide to break monotony.

Crafted element are made and then provided with customization according to the scale, units and assembly details.

One can personalize there crafted home with the crafts that fascinates them. The application directly connect the user to the maker or the craftspersons. The application helps make house a home.

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Unit - Assembly

Kit of Parts - Craft Specification 8 X (580*20) Raidus of bending - 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending - 15mm

8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending - 15mm 8 x (65*50)

Varied option with structure • Turned wood • Casted metal (Brass, • Iron, Copper, Aluminium) • Glass blowing • Turned plastic • Concrete Casting

8 x (450*50)

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Space - Elements

Relaxing unit

Display unit

Closed Storage unit

Working unit

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ELement - Unit

Unit - Assembly

Kit of Parts - Craft Specification 8 X (580*20) Raidus of bending 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending - 15mm 8 x (65*50)

8 x (450*50)

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Unit to have food on

Seating unit

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SEATING UNIT

DISPLAY UNIT

Requirement 4x unit Craft - Wood turning , Metal plate bending Application Seating

Requirement 5x unit Craft - Wood turning , Metal plate bending Application Fabric, motif display

Storage unit

Display unit

Display unit

Working unit

Unit to Relax

STORAGE UNIT Requirement - 10x unit Craft - Wood turning , Metal plate bending Application Storage

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ELEMENT - MAKING DETAILS

Wood turning with various dia and terpentine coated Three way junction tongue and groove in 30 dia hole 30 dia hole in wooden member M 6 carriage screw 20 dia ms plate with brass finished powder coating on it Split tougue and groove pierced into 30 dia hole in wooden member

Elevation

Jute immitated cotton upholstry fixed between the wooden element

Teak wood batten Teak wood crafted with wood turning technique

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Sectional perspective

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25mm th. plywood

65 x 65 champhered square hollow section 10mm inverted rounded brass patti

15mm th. ceramic inlay tile

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Craft -ular

Display unit

Storage unit

Unit to have food on

Seating unit

SEATING UNIT Requirement - 4x unit Craft - Bambo bending, Weaving Application - Seating

ELEMENT - MAKING DETAILS

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CR

ID 4000 | Craft + Future = ?

Storage unit

Storage unit

Display unit

Working unit

Unit to Relax

STORAGE UNIT

DISPLAY UNIT

Requirement - 10x unit Craft - Bamboo bending.

Plywood, weaving inlay Application - Storage

Requirement - 5x unit Craft - Bamboo Bending, fabric, weaving Application - Fabric, motif display

RAFT PROTOTYPING -Structural

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Craft -ular

Sectional perspective

Elevation

Sectional perspective

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Stick to each other through Magnetic force 300x300mm single unit of acrylic CNC cut lighting fixture 150

Tutors: Prof.Rishav Jain | Teaching Associate: Shail Sheth

Details

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1 4mm thick Arcylic sheet engraved

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Magnetic force attach arcylic sheet

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Elevation

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Elevation Casted alluminum

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Metal section to hold lighting structure

Inserted part of light into the casted section

Prototype of lighting system with Laser engravi Casted alluminum

Metal section to hold lighting structure

Prototype of lig

2mm deep engraving

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er c force

Laser CNC acrylic engraving

Inserted part of light into the casted section 2mm deep engraving

Magnet to hold the module

Details

Laser CNC acrylic engraving

other netic force

Details

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Craft + Future =

Hyper Local Teja Payapalle | PG191054 Name of the project: AARAV, The Festival of Indian Crafts Function: Interactive exhibition, exchange of ideas and content Built in: 2030 Site: First Floor, Pompidou Center, Paris, France

Aarav the festival of India is imagined as traveling exhibition which communicates of Indian crafts, regions and possible outcomes with collaboration of technology and Craftsmanship.

Entrance and exits are marked with thresholds. “Pragya” the central area showcases the craft, its making and attempt for future through holographic/3D projection mapping.

“Deha” the showcase of part elements and details adds on to pragya and tries to interact with users on a sensory basis.

The seamless transition of spaces from outside to inside is accentuated by the unruly character of the festival. Once inside the user has full-control of how he wants to navigate through the space.

Outer walls are characterized with elements of visual transparency which create a dialogue between the elements and pompidou center.

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Display

Greet

Craft

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SCHEMATIC SPATIAL PLANNING

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FORM AND DEVELOPMENT

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DETAIL AT A

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DETAIL AT B

DETAIL AT C

DETAIL AT D

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Thank you.

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Studio Moments

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Master of Interior Design Spring Semester 2021 Faculty of Design CEPT University