Time Keeping with Crafts

Degree project Timekeeping with Craft: A range of Indoor Wall Clocks Sponsor : TOD Innovations Pvt. Ltd., New Delhi

Volume : 1 of 1 student : SONAL ROY programme : Bachelor of Design (B. Des)

guide : Ramakrishna rao

2017 industrial design faculty (furniture & interior deign)

National Institute of Design Ahmedabad

The Evaluation Jury recommends SONAL ROY for the

Degree of the National Institute of Design IN INDUSTRIAL DESIGN (FURNITURE & INTERIOR DESIGN)

herewith, for the project titled "TIMEKEEPING WITH CRAFT: A RANGE OF INDOOR WALL CLOCKS" on fulfilling the further requirements by*

Chairman Members :

Jury Grade : *Subsequent remarks regarding fulfilling the requirements :

Activity Chairperson, Education

Copyright ©2017 Student Document publication meant for private circulation only.

All rights reserved.

Bachelor of Design, Furniture and Interior Design, 2012-2016 National Institute Of Design, Ahmedabad, India.

No part of this document will be reproduced or transmitted in any form or any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Sonal Roy and The National institute of Design.

All illustrations and photographs in this document are Copyright ©2017 by respective people/organizations.

Edited and designed by: Sonal Roy millee.roy@gmmail.com Processed at: The National Institute of Design(NID) Paldi, Ahmedabad – 380007 Gujarat, India. www.nid.edu Digitally published in Ahmedabad, India November, 2016 Fonts used: Playfair Display by Claus Eggers Sørensen, updated in 2017 Hind by Manushi Parikh for ITF, published in 2014 Sonal Roy • Graduation Project • 2017

ORIGINALITY STATEMENT I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgement is made in this graduation project. More over I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course.

Student Name in Full: Sonal Roy Signature: Date:

COPYRIGHT STATEMENT I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institutes’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.

Student Name in Full: Sonal Roy Signature: Date: Timekeeping with Crafts • NID

Sonal Roy • Graduation Project • 2017

Time Keeping With Crafts

Timekeeping with Crafts • NID

“ The key is in not

spending time, but in investing it.

- Stephen R. Covey

Sonal Roy • Graduation Project • 2017

Preface The intensive journey of the undergraduate student at the National Institute of Design ends with a final graduation project. This final project calls for the culmination of all the practical and theoretical knowledge accumulated over the course of the study. This project gives the students the opportunity to demonstrate their expertise in their respective fields as individuals.

The graduation project calls for rigor, discipline, clarity of thought, efficient decision making and a wild flow of imagination and innovation.

The project is taken forward in a very strategic and structured format for a fluent task flow. One needs to observe and analyse the various stages closely to come up with effective inferences. The outcome of the project leads to new knowledge creation and it must be aligned with the broader objectives of the institute.

This project aims to bring together Indian craft and technological advancements to develop products with rich cultural heritage, which are relevant to the current day users.

Timekeeping with Crafts • NID

Acknowledgement Before getting in further into the journey, I would like to take a moment to thank all the people who helped me throughout this process.

First of all, I would like to thank my dear parents for showering me with their love, care and immense support. Without their uninterrupted guidance and encouragement, it would not have been possible to come this far.

I am grateful to Kulveer and Ritu for letting me in and making me a part of the TOD family to work on this project. Their guidance, constant feedback and the freedom to explore helped me achieve the results.

I would like to thank Studio MNT, Design Co., Stone Plus World and Shiv Krupa Blue Pottery for helping me out with the prototyping and sampling. I am extremely grateful to the craftsmen for letting me in and understand the process from such proximity.

I would like to thank my guide Professor Ramakrishna Rao for guiding me through in this project and help me get the clarity that was required. I would also like to thank my Furniture and Interior Design Department, the coordinator Mr. Pravinsinh Solanki and the other faculties across all the disciplines for their valuable feedback regarding this project.

Sonal Roy • Graduation Project • 2017

A special thanks to Jayneel for his constant support and for being beside me throughout my NID journey as well as my Graduation project experience. Thanks a lot for the endless rides on Eleanor and helping me throughout my graduation project. Without your constant critical feedback, words of encouragement and dark humour it would not have been possible to accomplish so much.

I would also like to thank Vasundhara, Aakash, Amreeta and all the Delhi friends for making my stay there delightful, Anwesa for checking up on me from time to time and investing in endless discussions and Jini for always being there. Thanks to my three brothers for giving me crucial life advice and reminding me to enjoy myself in a new place. I am grateful to all my batchmates, alumni, and the faculty members with whom I had worthwhile conversations regarding this project. I am also grateful to all the people whose name I was unable to mention here and had helped me to reach to this place.

Thanks a lot for being there!

Timekeeping with Crafts • NID

Content Introduction • • • •

National Institute of Design Furniture and Interior Design TOD Innovations Pvt. Ltd. Synopsis

Part Three 17 18 20 22

Part One • • • • •

How it all Started?

Client Brief Scope of the Project Methodology Timeline

Crafts Influential Events Crafts of India Visit to IHGF Spring 2017 Scope in the Industry Segregating Crafts Selecting Crafts

Sonal Roy • Graduation Project • 2017

The Target Group Evolution of Luxury Hygge Lifestyle Trends

46 48 51 52

Part Four 26 28 29 30 31

Part Two • • • • • • •

• • • •

• Analysis • Redefined Brief • Why Wall Clocks?

54 55 56

Part Five 34 35 36 38 40 42 43

• • • • • •

What is time?

Interpretation of Time History of Timekeeping Time and Craft Clock Market The Situation

60 63 64 66 68 73

Part Six • • • • •

Wall Clocks Quartz Clocks Clock Parts Movement Parts Movement Types

Part Nine 76 79 80 82 83

Part Seven • • • • • •

Brand Language Mood Boarding Initial Ideation Analysis Further Ideation Final Selection

Collection One Collection Two Collection Three Collection Four

Work in Progress Way Forward Market Placement Learnings In the End.

182 186 187 188 189

Part Ten 86 90 92 94 95 107

Part Eight • • • •

• • • • •

• Glossary • Technical Drawings

192 194

Part Eleven 111 129 153 167

• References • Image References

206 208

Timekeeping with Crafts • NID

Introduction This chapter contains a brief introduction to the factors that led to the initiation and completion of this project. It is to prepare the readers for the journey coming forth and also to provide a wholesome perspective around the years spent in the completion of the degree course as a whole.

14 • Sonal Roy • Graduation Project • 2017

• National Institute of Design

17

• Furniture and Interior Design

18

• TOD Innovations Pvt. Ltd.

20

• Synopsis

22

Timekeeping with Crafts • NID • 15

Fig 1: View from the convocation lawn with the main campus building on the left and the monument on the right.

16 • Sonal Roy • Graduation Project • 2017

National Institute of Design On April 7, 1958, the Eames’s presented the India Report to the Government of India. It defined the underlying spirit that would lead to the founding of NID and the beginning of design education in India. The report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to re-examine the alternatives of growth available to the country at that time.

Fig 1

Today the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design.

It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India. NID has been declared ‘Institution of National Importance’ by virtue of the National Institute of Design Act 2014.

Apart from being an Institute of National importance, NID holds a very special place in the heart. This place not only gave the opportunity to learn design thinking but also to learn about living life. The variety and diversity found in this place helped in getting a clearer and open mind. This institute taught how to become independent and helped in having faith and belief in one’s own self in order to overcome challenges and move forward.

Timekeeping with Crafts • NID • 17

Furniture and Interior Design After the finishing of one year of foundation programme, the design disciplines are chosen. Under the B.Des program, 8 disciplines are available to select from. It truly becomes a very tricky choice to decide amongst all 8 disciplines but in due course of foundation one analyses the various strengths, weaknesses and develops passion, which further helps in the selection process of a particular design discipline of choice.

The discipline of Furniture and Interior Design deals with the creation and evolution of objects, structures and systems at human scale that aim to improve the quality of life in the immediate living and working environment, while looking at sustainable and innovative use of diverse materials and processes.

The discipline aims to educate designers to handle all aspects of furniture design as one integrated user centric area of study, and their ability to integrate all such elements and systems into coherent wholes in various interior spatial contexts. It also enables the designers to understand the space and its various effects on the users. The wholesome approach is further enhanced by putting it into practical sense and understanding how the mechanisms, manufacturing processes and marketing strategies work together to make it consumer ready.

Fig 2: The entrance banner of FID “PIT” Display for the 36th convocation done by the UG’13 students.

Fig 3: The FID kiosk setup in the Design Street.

Fig 4: Student prototype in use in various parts of the campus.

The programme provides an integrated approach to the design of furniture and interior objects and systems as part of one’s living and working habitat, while striving to redefine the boundaries of such elements with a systems perspective.

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Fig 2

Fig 3

Fig 4

Timekeeping with Crafts • NID • 19

TOD Innovations TOD is a design initiative founded by three NID alumnus with Architectural backgrounds and specialization in Industrial Design. Their combined experiences are from a various design areas such as Architecture, Interior Design, Retail Design, Product Design, Furniture Design, Graphic Design, Navigation Design, Exhibition Design etc. As industrial designers, their expertise lies in thinking, designing, planning and building new experiences.

involve designing products of a specific kind, but also interacting with the manufacturers and taking sound design decisions to resolve various topics.

The experience of developing a foundation product range from scratch is truly exhilarating. With the guidance and help received from the company’s side, the journey has been a breeze and to be kept in memory for years.

As a studio, they are working into multidisciplinary design domains like product design, furniture design, interior design, retail design, exhibition design and branding with a special focus on user experience.

Once they are on board with a project they make sure that it reaches to its desired result without any trace of compromise in it.

Pizza, concepts and late night discussion sessions, with a touch of laughter in the air!

The experience of working in TOD is a unique on, and to be a part of their inhouse product development brand is really exciting as well as challenging. It was a lot of responsibility to go through the various processes involved in this project. Not only did it

20 • Sonal Roy • Graduation Project • 2017

Fig 5 - Fig 10: Team TOD, Kulveer Singh Bhati, Ritu Yadav, Sunil Dhiman, Prashant Upadhyay, Vishal Verma and Rachit Maheshwari.

Source: Company File Photo.

Fig 5

Fig 6

Fig 7

Fig 8

Fig 9

Fig 10

Timekeeping with Crafts • NID • 21

Synopsis “Timekeeping with crafts” is an intensive research and exploration of the Indian crafts available in and around Delhi, undertaken by TOD Innovations for the launch of their home products range. This project involved in-depth research to identify crafts and craft bases to initiate efficient manufacturing. It was followed by an understanding of the chosen craft process and the gap existing in the market regarding the specific crafts. Further studies were done to figure out the brand language in order to make this product range exclusive to TOD Innovations and their brand aesthetics. The characteristics of the craft processes were merged with the brand language to evolve it into the collection of wall clocks. This range is specifically intended for a higher end consumers and offers a contemporary design idea with its Indian cultural roots.

The main idea was to relook at the crafts and their placement in the contemporary world, incorporating the finesse and the premium quality. The brand story of Swiss watches and Nomon clocks were a great reference for this project. Eventually studying the craft processes, market scenarios and value chains it was clear how much potential Indian Craft industry possesses, and as designers how much one can learn from it and how much it can be taken forward.

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The geographical location of the craft sector played a major role in this project. Having a base in Delhi helped in exploring the neighbouring cities of Moradabad, Agra and Jaipur for their rich cultural heritage and crafts. The strengths of these crafts were analysed and the gaps in the system were evaluated to help have a better understanding of the ways of resolving the problems. The manufacturing process of these craft products were the main field of interest and concepts were developed around this main theme.

As an outcome a range of wall clocks were developed that demonstrates the rich cultural heritage mixed with the contemporary aesthetic values. These products show traditional skills as well as blend in with the trendy looks. Once the samples were received further finetuning was done to make the manufacturing process seamless. Feedback was received from vendors and fellow designers to validate the concepts. The future plan for these products is to showcase them in various national/ international trade fairs and exhibitions and form a firm foundation for the company TOD as a product development studio at an international scale.

A journey of connecting back to the roots and traditions, a journey of coming closer to the motherland, a journey full of appreciation and gratitude, a journey to look back in time…

Timekeeping with Crafts • NID • 23

Part One This chapter contains information regarding the initiation of the project. It provides the initial client brief, understanding the brief and scope of the project. A firm foundation is laid down by these factors to carry forward the project and finding directions. A breakdown of the project timeline is also mentioned here.

24 • Sonal Roy • Graduation Project • 2017

• How it all started?

26

• Client Brief

28

• Scope of the Project

29

• Methodology

30

• Timeline

31

Timekeeping with Crafts • NID • 25

How it all started?

Crafts had always been a field of interest but it was not clear whether to work in craft sector for graduation project or not. When a brief meeting was held with TOD and their overview regarding the project became known, things got clearer and more exciting. And when it came to combining the traditional heritage with the contemporary outlook, the excitement could not be contained within. With visions of innumerable future possibilities the journey of exploration and imagination began.

A nation of varied culture and heritage, a nation of varied languages and terrain, a nation that can truly mesmerize one with its rich history and warm hospitality, a nation called India. The tales of this lovely country is well known to the rest of the world through the people, the customs, the apparel, the cuisine and the craft.

India is one of the important suppliers of handicrafts to the world market. To add to the mastery shown in the skillset of the craftsmen the artefacts also

reflect the story of the land. The wide variety of material used and the variety of finishes and motifs demonstrate the cultural diversity of this country.

The Indian craft industry is highly labour intensive cottage based and decentralized, being spread all over the country in rural and urban areas.

Delhi, the capital, is a major hub for the craft convention and it is not a recent development.

Because of the Mughal patronage, Delhi became a thriving centre for all sorts of craft like bamboo work, wood inlay work, meenakari, lacquer work etc.

Also, the neighbouring cities provide a great deal of exploration in the craft sector. Delhi also administers a wide number of craft conventions and fairs of national and international stature to give appropriate exposure to various craft communities of India.

“Timekeeping with Craft” is an attempt to fill up the gaps. This document encompasses the journey of identifying, understanding and connecting to crafts to develop time keeping devices for one’s house…

Fig 11

26 • Sonal Roy • Graduation Project • 2017

Fig 11: The early morning view from the Riverfront, Ahmedabad of a sunrise and the tiny aeroplane.

Timekeeping with Crafts • NID • 27

Client Brief TOD Innovations is a design studio based out of Delhi and their focus mainly revolves around exhibitions, spaces and interiors and their future plan is to branch out their brand into product design and development studio. The main idea is to share the cultural story at a global platform. Connecting to the roots is one of the most important point to carry forward at this point. On having multiple conversations with the sponsors, it was clear that the Indian spirit is the essence of this project. The target audience as suggested by the sponsors was with the higher living standards and international clientele.

The idea for the product range was quite clear from the beginning as well. TOD wanted to establish a brand language that incorporates sophistication and grace. According to them Wall Clocks and other home accents were the route to go. The company already collaborates with a sister company Studio MNT which deals with home and office furniture.

Thus, the initial brief from the sponsors was about developing a range of wall clocks and home accents inspired by the local crafts of and around Delhi. The choice of craft was kept open and up for exploration after a thorough study of the various crafts of India.

Fig 12

28 • Sonal Roy • Graduation Project • 2017

Scope of the Project Although a lot of work had been done in the craft sector by various designers and artists, these crafts do not fail to surprise one with its evergreen characteristics, vibrancy and detailed intricacies. And this project gives one scope to understand one’s culture even better and be connected to the root.

And it is a pleasure to become a part of this huge industry. With further help of government schemes and research it is now possible to explore beyond.

In addition to the high amount of employment rates that this craft industry provides, the sector is economically important from the point of low capital investment, high ratio of value addition and high potential for export and foreign exchange earnings for the country. Although being a prime exporter of handicraft, India’s share in the world imports is miniscule. It is a sector that is still not completely explored from the point of tapping into the hidden potential areas. India a country of 26 states, 18 languages and more than 1500 dialects offers an enormous range of handicrafts from each of the states sharing distinct stories and culture.

Fig 12: Brown leather sofa, depicting the contemporary interior Fig 13

theme. Source: Pixabay, pixabay.com Fig 13: Hand woven bamboo slivers for making baskets.

Timekeeping with Crafts • NID • 29

Methodology Working with crafts is very exciting as well highly challenging. With an open option of working with any craft, it was quite a task to narrow down to the crafts that actually worked for this project. In order to reach to this step, a thorough research was done on all the crafts of India. Their geographical location was kept in mind for the selection process. Various field visits to the craft conventions helped in gaining a clarity of mind and helped in retrieving contacts of the craftsmen and manufacturing houses.

Once the crafts were selected conceptualization was started along with in depth study of various clock types and clock parts. The concepts generated were presented to the sponsors and valuable feedback was received. Eventually designs were finalised and shared with the craftsmen. Discussion with the craftsmen was a crucial point for this project. Their feedback shaped the final refinements and further development of the collections that are discussed later on in the coming chapters.

On finalising the design details, 3D CAD versions of the products were made for improved visualisation followed by production drawings. Samplings were done to analyse the quality of work and to decide upon the manufacturing costing.

Fig 14 30 • Sonal Roy • Graduation Project • 2017

Fig 14: Blue Pottery painting in process at Shive Krupa BP.

Project Timeline

Feb

May

Aug

Starting the Project Craft Research Visit to IHGF 2017

Design Discussion Design Directions Conceptualisation

Design Detailing Vendor’s Feedback Final Changes

Mar

June

Sept

Analysis Redefining Brief Further Research

Design Selections Craft Vendor Selection Visits to Craft Bases

Prototyping End of Project Documentation

Apr

July

Oct

Micro Research Initial Ideation First Guide Visit

Final Design Selection Design Detailing Second Guide Visit

Prototyping Documentation

Timekeeping with Crafts • NID • 31

Part Two This chapter is the first part of the research conducted to get along with the project. A detailed understanding of history of crafts and Indian crafts is described in this chapter. It helps in understanding why certain crafts were chosen for the purpose of this project.

32 • Sonal Roy • Graduation Project • 2017

• Crafts

34

• Influential Events

35

• Crafts of India

36

• Visit to IHGF Spring 2017

38

• Scope in the Industry

40

•

Segregating Crafts

42

•

Selection of Crafts

43

Timekeeping with Crafts • NID • 33

Crafts As popularly known, the three aspects of human creativity are art, craft and science. This clearly states the importance of crafts not only from a business perspective but also from the perspective of evolution of human civilisation. In simple terms craft is the activity involving skills in making things by hand. But when looked deeper it has some layered factors as well.

The origin of craft based products in history is very need based. These are traditional means of making goods that are utilised by the members of particular community on a daily basis. Therefore, it reflects the customs, the geographical conditions and even the emotions of the people. The material used were generally locally available indigenous material. The craft manufacturing bases were generally small-scale and it required a level of dexterity to produce such items. The produced items were functionally efficient as well as aesthetically pleasing. The items produced were also simple so that they could be made by hand or by the use of simple tools. Craft products do hold a deeper cultural and religious or even a political message within them.

34 • Sonal Roy • Graduation Project • 2017

Fig 15 Fig 16

Influential Events Arts and craft movement: Originating in the 19th century Britain was a reaction against the perceived decline in standards of the machine made and factory-made production. Headed by designer William Morris, Writer John Ruskin, and architect Augustus Pugin, art and crafts movement revolved around reforming traditional craftsmanship using simple forms, and often used medieval, romantic or folk styles of decoration. The people involved in this movement believed in the equality of all the arts and the importance and pleasures of working by hand.

Source: William Morris, http://william-morris.com/gallery/ Fig 15: Pink & Rose, Wallpaper no. WP8221-3 Fig 16: Bird & Anemone, Wallpaper no. WP1406-3

At one point production by machinery was considered to be “altogether an evil” but the leaders of the movement had an open mind towards the use of machinery only when it could produce product of handmade quality. Though it might feel very romantic, handmade products do not come cheap and can only be owned by the wealthy sector of the society. Eventually with further competitions from affordable machine-made products the movement started to phase out. Yet handmade goods still shine bright in the market and share the rich heritage.

The maker movement: Primarily a name given to the increasing number of people employing do-it-yourself (DIY) and do-it-with-others (DIWO) techniques and processes to develop unique technological products. With an abundance of ready resources available on the Internet it has become comparatively easier to produce simple products at a personal level. Most of the products created under the maker movement are open source, as anyone can access and create them using available documentation and manuals. It enables the makers to have a better involvement with their products.

Many makers are hobbyists, enthusiasts or students but pack a punch of innovation. Just like traditional craft these DIYs are too quite need based yet simple to be made by any individual. With appropriate platforms like the Maker Faire, the MAKE magazine, these grass root innovations get a global exposure and taken forward even at an entrepreneurial level.

The maker culture shows a beautiful merge of simplicity and utilisation of technology.

Timekeeping with Crafts • NID • 35

Crafts of India The historically imbibed vast aesthetic of Indian handicrafts is an economic as well as a cultural asset to the country. And it is one of the largest source of income amongst the rural population of this country - an estimated 11.65 million Indians were engaged in craft production in 2013. This is expected to grow to 13.93 million in 2017 and 17.79 million in 2022. (from the Huffpost, 15/07/2016).

A 2013 report in The Hindu states that the global market for handicrafts is $400 billion with India’s share below 2%, representing a tremendous growth opportunity. It further states, “According to the 12th Five Year Plan, handicrafts production is expected to double between 2012 and 2017 and exports are projected to grow at the compounded annual rate of 18% during the same period. As a result, the craft sector will employ an additional 10% of individuals per year up to that time.”

Aside from conventional intermediaries like aggregator and traders who provide market linkages to artisans, India has seen the growing involvement of high-end designer brands like Anita Dongre and Maku. This just not stop with textile. All the craft across India has equally interesting opportunities. The idea is to promote Indian culture at a global platform through its art and craft.

36 • Sonal Roy • Graduation Project • 2017

Currently a lot of policies are being passed by the government to create an environment that helps the industry to compete on the global basis. And also develop technologies to aid the years old heritage.

The private sectors too are partnering up and collaborating with the artisans to help them with the infrastructure and research to come out with better quality and advanced products.

Fig 17: A bunch of painted Blue Pottery articles ready for firing.

Fig 17

“To write about Indian handicrafts is almost like writing about the country itself. So vast, complex, colourful, and yet with a simplicity and charm, difficult to attain under comparable conditions.”

-M. N. Upadhyay in his book Handicrafts of India

Timekeeping with Crafts • NID • 37

Visit to IHGF Spring 2017 Once the project was started, EPCH and IHGF kept coming up in various discussions with the sponsors.

Export Promotion Council for Handicrafts (EPCH) was established under Companies Act in the year 1986-87 and is a non-profit organisation, with an objective to promote, support, protect, maintain and increase the export of handicrafts (EPCH site). It is an apex body of handicrafts exporters for promotion of exports of Handicrafts from this country and projects India’s image in abroad as a reliable supplier of high quality of handicrafts goods & services and ensures various measures keeping in view of observance of international standards and specification. The Committee of Administration consists of eminent exporters and professionals. It has created necessary infrastructure as well as marketing and information facilities, which are availed both by the members, exporters and importers. The Council is engaged in the promotion of handicrafts and its display at a global platform. It opens up new doors for the Indian craft industry to the international market and brings upon further possibilities.

38 • Sonal Roy • Graduation Project • 2017

Every year EPCH conducts IHGF (International Handicraft and Gift Fair) twice to provide exposure to Indian handicraft at a global platform. IHGF is amongst Asia’s largest handicraft and gift fair held twice annually – Spring and Autumn edition. IHGF Delhi Fair has now become Asia’s “one stop sourcing event”, since its inception in 1994 while providing extended business platform to small & medium exporters and opening up immense possibilities to all.

Fig 18: The reception centre of IHGF Delhi Fair Spring 2017.

Fig 18

Fig 19

Fig 20

“Visit to IHGF Delhi Fair Spring 2017 was quite of an eye opener in terms of understanding the current market trends both nationally and internationally.

Moreover, it gave a glimpse of the current competitors and the possible partners for this project. It also delved a bit deeper and showed a not so pleasant side as well. The overall theme for the year was either simple, contemporary forms featuring a lot of rustic and raw textures or the celebration of heavily decorated ornamental pieces. Retro themes with earthy pops was also a popular theme this year.

But one thing was clear that the entire show was put up to satisfy the international clientele, which in fact makes sense. Although amongst this, the basic Indian essence was somehow lost. And after moving around the halls the repetitiveness of design language and form became apparent. The next criteria then was to search for the best quality and affordability of production. For specifically this project, IHGF proved to be an index of all the possible collaborators, vendors and manufacturers. Without this platform it would not have been possible to gather so much information in such short notice.”

Source: Company File Photo Fig 19: Fabric and cane loop installation at the reception centre.

Fig 20: Overview of one of the exhibition halls.

Timekeeping with Crafts • NID • 39

Scope in the Craft Industry Key points of Indian craft industry:

Opportunities in the Indian craft industry:

Rich cultural diversity & heritage provides a unique & huge resource for developing craft products.

There is an emerging demand for handicrafts goods in developed countries.

Inspite of having diversified products, some part of Indian market are still untapped & market is price sensitive

Development of sectors like Retail, Real Estate offers great requirements of handicrafts products and they are willing to invest in the craft industry.

Continuous growth rate of around 20% in Indian Handicraft Industry every year.

E-Commerce and Internet are emerged as promissory distribution channels. In an age where everything is connected via the internet, it provides a massive platform for showcasing and transactions.

One of the important segment of decentralized sector in india.

Provides huge employment opportunities to artisans that include women & people from backward societies.

1.2% contribution to the world market economy by the Indian Handicraft Industry. $100 Billion worth of value is held by the Indian Handicraft Industry.

Craft Industry share in Indian export is around 1.51%.

40 • Sonal Roy • Graduation Project • 2017

Development of domestic and international tourism sector enhances possibility for exclusive handicraft products.

Possible threats to the Indian craft industry:

Existing problems Indian craft industry:

Competition in domestic market.

This sector is highly unaware about the needs of the International Market.

Quality products produced by competing countries like China, South Africa set a high benchmark.

It is challenge to have balance between high demand and supply of products.

Competing countries are offering better technological support and R&D facilities.

Competing countries are offering better Trade Terms .

Inadequate information about newer technologies and development causes this industry to slow down and sometimes render inadequate.

Lack of information about the current market trends leads to repitition in product development and absence of innovation and freshness.

The industry is still confined to rural areas and small cities and untapped market that makes access a little difficult.

Lack of infrastructure and communication facilities lead to lowering of product quality thus leading to lower chance of staying in the market.

Timekeeping with Crafts • NID • 41

Segregating Crafts Visit to IHGF Spring Fair 2017 was followed by the listing of all the handicrafts that India had to offer.

Thanks to Mr. and Mrs. Ranjan’s exceptional work on “encyclopaedia of Indian craft”, this process became quite easy. But before heading any further it became quite necessary to segregate all the crafts of India into various categories for detailed analysis. It was done in two ways. Initially the categories were based on the materials used and processes followed.

Secondly, the categories were made keeping the geographical location on mind. Location based method of segregation helped in focusing on a more realistic goal of building a strong foundation for TOD as a product development studio.

Disclaimer: The map of India used here is for representational purposes only. Source: India with States - Multicolour by Free Vector maps.com

42 • Sonal Roy • Graduation Project • 2017

Selecting Crafts Understanding the timeline of the project and keeping true to the initial brief a firm decision was taken that only the crafts of Delhi and the surrounding states of UP and Rajasthan would be taken up for the first phase of designing. Once again, the crafts of these regions were segregated based on the material and the process followed. After thorough analysis the basic materials chosen for this project were – Wood: Because of availability of inhouse production team and the ease and affordability that the material provides without compromising the rich, luxurious, high end feel, wood proves to be the first material of choice for this project.

Marble: Access to Agra is easy and the material in itself is quite an expensive one and been in use since the historical times. Along with the high price tag, it also holds within itself the rich heritage of India’s vibrant culture.

Lost wax casting or Dokra casting is one of the most ancient form of craft and of great value to this day. Besides, Moradabad, the “peetal nagari” is very easily accessible from Delhi which ensures ease of transport and production.

Glass: Just like Moradabad, Firozabad is also highly accessible keeping Delhi as a base. Firozabad is known for its glasswork and glass bangle making.

And the production of glassware requires lower investment but the products do give returns quite efficiently and higher levels of value addition is possible quite easily.

Blue Pottery: Jaipur is known for its beautiful blue pottery. Besides the signature blue colour, Jaipur blue pottery incorporates a very unique process of making the product which sets it apart from the generic way of doing pottery. This specific characteristic also enables one to go beyond and explore various possibilities apart from the traditional options.

Brass: Brass as a material imparts a very rich and royal look without being too blingy to the eye. Brass had been used in our country for ages to make idols, utensils and other various ornamental decorations.

Timekeeping with Crafts • NID • 43

Part Three This comprises the second part of the research. In this chapter, the target group base is established.

It also provides the understanding of the lifestyle the project caters to. This chapter also contains the current lifestyle trends and the current leading concept of living and wellbeing.

44 • Sonal Roy • Graduation Project • 2017

• The Target Group

46

• Evolution of Luxury

48

• Wellbeing

51

• Lifestyle Trends

52

Timekeeping with Crafts • NID • 45

The Target Group The consumer plays a major role in any project. To come up with efficient products it is important to know the consumer or the strata of the consumers the product caters to. While starting off with the project, the sponsors had an idea of the audience they wanted to target. It mainly comprised of the higher middle class and the higher end of the economic strata. Below is the broken-down information on the user group.

THE MOVERS AND SHAKERS: These include the top 3% of the private employed and roughly 0.05mn of self-employed. The Movers and shakers category amount to 0.43mn of the entire Indian population.

The starting point for income per capita per annum is US$ 250,000, refering to the salary for the top corporate employees in India. This particular category is influential and has the ability to bring about change in the society.

GOVERNMENT/SOE EMPLOYEES: This category includes the central and state government employees, including the armed forces. This category amounts to 10mn of the Indian population.

The individuals of this categories are exposed to higher living standards and cultural diversity. The SOE employees are paid lower than private sector

46 • Sonal Roy • Graduation Project • 2017

employees but receive non-cash benefits which increase their disposable income. Income per capita per annum starts at US$11439 for this category.

URBAN WHITE COLLAR/SMALL BUSINESS OWNERS: The Urban White Collars are generally referred to the SME owners and the population with a post-graduate or technical degree. Indian IT firms are the biggest sources of employment for this section. This category is starting to move towards the higher living standards. The starting point is US$11,250 of income per capita per annum. This generally refers to the average white-collar salary in the largest companies, which is comparable to salary levels for mid to high level government jobs.

The future trend for the above-mentioned income groups show progression. Therefore, it can be suggested that the future living standards are going to get higher and people might invest in luxury products even more as mentioned in the chart.

To add to the above-mentioned categories, there exists the export market. Their growing interest in cross cultural exchange opens up more scope of work. To add on to that India never stops surprising the world with its hidden talents and skills.

2015

GROWTH

2020

POPULATION

INCOME

POPULATION

GDP

GDP MULTIPLIER

INCOME

POPULATION

INCOME

0.43 B

250,000 $

6.0%

7.5%

0.8

6.0%

6.0 B

334,556 $

Government/SOE Employees

10 B

11,439 $

0.0%

7.5%

0.8

6.0%

10 B

15,308 $

Urban White Collar

17 B

11,250 $

5.0%

7.5%

1

7.5%

22 B

16,151 $

COHORTS Movers and Shakers

Source: Lu, Joshua et al “India Consumer CloseUp.” Goldman Sachs, 2017.

Timekeeping with Crafts • NID • 47

Evolution of Luxury Based on analysis of various articles, publications and current trends, it is clear that handicraft has evolved over time, from need based products of the ancient times to today’s luxury based products supporting the lively hood of many artisans. Handicraft today has become a luxury commodity not only because it is available in limited numbers and it his highly labour intensive, but also it involves the artisan’s true sense of creativity. And clearly “handicraft” as an evolution as luxury is just not a coincidence.

Handicraft is the expression of the artisan expressed through his hands. It is an artist’s creativity used to magnify basic substance like clay, metal, wood, glass, and so on so forth. The end products lack the absolute perfection of a machine-made product but that just adds on to its beauty. Products of handicraft reflect the beauty and also the flaws of human nature and thus are able to connect more to the users. It is difficult for the machine to duplicate the finesse and intricacy of the handmade products.

Handmade and handcrafted provides a platform for building a lasting bond between the consumers and craftsmen. Since the art is made by hand it is passed as legacy from one generation to another

48 • Sonal Roy • Graduation Project • 2017

generation. Few families have preserved this form and are committed to grow it as an art and indeed as a business of luxury articles. Indeed, they are aware of the value of time and most importantly they know the value of a classy legacy that they have maintained from generations.

All Indian states embody their own style and origins of art, building an extraordinary treasure trove of unique craftsmanship. This has not only successfully attracted demand for them from the domestic market, but has also enabled this sector to carve a niche in the global market, making India the world’s major exporter and supplier of handicrafts. According to current trends, decorating home with handicraft products is quite common. The handcrafted items become fantastic statement pieces and conversation starters. Through these pieces of rich history and heritage, the story and culture of a place too gets promoted at a worldly platform. Not only do these pieces add the finesse of detailed craftsmanship but also the uniqueness of the region from where the craft belongs.

Fig 21

Fig 22

Fig 21: Hammered copperware kitchen utensils. Source:

Fig 22: Blue Pottery all plates. Source: Aurea Blue Pottery, www.

Anthropologie, www.anthropologie.com, Style No. M3827568.

aureabluepottery.com, decorative plates.

Timekeeping with Crafts • NID • 49

Fig 23

50 • Sonal Roy • Graduation Project • 2017

Fig 24

Fig 25

“Hygge” Hygge is a Danish concept whose literal meaning is cosiness or being comfortable. In essence, hygge means creating a warm atmosphere and enjoying the good things in life with good people. Similar concepts are seen in German, Dutch, Norwegian and Swedish culture too. German gemütlichkeit expresses the feeling of warmth, friendliness and good cheer with emphasis on the peace of mind and cosiness. The Dutch idea of gezelligheid talks about fun, cozy and nice atmosphere, a general and abstract sensation of wellbeing. Similarly, koselig and mysig too deals with the basic idea of togetherness in pleasant and warm setting (wikipedia). However, in English language no words are found that translates these words completely. With the growing popularity of thoughtful good design, the concept of promoting wellbeing through design is also increasing.

Apart from the definitions and popular culture, “hygge” or wellbeing is a very personal concept. The definition can change from person to person. Some of the aspects of “hygge” found in daily life from a personal point of view is demonstrated in the left page. Although the elements might get changed, the overall essence remains the same.

In this fast-paced world, one often forgets the most important thing that is taking time out for selfhealing and rejuvenation. Getting caught in daily life’s monotonous humdrum, one is bound to feel exhausted and dull. Adding to that is the ticking hand of the clocks reminding that time is slipping away.

While designing for this project, it was important to break from this trap and look at time in a more beautiful and relaxed way. The objective was to enhance the experience of looking at a clock and appreciate what has been achieved and take that time off to think and to thank. The embellishment factor of the products were taken into account to enhance the ambiance. It was made sure that the products developed during the course of the project, share a story, make someone introspect and feel comfortable and relaxed.

Fig 23: A glass of “Chai” to begin the day with. Source: Visual Hunt, www.visualhunt.com Fig 24: The furry, brown, friendly dog Brownie from Bhutan.

Fig 25: Blanket and books. Source: Tookapic, stock.tookapic.com

Timekeeping with Crafts • NID • 51

Lifestyle Trends Evolution of connectivity, both real and virtual, is the key upcoming trend. It revolves around the growing sense of community and cultural sharing where everyone is willing to break boundaries making art and design border less, propagating ides to different part of the world. Story telling again becomes a key feature as data and design gets combined, connecting people around products and projects that tell vivid tales of places, histories and culture. A fresh perspective emerges towards crafts, artisanship and shared culture.

Material: Brass, bronze, glass, leather, clay, wood, carbon fibre, linen, wool, silk are popular choices for the upcoming trends. When used efficiently, a play of juxtaposition and harmony is achieved through a variety of materials.

Colours: Red-based earthy tones and pigmented, spicy yellow tones would be seen predominantly.

While dove grey and muted pink palettes would be used as base colours to balance out the richness.

Whites, Washed Indigo and hues of blue would be primarily used for counter balancing.

Interior themes: New nautical, Salt-washed Indigo, Multicultural composition and fresh fibres would be the leading trends in the interior sector.

Finishes: Texture plays a major role. It all revolves around the enhancement of tactile feeling. Salt washed, bleached, lacquered, laser-cut, tooled, carved, etched and engraved finishes would be widely used. To balance these out, tufted, shaggy, felted, knotted, textures would be used.

52 • Sonal Roy • Graduation Project • 2017

Patterns: Eastern references, Iranian and Islamic motifs, Japanese Shibori, Dip-dyeing would take a centre stage. Collage, montage, abstract folk, geometrics and stripes would also be used extensively to achieve a modern look.

A growing sence of community and cross cultural sharing.

Fig 26 Fig 30

Fig 29

Fig 28

Fig 26: Indigo blue exterior of a building.

Fig 27: Fine patterned stained glass tiles.

Fig 28: Bright and colourful paper boats.

Fig 29: Antique matte finish Brass cutlery.

Fig 30: Earthy fabric and colour swatches.

Timekeeping with Crafts • NID • 53

Part Four Once the macro research was done, it called for some decision making. The initial brief stated that a range of wall clocks and home accents is to be developed in the course of the project. But keeping the timeline in mind it was decided to stick to one product format and then experiment with various handicrafts and the processes involved.

54 • Sonal Roy • Graduation Project • 2017

To develop a Redefined Brief varied range of Understanding the essence of crafts take time contemporary wall and patience. Any craft is highly influenced by the lifestyle and the surroundings of the craftsmen clocks using Indian as well. Therefore, it becomes quite necessary to spend a good amount of time with the artisans in handicrafts for the craft community to fully grab the spirit of it.

While researching on the project it was evident that luxury interiors. to capture the essence of the handicraft, similar

workshops or experiments needed to be conducted.

But the time allotted for the project was very limited and the logistics part of it still needed to be figured out for further such processes to take place.

Accordingly, a major decision was taken that the focus of the project would be to feature the process of making of handicraft and take forward it’s aesthetic values. The artisanal aspect of it was left for future phases of the project. The overall aesthetics of the particular handicraft was taken into account and decoded. Current popular artforms were looked up and similarities were found out between the heritage craft and the current celebrated art styles. The idea was to portray these age-old heritage crafts in the contemporary world with it’s inherited finesse and elegance, and utilising these handicrafts as influential tools to propagate of the current times.

Timekeeping with Crafts • NID • 55

Why Wall Clocks?

Wall clocks have become a part of life for quite some time now. It is a simple product with great scope of exploration although, the number of premium clock brands is comparatively less. Brands like Nomon, Tothora are all international brands catering to the higher end crowd. Similar brands are lesser in number in the Indian context. Therefore, it provides a scope in this field and has the potential to give preferable returns on mindful investments. With current rise of living standards, people are choosing better opportunities and premium products, people of TOD offers to provide the same.

Another factor that played behind the decision of working on wall clocks is that it’s interpretation as a statement interior piece rather than just a piece of time-keeping device. Clocks allow a lot of value addition and can also works as a wonderful piece of art. With explorations in clocks, the ideas can be further developed into a range of furniture and other home accents with similar design language.

With the availability of ready clock movement kits,

56 • Sonal Roy • Graduation Project • 2017

it becomes even more easier to focus on the overall design aspect of a clock and with emphasis on the experience factor. The explorations with movements and mechanisms are then left for the advanced stages in the future when the foundation is already set and defined.

“We progress a step farther, in each tick of the clock.”

- Ronnie Cornelisz

Fig 31: A collection of Wall clock concepts developed in the initial stages inspired from the geometry of polygons and shadow play.

Fig 31 Timekeeping with Crafts • NID • 57

Part Five This chapter consists of the second part of the research. This part is used to define and reinterpret time. Starting with historical events, a journey is portrayed regarding the idea of time. Further, it also encompasses a brief study of timekeeping devices and the current market of clocks.

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• What is time?

60

• Interpretation of Time

63

• History of Timekeeping

64

• Time and Craft

66

• Clock Market

68

•

73

The Situation

Timekeeping with Crafts • NID • 59

“Time is the What is Time? school in which we By definition, “time is the indefinite continued learn, time is the progress of existence and events in the past, present, and future regarded as a whole”. Time is fire in which we often referred to as the fourth dimension along with the other three spatial dimensions. However, some burn.” of the current studies suggest that human beings -Delmore Schwartz

60 • Sonal Roy • Graduation Project • 2017

are incapable of perceiving this fourth dimension completely. Time in itself is thought to be circular, with no beginning and no end. But to the human brain time is linear. It is always about the past, present and the future. The past that formed the present, the present that can derive a possible future outcome. Time has always been an important topic

of study in religion, philosophy and science. And its unravelled mystery has always enticed people all around the world. This curiosity has led to man inventing various ways of measuring and tracking time over thousands of years. In the present day, time is measured by a system called the Sexagesimal system. Sexagesimal system originated with the ancient Sumerians and passed down to the ancient Babylonians. It is essentially a numerical system with sixty as its base. Today we see a range of time measuring devices all around us to keep us on our toes to make the most of our remaining time.

Timekeeping with Crafts • NID • 61

Fig 32

Fig 32: Dali, Salvador. “The Persistence Of Memory..” The Museum Of Modern Art, 1931, https://www.moma.org/collection/works/79018.

62 • Sonal Roy • Graduation Project • 2017

Interpretation of Time?

Even though the clock tells the time in a very quantitative manner, the human race has a tendency of connecting the quantitative elements directly to qualitative elements of emotions and desire. Then the numbers just do not stay mere numbers but become something of much deeper significance and meaning. To someone it might relate to the lovely hours spent in travelling places and gaining knowledge whereas to someone it is about the hours of hard work put to reach to the highest level of success. Therefore, alongside all the data collection and other groundwork it was important to know about how individuals perceive time in their own mind and what was the impact of looking at the clock or a watch to see what time it displays.

After receiving these varied feedback, and having various casual discussions with friends and mentors it was clear that time does carry with itself a negative connotation too. It constantly reminds oneself of what could not be achieved or how one has no control over decaying and aging. Although time sets discipline and routine, it might just become a bit too overwhelming at “times” and stop one from being spontaneous and alive.

It became a crucial point in design to stick to or promote the positive aspects of time. It was important to make people realise that there is no fun to live in the fear of time but appreciate the things that time permits all to experience.

Timekeeping with Crafts • NID • 63

History of Timekeeping The process of time keeping or time tracking had been in practice from the ancient times. The early time keeping devices were dependent on the movement of the sun. The Egyptians divided the day into two 12-hour periods, and used large obelisks to track the movement of the sun to give an idea of the current time. Water clocks were also developed by the Egyptians and later found with the ancient Greeks and Mesopotamians in the early 2000 BC. In ancient India timekeeping took place with the help of human clocks called the ‘gahriyallis’ for many centuries and these may have been the predecessor to town clocks across the western world. Candle clocks were later developed to determine the measure of hours after tracking the melting of the wax. This process of time tacking was practiced by ancient China, ancient Japan, England and Mesopotamia. All of the above-mentioned processes mainly tracked the hours of the day and did not focus on the other celestial events. The other popular ways of time tracking involved the obelisks, sundial, time sticks and the hourglass.

The earliest mechanical clocks were developed by the Christian monks in the medieval Europe to regulate daily prayer and work schedules strictly.

The earliest clock dials showed hours, display of

64 • Sonal Roy • Graduation Project • 2017

minutes and seconds evolved later. The early 1500s witnessed the appearance of first small domestic table clocks. In the 1510, first mechanical watch was created in German cities of Nuremberg by Peter Henlein. These models were either fastened to belts or carried around the neck and they measured only passage of hours. In 1656, Dutch scientist Christiaan Huygens designed the first pendulum clock. In the next nineteen years he developed the hairspring system. Thomas Tompion applied hairspring in his pocket watch.

The search for accuracy and perfection kept on going and in 1735, John Harrison, a self-educated English carpenter and clockmaker, built the first marine chronometer. And by 1840 first electric clock was created by Edinburgh clockmaker Alexander Bain.

Jaques and Pierre Curie discovered the piezoelectric properties of crystalline quartz in 1880. 1927 marked the discovery of the first quartz clock built by Warren Morrison and J. W. Horton. In 1969 Seiko produced the world’s first quartz wrist watch, the Astron. As of the current times, atomic clocks are considered to be the most accurate device for time keeping. They are considerably more accurate than the quartz clocks.

The first accurate atomic clock was built by Louis Essen in 1955 at the National Physical Laboratory in

the UK. In the present day it is absolutely impossible to perform daily activities without having a clock in front of the eye, be it a wall clock, table clock, wrist watch or merely a digital clock in one’s cell phone. With advanced technology smart watches are gaining popularity in the current market and promotes the idea of personal time and timekeeping.

“The strongest of all warriors are these two — Time and Patience.”

- Leo Tolstoy, War and Peace

A Brief Timeline Timekeeping with Crafts • NID • 65

Time and Craft When looked back it becomes evident how a craft talks about a certain time period in history. The craftsmen hand down their skills and their stories to their next generation as legacy and also the new generation adds on to the story line. Factors like the current trends of the time period, advancement in technology and research, improvements in infrastructure also contribute to this tale. The crafts of India are diverse, rich in history and religion. Along with the life of the eminent personalities one also gets a glimpse of the common people through these crafts. The Thangka paintings of Leh town talk about the Buddhist deities and cosmic realities whereas the Madhubani paintings of Madhubani town expresses the feminine style and depicts the local flora and fauna along with the mythical figures, gods and goddesses and also the daily life.

66 • Sonal Roy • Graduation Project • 2017

With time the crafts have evolved and become more commercialised. The handicraft sector of India is booming and expected to increase in the coming years with proper training and management of the craft sectors, enabling further reach to a wider audience. This eventually leads to sharing of culture and stories with time.

“If time tells a story… so does our handicraft…”

- A dear friend

Fig 33

Fig 34

Fig 33: Shyam, Anand. “In Sync With Nature.” Sangamproject.Net,

Fig 34: “The Jagannath Temple.” British Library, 2017,

2013, http://sangamproject.net/wp-content/uploads/2013/05/

https://imagesonline.bl.uk/assets/thumbnails/3/3/

image.png.

b39a2f1a92494030e14f9b035a1addbe.jpg.

Timekeeping with Crafts • NID • 67

The Clock Market Before heading any further it was crucial to look for various types of clocks available in the market to get a better understanding of the current trends regarding wall clocks and the brands that TOD is competing against. International and national clock brands were studied to identify the style and form languages. During the research various new concepts and ideas were found out which were designed by other designers. It gave an insight into the current developments in the market. Some of such recent developments are discussed in this current chapter.

35

Fig 35: Ajanta Clock, www.ajantaworld.com

36

Fig 36: Opal Clock, http://www.opalclocks.com/estore/ Mystique/155

68 • Sonal Roy • Graduation Project • 2017

AJANTA CLOCKS: Lt. Shri OdhavjiBhai R. Patel founded AJANTA QUARTZ in 1971 which started with manufacturing clocks under the brand AJANTA (Ajanta Transistor Clock Manufacturing Company).

It later diversified into Lighting & Ceramic products under the brand OREVA (Ajanta Manufacturing Limited) but it still one of the leading manufacturers and sellers of Clocks and Clock parts in India.

OPAL CLOCKS: OPAL LUXURY TIME PRODUCTS LIMITED Pioneering Décor Clocks is a Pune Based company, mainly focusing into the business of manufacturing and marketing of High-end Designer Wall Clocks and Table Clocks with the brand name OPAL (Premium Luxury Segment) and CALIBER (Economy Segment). Opal focuses on creating time pieces with unique characteristics.

Price range available: ₹ 140 - ₹ 25,000

Price range available: ₹ 2000 -₹ 18,000

38

37

Fig 37: Seiko wallclock, www.seikoclocks.com

Fig 38: Cris by Nomon, http://nomon.es/model/cris

39

Fig 39: Globus by Tothora, http://www.tothora.com/collections/ wallclock-collection/globus/

SEIKO: Founded in 1881, Seiko is one of the oldest companies to manufacture clocks and watches. The story of SEIKO began when Kintaro Hattori opened a clock repair store in central Tokyo at the age of 22. Just eleven years later, the company made its first clock and, in 1895, its first pocket watch. While continuing to offer classic styles, SEIKO showcases a collection of modern and premium clocks.

NOMON CLOCKS: Nomon is a leading company of indoor clocks in current times. They are famous for their avant-garde pieces, contemporary and visually stunning designs utilising intense artisanal processes.

Creativity, design and technology are the three main principles that mark their products. They generally focus on high end pieces that never fail to display their premium quality and craftmanship.

TOTHORA: Clocks made entirely in Barcelona, with German Quartz movement, with exceptional reliability and silence. These are the key points for tothora. Tothora is known for their exceptional time sculptures, featuring minimalist and unique forms.

Wood plays a major role being the base material so exhaustively utilised. The overall aesthetic is kept extremely clean, crisp and elegant.

Price range available: ₹ 2500 - ₹ 26,000

Price range available: ₹ 5000 - ₹ 1,50,000

Price range available: ₹ 15000 - ₹ 50,000

Timekeeping with Crafts • NID • 69

Fig 40

Fig 41

Fig 42

Fig 40: Flyte, “Story”, https://flyte.se/pages/story-the-levitating-

Fig 41: FrontDesign, “Sundial Clock”, https://www.boredpanda.

Fig 42: Carmon, Shay, “Manifold Clock”, https://www.shaycarmon.

timepiece

com/cool-and-creative-clocks/

com/product-page/manifold-clock

STORY: Developed by a company called Flyte as their third product, Story is a clock that using Flyte’s signature mag-lev technology to hover a small metal ball over the wooden surface of the clock. Story works as a standard 12-hour clock, albeit one without a minute hand and gives a sense of the fleeting time.

SUNDIAL CLOCK FOR PORRO: It is a circular metal disk that holds each of the twelve numbers perpendicular to the surface which become evident when their shadows are cast on to the painted white base. Designed by Frontdesign, Sundial is a unique way of interpreting the ancient timekeeping device in a very contemporary and innovative style. This clock is extremely minimal letting the core idea shine.

MANIFOLD CLOCK: This piece is designed by Studio Ve. The Manifold Clock is a timepiece that displays an ever changing form via its connected hands.

The clock has a very sculptural feel about it. At any given moment the manifold is located in a different position and different parts are seen. As the hour can be understood according to the traditional location of hands, a new way of reading time is created.

Price available on request.

Price: ₹ 3000

Price: ₹ 45,000

70 • Sonal Roy • Graduation Project • 2017

Fig 43

Fig 44

Fig 45

Fig 43: Tobin, James, “Mhin Clock”, https://www.behance.net/

Fig 44: Carbon Design, “Domino clock”, https://www.demilked.

Fig 45: Postma, Christiaan “ The Clock”, University of Eidnhoven,

gallery/1360453/Mhin-Clock

com/domino-clock/

https://www.dezeen.com

MHIN CLOCK CONCEPT: Mhin is made from ceramic (body), rubber and metal (‘hands’). Its function and form constitutes a solid simplicity not firmly set in any era or movement. Mhín documents time with ambiguity and silence so as to complement the relaxing atmosphere of the home. While giving a vague approximation of time, Mhín contrasts the scheduling and rush of our day with a quiet calm.

DOMINO CLOCK CONCEPT: Designed by Carbon Design, the Domino Clock is a set of three largerthan-life dominoes that are equipped with articulating dots that flip back-and-forth between black and white to keep time. By subtly abstracting the idea of time, Carbon’s Domino Clock creates a more relaxing experience. This clock takes a simple, iconic object and transforms it into a new perspective of telling tell time.

THE CLOCK CONCEPT: Designed by Christiaan Postma, “The Clock” contains more than 150 individual clockworks to become one clock. Reading clockwise, the time is visible through a word and readable by the completeness of the word, 12 words from “one” to “twelve”. This clock very efficiently performs to retain the attention of the audience and again puts a fun twist to its functionality.

Timekeeping with Crafts • NID • 71

Fig 46

Fig 47

Fig 48

Fig 46: Lim, Wooteik, “The definition of time”, https://static.

Fig 47: DCI, “Pop Quiz Clock”, Amazon, https://www.amazon.com/

Fig 48: Progetti, “RND Time”, Just for Clocks, http://www.

boredpanda.com/blog

DCI-Pop-Quiz-Clock-7AC3F/dp/B001JPKWU8

justforclocks.com

THE DEFINITION OF TIME CONCEPT: Designed by Wooteik Lim, this clock is not really suited for easy time telling but the piece is quite sculptural, easily making it a centerpiece. The overall form of this clock is quite unique and it creates a shadow that never sits longer that a minute and will change depending on light and time of the day. It translates time into a beautiful, sculptural and intrinsic piece of art.

POP QUIZ CLOCK: Not like any regular clock that straight away tells time. Pop Quiz clock makes the user think hard to identify what time of the day it is.

It makes sure that with time check, one’s brain gets checked too. Here, each hour is marked by a simple math problem that needs solving to reveal the hour and a fun twist being added to the general idea of time-keeping.

RND TIME: Designed by Progetti, RND Time provides the most unique D-I-Y experience to the user.

The most unusual feature of this clock lies in its entirely random application to the wall, hence the name “rnd_time”, where “rnd” is used to indicate the random factor. Along with functionality, it effortlesly blends together the fun factor and the mischievousness.

Price: ₹ 1100

Price: ₹ 19,100

72 • Sonal Roy • Graduation Project • 2017

The Situation

Fig 49

Fig 50

Fig 49: ObjectifyHomeware, “Objectify Grid With Neutra Numerals

Fig 50: Srinath, “Multicolour MDF Peacock wallclock”, Pepperfry,

Plywood Wall Clock - Large”, www.etsy.com

www.pepperfry.com

ETSY: Etsy is a peer-to-peer e-commerce website focusing on handmade or vintage items and supplies, as well as unique factory manufactured item. On searching for traditional wall clocks on the site, it came up with a wide range of products starting from extremely ornamental articles to more simplified items.

PEPPER FRY: Pepper fry claims to be a place where modern Indians shop for their homes. Just like ETSY, it also sells wall clocks. This site features local Indian brands selling traditionally handcrafted items as well as some contemporary pieces. The overall aesthetic qualities of the products displayed are quite similar to the previous website and sometimes it becomes repetitive.

Price range: ₹ 135 - ₹ 2,00,000

The study of the existing products in the market provided quite a bit of insight in terms of understanding the general trend for buying clocks.

Whereas the generic wall clocks are extremely functional and most importantly inexpensive, they lack the lustre and fail to become the focal point of the room or space. Currently various studios and designers are experimenting and coming up with highly interesting clock options for both higher an affordable price ranges. Therefore, it is clear that it would not be that easy to achieve a spot in the clock market unless the end products are highly innovative, premium and thoughtful.

Price range available: ₹ 300 - ₹ 60,000

Timekeeping with Crafts • NID • 73

Part Six This particular chapter explains the interiors and working of a quartz wall clock and thus forms the final phase of the research. The thorough breakdown of the clock work mechanism aka the movement is also contained in this chapter along with various typologies and specification for the same.

74 • Sonal Roy • Graduation Project • 2017

• Wall Clocks

76

• Quartz Clocks

79

• Clock Parts

80

• Movement Parts

82

• Movement Types

83

Timekeeping with Crafts • NID • 75

Wall Clocks Wall clocks had been used as decorative yet functional pieces to display time over decades. Wall clocks come extremely handy and helps utilise the vertical spaces on the wall, removing the need to sit a clock on a table, desk, or shelf. Adding on to the functionality aspect, interesting wall clocks become amazing conversation starters in any interior. Wall clocks come in various size, form and styles. Some of the popular styles are discussed below: Retro clocks: These are clocks that have been designed with a set year in mind. Many retro clocks show style the 50’s 60’s and 70’s and are most common. Many current interiors feature this kind of clocks to match the vintage and rustic themes.

Novelty clocks: Like retro clocks, novelty clocks are made with something in mind, but instead of a set year, novelty clocks have a set theme in mind. The theme can be almost anything and everything. When picking a novelty clock, it is best to pick one with a theme that goes with the overall aesthetics of the interior space.

Neon clocks: Neon clocks get their name from the neon lights that glow on the clock. These are most common in bars and clubs, and are used to attract attention like neon signs, as well as brighten up.

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Antique clocks: Unlike retro cocks, antique clocks have a “timeless” appearance. They are normally very old, usually lasting through the ages. Usually made of a stained wood, these clocks are sturdy enough to last almost forever and have a beauty that cheap plastic clocks just do not have. Depending on the time the clock was made, it may feature a pendulum.

Well known antique clocks are grandfather “long case” and a little less well-known grandmother “short case” clocks normally display the pendulum as a design element.

Pendulum clocks: A pendulum clock features a weight system to spin the hands of the clock instead of using power of electricity, the pendulum, or the swinging weight, keeps the time by counting the seconds by swinging back and forth, letting the other weights fall down only a little each second. Like wind up clocks, they must be reset often in order to keep time.

Fig 51: Sunburst Retro Clock.

Fig 52: Cycle Wheel Novelty Clock.

Fig 53: Neon Bar Clock.

Fig 54: Vintage Clock.

Fig 55: Contemporary Pendulum Clock.

Fig 51

Fig 52

Fig 55

Fig 54

Fig 53

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Fig 56

Fig 56: Quartz Crystal. Source: katrienberckmoes via VisualHunt, www.visualhunt.com

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Quartz Clocks Quartz clocks are by far the most abundantly used clocks. The Shortt clock, a complex precision electromechanical clock with two pendulums, was replaced as the standard by quartz crystal clocks in the 1930s and the 1940s. Quartz clocks use electronic oscillator that is regulated by a quartz crystal to keep time. Quartz crystal clocks dominated the wristwatch and clock market since the 1980s. Because of the high Q factor and low temperature coefficient of the quartz crystal, they are more accurate than the best mechanical timepieces, and the elimination of all moving parts makes them more rugged and eliminates the need for periodic maintenance.

Commercial analog and digital wall clocks became available in 2014 that utilize a double oven quartz oscillator, accurate to 0.2 ppb. These clocks are factory synchronized with the atomic time standard, and typically do not require any further time adjustments for the life of the clock.

Quartz is a chemical compound of silicon dioxide. This compound when formed into plates will resonate. Along with that quartz is also a piezoelectric material: that is, when a quartz crystal is subject to mechanical stress, such as bending, it accumulates electrical charge across some planes.

In a reverse effect, if charges are placed across the

crystal plane, quartz crystals will bend. Since quartz can be directly driven (to flex) by an electric signal, no additional speaker or microphone is required to use it in a resonator. Another advantage of using quartz is that its size does not change much as temperature fluctuates. Fused quartz is often used for laboratory equipment that must not change shape along with the temperature. A quartz plate’s resonance frequency, based on its size, will not significantly rise or fall. Similarly, since its resonator does not change shape, a quartz clock will remain relatively accurate as the temperature changes. The scientists at NIST (then the U. S. National Bureau of standards) discovered that a crystal oscillator could be more accurate than a pendulum clock.

Quartz clock movements are quite easily available in the market. They come as individual clock movements or one can buy the entire clock inserts as per product requirement. There are plenty of vendors dealing with various price ranges of clock movements and providing a variety of movement types to choose from which are discussed in the coming chapters. With such a variety and convenience of use, quartz clocks became the right choice for this project.

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Quartz Clocks Parts The next step in the process of understanding the product further is to understand its making and the assembly of its various parts. For this part a daily use wall clock was opened up into its individual pieces to reveal its architecture. Quartz wall clock assembly is fairly simple as compared to quartz wrist watches.

fixed on to the centre shaft with a cap nut for fluent movement. Cap nuts come in numerous modified styles or can be omitted altogether.

Below, is a brief description of each of the parts found in most wall clocks and the considerations for making or assembling the wall clock at home.

WASHERS: The washers fit behind the hex nut to prevent the hex nut from digging into the dial material. It also provides some added length if the threaded shaft length is longer than the intended.

CLOCK CASE: This is the overall casing that holds all the components together. Cases come in various shapes, sizes and material. In many current models of wall clocks, an overall clock case is omitted.

FRONT GLASS: The front glass connects to the clock case to seal the components inside. Just like the clock case it becomes optional to use the front glass.

In various contemporary designs of wall clocks the clock hands and the dial generally remains open.

CLOCK HANDS: The clock hands comprise of the hours hand, minutes hand and the seconds hand, displaying the hour, minute and seconds respectively.

Some clocks feature a second’s hand while others chose to eliminate it. The clock hands are loosely

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HEX NUT: The hex nut fixes the clock movement to the face of the clock and stabilizes it.

CLOCK FACE: The clock face is the main display of the clock. The clock face has all the numbers and markers. A lot of experimentation can be done with clock faces in terms of material and shape. Wood, brass, stone, concrete are all some of the popular choices for clock faces in the market.

RUBBER GASKET: The rubber gasket fixes in between the clock face and the clock movement.

THE MOVEMENT SHAFT: The shaft connects to the gears of the clock movement and holds the clock hands. The threaded part of the shaft gets inserted through the face. Therefore, the length of the threaded part is very crucial. It needs to be long

enough to fit through the material of the dial on which it is getting mounted and must come out of the mounting surface to have room for a washer and the hex nut.

The total length of the shaft is also quite important when a glass front is used in the clock. One needs to keep enough room underneath the glass to fit the clock hands and maintain their proper working.

CLOCK MOVEMENT: The clock movement houses the quartz crystal and it is battery powered. Clock movements come in a variety of movement types which are discussed later.

Fig 57

Fig 57: Parts in a quartz clock.

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Movement Parts Once the wall clock was disassembled, it was time to look into the movement of the clock. The clock movement case houses the following: Battery: It provides current to the microchip circuit.

Electric stepping motor: It is used to turn gears. It is driven by the electric impulses and it converts the electrical energy to mechanical energy.

Microchip: Microchip circuit makes quartz crystal (precisely cut and shaped like a tuning fork) oscillate (vibrate) 32768 times per second.

Circuit connects microchip to other components.

Microchip circuit detects the crystal’s oscillations and turns them into regular electric pulses, one per second.

Quartz crystal oscillator.

Crown screw for setting time.

Gears turn hour, minute, and second hands at different speeds to keep time.

Tiny central shaft holds hands in place.

Fig 58: Internal parts of a High Torque Quartz Clock Movement.

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Movement types LOW TORQUE STEP MOTION: Low torque quartz clock movement is ideal for school kids and hobbyists to produce clocks. With this Quartz Clock Movement, the second hand will jump from one second to the next. These are suitable for dial diameters of 3” to 10”.

CONTINUOUS SWEEP MOVEMENT: Continuous Sweep Mini Clock Movement is a quartz clock movement that moves the second hand in a smooth, continuous motion. This continuous motion eliminates the ticking sound that other traditional clock motors make.

TRIGGER MOVEMENT: This “trigger” movement is designed to omit an electronic pulse on the hour to trigger a sound making device. These movements are commonly used in novelty clocks that have the sound of a bird, train or some other sound ringing on the hour.

HIGH TORQUE MOVEMENT: High Torque clock movements are of the same dimension as the low torque movements. They are geared special on the inside of the unit stronger as to take more weight if wanted. They can run any size hands from although it is recommended to use the C cell unit for very long hands such as the 17 1/2 or 17 3/4 long minute hand lengths. The C cell units are stronger than the AA units and would also last longer with the long hands.

31 DAYS CALENDER MOVEMENT: Like all quartz movements this one has an hour, minute and second hand. What makes this model unique is the fourth hand, which is a 31-day calendar hand. Every night, just after midnight, this fourth hand will move to the next day of the month.

TIME AND DAY OF THE WEEK MOVEMENT: It tells normal, everyday 12-hour time, plus the day of the week! Perfect for those “senior moments” or other functions where knowing the time and day of the week is important.

AA BATTERY HIGH TORQUE: The AA high torque quartz clock movements are much stronger than the low torque models. They have a threaded post diameter of 5/16 and a case dimension of 2 1/8 x 2 1/8 x 1/2D. C CELL BATTERY HIGH TORQUE: The powerful C Cell high torque movement is the strongest in the market before getting into the electrical units. They have a threaded post diameter of 7/16 & a case dimension of 2-3/4”H x 2-3/16” W x 1” D.

TIDE MOVEMENT: These quartz movements are specifically designed to give an accurate reading of the rise and fall of the day’s tides. Based on lunar day of 24 hours and 50 minutes, tide movements use a standard hour hand to display the daily tide activity.

24 HRS MOVEMENT: This movement has an hour hand that rotates once every 24 hours and a minute hand that rotates every hour.

REVERSE MOVEMENT: Reverse high torque movement simply runs backwards, or in reverse.

It’s often referred to as a “Barbershop” clock as it appears perfectly normal when viewed in a mirror..

ELECTRIC CLOCK MOVEMENT: Electric movements are actually quartz movements, so they are much more accurate than “old style” electric movement, because the time is regulated by a quartz crystal, but they operate on 110 volts.

THERMOMETER MOVEMENT: It operates battery free on an accurate Bi-Metallic coil. This metal coil has two metals bonded together. They expand and contract at different rates during any changes in temperature. These temperature changes cause to coil to twist, turning the indicator hand at a very measurable rate.

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Part Seven Post the research work, research articulation, analysis and concept ideation started. This chapter revolves around the initial phases of concept generation based on the understanding of the brand language and the previous research insights. This is a crucial stage as it sets a direction towards which the project sets its course.

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Brand Language

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Mood Boarding

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Initial Ideation

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Analysis

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Further Ideation

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Final Selection

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The Brand Language Once the ground work of research and analysis was done, it was time to establish a proper brand language to help in the process of finding a design direction. As this project is the first project for Team TOD as a product designing studio, it was a bit trickier to put down the brand language right away.

It was an exploration on both ends. To make things easier, their earlier work in the field of exhibition, spaces and interiors were studied and analysed. They had been working with various Indian crafts for a long time and Indian handicrafts had been a major feature in many of their projects. Although they try to be true to their roots, they never shy away from design experiments, contemporary trends and current technological advancements. Some of their inspirational works are discussed here.

IHGF Autumn Fair, 2017, Greater Noida: IHGF is one of the greatest craft fairs conducted by EPCH. This is the place where all the handicrafts of India are showcased to the world. The inspiration for 2017 Autumn fair was taken from the bright and bold roots of Indian culture. The base motif used is of a flower and kept quite modular. The simple forms are well balanced with the bright colours and patterns.

The wise use of fabric with traditional Indian motifs add the perfect touch to the contemporary structures. The eye catching graphic elements on the containers add the perfect spunk to the aesthetic and makes a bold statement. Overall, the space totally features the Indian heritage and provides a very welcoming atmosphere for the investors around the world to come in and interact further.

Fig 59

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Fig 60

Fig 59 and Fig 60: IHGF Delhi Fair Autumn 2017in Greater Noida. Source: Company File Photo.

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Bihar Pavilion IITF 2014, New Delhi: The 34th India International Trade Fair 2014 held at Pragati Maidan was designed by the TOD team. The inspiration was taken from the theme itself, “celebration of Women and their achievements”. The entrance under the tilted canopy was decorated with ‘Sikki Chakras’ that are hand crafted discs made by weaving dried grass which was also dyed in vibrant colours. The facade which looks like an abstract ‘jali’ was designed in a minimalist cubist fashion. This ‘jali’ was influenced from renowned Madhubani paintings which depicted women doing their daily chores, in their traditional roles and peeled off at one corner to reveal the women of today’s Bihar. The ‘Tulsi’ courtyard celebrated the invigorating spirit of woman achievers with stories about them printed on ‘Bhagalpuri’ silk panels. The dark mono-chromatic interiors juxtaposed with bright splurge of colours that imparted liveliness to the space. The pavilion truly displayed the history and heritage with the contemporary elegance at an international platform.

Fig 61: Front Facade of the Bihar Pavillion.

Source: Company File Photo.

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Madame Store, Elante Mall, Chandigarh: TOD designed the Madame flagship store in the Elante Mall in Chandigarh. The interior features a sleek, streamlined and minimal design with bold accents to depict a statement that Madame as a brand is.

The minimal metal frames add a futuristic elegance.

Famous quotes by eminent personalities are widely used throughout the space imparting a unique character. The space not only enhances the shopping experience and renders a calming atmosphere but also succeeds to boost one’s self confidence.

Fig 62: Madame Store in Elante Mall. Source: Company File Photo.

Fig 62

Fig 63

Fig 61

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Mood-Boarding After studying various projects done by TOD and being a part of some of their other projects, their design language became quite noticeable. The overall design expression falls mainly towards a contemporary, clean and polished aesthetics which are of high impact and makes a statement. Extensive use of modular elements through their design also states their understanding of resourcefulness and sustainability. The other major aspect was that they were rooted to their own culture and tried to incorporate them whenever possible in a classy way.

The mood board thus formed does not necessarily capture the exact design language or form or the finish but captures the essence that the products need to exude to evoke certain emotion. This mood board reflects the ideologies that are incorporated while designing the range. Quite often it happens that while designing one gets lost in various ideas and looses track and direction. Therefore, having a visual display on board helps to get back in track and focus on the decided design aspect.

Once the design language was decoded, a basic mood board was made to have a general direction for the project. The idea was to take the traditional stories and present them to the contemporary audience with sophistication and elegance. The overall feel needed to be soothing yet beautiful.

In the process of finalising the design language, a comparative study amongst the principles of Zen design aesthetics, Danish aesthetics and Indian aesthetics was also done. This revealed the fact that Indian aesthetics is highly based on the decorativeness and always incorporates or evokes emotions. Therefore, focus was given on how to evoke the positive emotion.

Simple, clean, contemporary, yet celebrates the warm, happy Indian within.

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Fig 64: Heavily decorated Camel in Rajasthan.

Fig 65: Indigo Blue Colour Palette.

Fig 66: Preist During Ganga Arati in Varanasi.

Fig 67: Earthy Spice toned Colour Palette.

Fig 65

Fig 64

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Initial Ideation While the basic researches were conducted, ideation was also happening simultaneously. During this phase, the mind was allowed to wander to its happy places and generate as many ideas as possible. The thought of good and bad was out of the question. It was more important to let one’s brain loose once in a while to think of the impossible. Once the saturation level was achieved, the concepts were analysed and evaluated to determine specific design directions.

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Analysis All the design ideas were grouped on the basis of themes, material used and the production process followed. This process of segregation revealed the various direction in which the project could head on to. With the idea of all the possibilities, it was important to focus onto certain areas and work on certain aspects as the timeline for the project was limited. The final directions chosen for this phase of the project based on the following factors:

economical to produce the product with higher chances of return. Finally, four broad categories of handicrafts were chosen for the first phase of the project – Wood work, Moradabad Brassware, Agra Marble work and Jaipur Blue pottery.

Material: It was important to have a product series that had a wide range of price point so that it can have a better acceptance in the market. The wooden and mdf products were kept for a lower range. The range of products featuring blue pottery was of a bit higher range for the exclusivity of the craft. The brass products were on the middle to higher range based on their face value. The most expensive were the marble products as it is a very labour intensive process. And also, the resources used for the process do not come cheap.

Fig 68: A Blue Pottery Fish waiting to be painted, glazed and fired.

Handicraft Process: Once the material was finalised, all the related handicrafts to the material were listed down. It was practical to go for the handicrafts which enabled ease of access for having a better supervision and also the factor that it was

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Fig 68

Further Ideation With a clearer understanding of the practicalities and feasibilities of the projects, certain concepts were refined and a bunch of new ideas were generated.

The newer ideas were again clubbed into groups for further analysis. Once this phase was complete, the ideas were presented to the sponsors and a feedback session was conducted. The feedback sessions prove to be highly insightful and brought the best out of the concepts. The ideas were again segregated based on design languages and concepts for final selection. Some ideas were taken forward and some were merged to get the maximum result.

The rest were left for future explorations.

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Leaf Leaf is a collection inspired by the texture of leaves.

Here the ridges of a palm leaf are captured along with the centre whirl that acts as the main focal point and houses the movement. The material that was thought in mind while ideating was green marble to emanate a soothing and calming feel. To add a glamorous touch, accents of brass are used in the number marker lines and the centre.

Extreme Right: CAD renders of two variants of Leaf.

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Porous Porous takes inspiration from the porosity of rocks.

The natural and the geometric nature of pores are explored here in this series. The material chosen for this series is again marble or any other soap stone to give out a spa like relaxing feel. The density of the pores depends upon the ease of making and the delicateness of the final design. If it is made too porous it might lose strength and break apart.

The geometric form gives a more structured look whereas the uneven pores hold on to its natural integrity and celebrates the flaws in nature.

Right Page: CAD renders of Porous with geomtric accents.

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DOT DOT is conceptualised in honour of TOD Innovations as a brand. Their brand logo features a dot and their philosophy also states that everything starts from a dot. Here is an attempt to translate this philosophy with time. The accent colours used here is red following the brand identity. A mix of wood and metal is used to give a premium sophisticated look.

The overall form language is kept very minimal to feature the striking red. Exploration is done with the clock hands to achieve a unique abstract look.

Left Page: CAD renders of DOT Design option 1.

Right: CAD renders of DOT Design option 2 and 3.

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Shelfy Shelfy is an attempt to look at clocks with a different functional perspective. It is to bring about the fact that it is more than just a clock. Along with the timekeeping aspect it also serves as a shelf or a lighting element in the space. The form is developed to utilise the unused corners and to provide surface for smaller nick nacks. The base material thought for this is wood with brass accents. The long body provides a great canvas to display folk tales and other stories as illustrative art and can also be customised to personal preferences to suite the interior theme.

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To explore further, circular and rectangular forms were also explored to utilise the vertical spaces on the wall. Some of the ideas also incorporated lighting fixtures to make them into a complete module with greater efficiency of multi-tasking. The material thought for these elements were again wood and brass to bring in the sense of richness and warmth without compromising the overall modern form.

Left Page: Shelfy Design Option 1, showcasing a wall corner unit with brass accents.

This Page, Clockwise: Shelfy Design Option 2, with hanging Clock Movement mount; Shelfy Design Option 3 and 4, featuring circular elements with Brass accents.

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Final Selection After getting through the segregation and selection of the concepts, final refinements were done. The final range of concepts were detailed out and CAD models were made to have a better visualisation.

Once this part was completed the drawings were sent to the manufacturers and craftsmen to understand the manufacturing strategy for the products. Feedback from the manufacturer’s side is very critical. A lot of times the design changes because of the production process. Therefore, before sending them for final sampling, a review was done on the Craftsman’s side.

Left Page: Sketches and ideation of various other ideas.

This Page, Clockwise: Geom Clock, telling time through shadow and geometry; Clipart Clock, featuring suspended Clock movement and arms; Stand Up Clock, featuring brass framework with central wooden movement mount.

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Part Eight As the output to this six-month long journey, a range of wall clocks for the indoor spaces were developed.

This range includes six different collections of varying price points and features four different handicrafts of India. The designs highlight the process of the individual crafts and it is an attempt to reflect the contemporary style through the grace and finesse of Indian handicraft.

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Collection One

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Collection Two

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Collection Three

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Collection Four

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Collection One

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Into the Woods The first two collection of the range was made in wood and MDF. This range focuses mainly on the affordability aspect of it. TOD has a woodworking workshop which came in extremely handy and helped reduce the expenses. The fundamental idea was to share stories through the products. And here the story was about interpretation of time. Into the woods features two collections – reflections and contours of time.

Reflections The first collection “Reflection” takes inspiration from the reflection of the sun on the surface of water during sunrise or sunset. Sun plays an influential role in the depiction of time. With sunrise the day begins and sunset marks the end of a day. Another aspect to this concept is the theme of reflection. It is like each moment in time reflects each aspect of one’s life.

Fig 69: Reflection of the Evening Sunset on the Arabian Sea.

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Fig 69

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Once the drawings were reviewed, Mdf was cut into size. The reflection part of the clock was traced and cut using a hand router. On the wooden part, mdf was recessed and 5mm thick wood pieces were pasted. Once the wood was set, planing was done to have an even level throughout the clock. At the back a square cavity was made to house the clock movement. It was made sure that the clock face could accommodate the threaded shaft length easily.

A small hole was drilled for the central shaft to come through. Finally, it was sanded and finished. Paint was used for the coloured part with glossy PU coating and the wooden part has finished off with a satin finish PU polish coat. ( Detailed drawing available on page no. 194. ) Fig 70

Fig 70: Trying colour options to complement the wooden finish for the lower part.

Fig 71: One of the wood workers working on filling the cut mdf to make the cutout smoother for the next step.

Fig 72: The Prototype after pasting Teak Wood on the upper part.

Fig 73: The finished Prototype waiting for the final fitting of the Clock Movement and the Clock Arms.

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Fig 71

Fig 72

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Initially while conceptualising, it was thought of to keep the reflection part translucent using glass as a material to mimic actual water. But fixing glass to the wooden part becomes trickier and also the finer details might break off easily once made. Therefore, it was decided to go for mdf base with wood pasting on top. This method gave the flexibility to use colours to give this product a bold and fun character as well.

Some of the colour variants of the products are mentioned below. Some were kept neutral and calm while the others sported a bold statement.

COSTING DETAILS: 19mm MDF - ₹ 100 ( 35/sft ) CP Teak - ₹ 500 ( 3500/cft ) RAL Paint - ₹ 200 ( 150/sft ) Overheads - ₹ 500 Polish - ₹ 250 Labour Charges - ₹ 1500 High Torque Clock Movement - ₹ 300 Clock Arms - ₹ 900 (250mm High Torque) Total Prototyping Cost- ₹ 4250

Right Top: Exploration with transparent lower part.

Right Bottom: Various Colour Options for the timepiece.

Right Page: CAD Render of the timepiece.

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Contours Unlike the first collection, “Contours” uses technically advanced machinery in terms of its making. Contours features a complex surface texture which is easier to achieve with large CNC routing machines rather than using chisels and hammers. And also, it helps to keep the price of the product comparatively low.

Contours takes inspiration from the movement of water and sand with time. The piece “ripples” features the transverse motion of a water droplet.

And it is just a graphical take on reinterpreting the water clock at a literal level. Whereas, the pieces in “sands of time” depicts the dynamic movement of sand in the dessert to form sand dunes. Sand had been used in hourglasses for hundreds of years.

Also, the sand dunes are never constant. They keep changing. Human beings have no control over these natural phenomena, just like time. The underlying meaning remains that time would fly and life would go on with all it’s interesting contours.

Fig 74: Ripples of Water, Pixabay, www.pixabay.com Fig 75: Contours of Sand Dunes, https://in.pinterest.com/ source/25.media.tumblr.com/

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Fig 74

Fig 75

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Fig 76

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Fig 78

Ripple was prototyped in the MNT factory itself.

The simple circular form made it quite easy for the task. A hand router was used to cut out the circular indentations of varying size. Later on, the sharp edges were rounded of using a hammer and chisel.

A rich black colour was used for this particular piece to add drama. The needles used were of brass and added the perfect amount of sophistication and luxury. These pieces can be hung on the wall or can be kept on a table inclining to the wall. ( Detailed drawings available on Page No. 195 )

Fig 76: Cut edged of the routered circles are being rounded of manually using a chisel and hammer.

Fig 77: The Contours seen from the side view.

Fig 78: The finished Prototype waiting for the final fitting of the Clock Movement and the Clock Arms.

Left: An overall dimensional specification of the product.

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Production of this particular collection was quite simple. CAD model of “sands of time” pieces were made and sent to the CNC vendors for the process of cutting. The initial sample was made in mdf as it is comparatively cheaper and easier to cut. On further discussions it was figured out that making the same in wood might have complications. The edges might form splinters as they are very intricate in detail, and it might hamper the overall aesthetic of the product. Therefore, the idea of having it in wood was dropped. Once the products were received from the vendor, they were sent to the factory for paint and final finishing. Earthy colours were used for this product along with a glossy PU finish to highlight the contours. The wooden options might be explored in the coming future to see how the wood splinters behave and what are the possible solutions for them. ( Detailed drawing on Page No. 196 and 197. )

Right: The base pattern of the contours and an overall specification of the products.

Right Page: Various stages of form ideation and CAD modelling.

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COSTING DETAILS: 19mm MDF - ₹ 200 ( 35/sft ) RAL Paint - ₹ 250 ( 150/sft ) Labour Cost - ₹ 1000 ( 500X2 ) Overheads - ₹ 500 High Torque Clock Movement - ₹ 300 Clock Arms - ₹ 450 (150mm High Torque) Total Prototyping Cost - ₹ 2700

Right: Pattern options for the Ripple series.

Right Page: CAD Render of the timepiece.

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COSTING DETAILS: Material and Machining - ₹ 3500 RAL Paint - ₹ 250 ( 150/sft ) Labour Cost - ₹ 500 Overheads - ₹ 500 High Torque Clock Movement - ₹ 300 Clock Arms - ₹ 450 (150mm High Torque) Total Prototypin Cost - ₹ 5500

Right: Pattern options for the Sands of Time series.

Right Page: CAD Render of the timepiece.

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Collection Two

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Beautifully Brassed Moradabad, situated on the bank of the Ramganga river, is known as the brass capital of India. Brass’s valuable properties and relative ease of production has made it one of the most widely used alloy. Brass is most often produced from copper scrap and zinc ingots. Scrap copper is selected based on its impurities, as certain additional elements are desired in order to produce the exact grade of brass required.

Red brass refers to a high copper (85%) alloy that contains tin (Cu-Zn-Sn), which is also known as gunmetal (C23000), while yellow brass is used to refer to a brass alloy with a higher zinc content

(33% zinc), thereby making the brass appear a golden yellow colour. The yellow colour of the brass resembles gold and becomes the key feature in its appearance. The other important feature of brass is that it is resistant to tarnishing. It is fairly long lasting and requires little maintenance. Brass craft items come in two different finishes – highly polished and antique polished. Highly polished brass handicrafts are bright and shiny. Antique polished brass craft items have an older appearance and lack the shine giving it a more aged, vintage look.

Fig 79

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Fig 81

Brass was mainly explored in two ways for this collection. One collection featured clocks as pendant elements and utilised a lot of brass pipes and rods.

The other collection featured pendulum clocks and the main process followed was brass casting.

The pendant clocks have a more sleek and minimal look while the pendulum clocks celebrate the idea of decorations yet keeping it very contemporary and partly abstract. The outcomes in this collection reflect elegance and sophistication with a touch of glamour while weaving a story of it’s own.

Fig 79: The old city of Moradabad.

Fig 80 and Fig 81: Brass product stalls at the Sunday market in Fig 80

Ahmedabad.

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Danglers “Danglers” is a collection of pendent clocks for the interior setting. The initial inspiration for this collection came from dream catchers and pendant light fixtures. Brass pendant light fixtures are extremely elegant and add a hint of classy magnificence to any interior. Dream catchers on the other hand are objects of simplicity and native beliefs. Dream catchers originated in the Ojibwe tribe of the Native America. These are generally a willow hoop with woollen webbing or netting. Sometimes they also contain feathers and beads. The dream catchers symbolise protection and unity amongst the community. In India, a lot of similar concepts are seen, be it hanging “nimbu-mirchi” or hanging the demon faces. It was interesting to see the merge of beliefs of a different culture with an Indian craft to evolve into a collection depicting time.

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The main elements for this particular collection were brass pipes and rods. The form mainly featured the circular nature of time. Time has no beginning and no end. Here too the markers did not point to a specific number but just marked the passing of an hour. The process followed for these pieces were simple. The first set of samples were made out of mild steel and for the final production brass would be used. The pipes were bent into hoops and welded together to develop the final form. The central portion was made out of wood to provide a contrast of material and also it housed the clock movement easily. Once the parts were made, they were sent for finishing.

The wooden part was given a matte polished finish, highlighting the grains and the brass parts were given a high shine polished finish.

COSTING DETAILS OF SAMPLE PIECES: MS Prototype Cost: ₹ 2000 Brass Sample Cost: ₹ 7000 Clock Movement: ₹ 300 Clock Arms: ₹ 1000 Total MS Prototyping Cost: ₹ 3300

Fig 79: The old city of Moradabad.

Fig 80 and Fig 81: Brass product stalls at the Sunday market in Ahmedabad.

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TIME PIECE 1 : This particular time piece was designed keeping simplicity in mind. The overall form is kept extremely simple and minimal. The markers just indicate the passing of the hours without enforcing on the numbers hence works the human brain for the interpretation. The central wooden clock movement mount adds contrast to the otherwise bright and shiny piece and provides the natural touch. The clock arms used while designing was customised but could not be prototyped in the first prototyping process as manufacturing of single pieces are not cost effective on the manufacturer’s end. For the initial samples ready made clock arms were used, roughly the size of the intended ones to get an idea of the overall proportions. In future with greater numbers at hand, it would be possible to create customised clock arms as well to complement the overall design even further. For the current sampling copper finish had been used on the product for experimentation. Also the round pipes had been replaced by square pipes on the manufacturer’s end for added cost effectiveness of prototyping. ( Detailed drawing available on Page No. 198. )

On this page: Overall dimensional specification of the timepiece.

Fig 82: The first sampling is done with mild steel.

Fig 83: The metal frame with Copper finish.

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Fig 82

Fig 83

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TIME PIECE 2 : The second time piece in the series is more on the ornamental side. The finer brass rods add a sense of delicateness to the overall design. The wooden mount used for the clock movement features brass inlay work and adds a finer, sophisticated character. The four markers for showing the quarterly hours are also inlaid with brass.

This too features a customised set of clock arms with black chrome finish. However, for the samples ready made arms were used. When the design was sent for prototyping, certain changes were made to refine the prototype and give a cleaner appearance without compromising the design language and the initial form. The changes were made from manufacturer’s side as these issues were identified while making the product. The final details were shared and incorporated for future use. The overall finish for this particular piece was kept true to the original which is yellow brass along with teak wood for the centre. ( Detailed drawing available on Page No. 199. )

On this page: Overall dimensional specification of the timepiece.

Fig 84: The first sampling is done with mild steel with some minute changes in the design.

Fig 85: The metal frame with a Brass finish.

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Fig 84

Fig 85

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Dolok “Dolok” is the term used for pendulums in Bengali language. As the name suggests this collection features pendulum clocks. The inspiration for this collection comes from the national bird of India, the peacock. Peacocks and peacock motifs had been in use for a very long time in any interior or lifestyle object. Peacock symbolises royalty, spirituality, luck and abundance. The collection “Dolok” is an attempt to interpret the characteristics of a peacock in a more abstract and ornamental manner.

The method of sand casting is followed for this particular collection. Sand casting is the traditional process in which sand is used to make the mould in which metal is cast. The process of making brassware using sand casting comprises of a number of stages.

The forms used in these products call for this particular method.

Fig 86: Peacock mural in Udaipur City Palace.

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The process of sand casting brass involves: PATTERN MAKING: Once the designs get finalised, the master pattern is generated and the mould is made according to the pattern. The master patterns are usually made of wax, as it is soft and easy to work with. Sometimes wood is also used.

MOLD MAKING: The mould is made using moulding boxes, the moulding boxes are generally divided into two segments which supports the mould when the molten metal is poured in it. The mould is made by packing the sand around a pattern and the sand contains chemical binder (molasses) which aids in holding the shape of the pattern. After the mould is made the pattern is removed. A gating is made to direct the flow of the molten metal into the cavity.

MELTING: Melting is the process in which the metal (brass) scrap namely copper, zinc, lead, etc in a specific ratio is melted to very high temperature using furnace. A furnace is used to heat the metal which is generally fired using fuels. In brass sand casting coal is used to fire the furnace.

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POURING AND CASTING: The casting, also traditionally known as “dhalai” of the molten metal is poured into the cavity. The molten metal poured into the mould to fills the cavity and it is allowed to cool for few minutes. After cooling, the cast metal is removed from the dried mould. Once the piece is taken out after cooling, the cast metal is removed from the dried mould and the sand is broken form the cast metal. The gating is removed from the cast metal using hammer.

FINISHING AND POLISHING: This process is also known as “chilai”. In this section the surface of the cast metal is treated with turning operation in which the surface irregularities have been removed. It is generally done on the lathe machine for the more traditional pieces which are mainly circular in form.

Many tools like brazed tip cutting tool are used for finishing and polishing of the cast metal. The different finished parts of many products are joined through welding and again it goes to the polishing and buffing section to get the welded parts properly polished before it goes for engraving and finishing.

Fig 87: Making of master copy using wax for mould making.

Fig 88: Melting of scrap material and forming them into brass blocks for further use.

Fig 89: Pouring the molten brass into the moulds.

Fig 90: Scrapping of the casted piece on lathe.

Fig 91: Engravings are done using finer tools.

Fig 92: Final polishing is done on the buffing machine for shine.

Fig 87

Fig 88

Fig 89

Fig 92

Fig 91

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TIME PIECE 1: The first timepiece in this series showcases the grandeur of a peacock. It is an attempt to interpret the drama of peacock plumage in an abstract form. Another resemblance of this particular piece is with the rays of the rising sun.

However, the difference is made by the use of stained glass to capture the colourful nature of the peacock feathers. The use of colours is kept open for this piece. One can go for a single colour or can opt for a mix of colours following a certain colour palette.

The future idea for this particular design is to build it with a stand so that the translucency factor can be used to its advantage. Again for the central part wood is used to easily house the clock movement and add an anchoring colour and texture. The pendulum also features a glass bead with the brass stem and left for further experimentation with the weight factor. The clock arms designed for this time piece are kept extremely simple with a black chrome finish to break the overwhelming golden appearance.

On this page: Overall dimensional specification of the timepiece.

Right: CAD render of the timepiece for improved visualisation.

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TIME PIECE 2: This time piece takes a more ambiguous take on the peacock feather. The previous piece celebrated the train of the peacock whereas this piece celebrates the individual aspect of a feather. Peacock feathers are widely used in Indian culture and it relates to the peacock feather on the crown of Lord Krishna. Therefore, considered quite auspicious in many households. The brass loop on the back is the interpretation of the Godly halo quite easily observed in many illustrations of Gods and Goddesses across culture. The main interesting elements in this design are the clock arms. They are in the shape of a teardrop. When the clock strikes 12, the true nature of the design comes forth. To amplify the golden beauty of brass, A deep navy central mount is used with fine inlay of brass. The form is simple, modern yet carries a deeper sense of culture and mythology. The pendulum is also kept simple and more on the lighter side to enable proper functioning. Further alterations would be possible once the first set of prototypes are made and tested.

On this page: Overall dimensional specification of the timepiece.

Right Top and Bottom: Working of the clock arms.

Extreme Right: CAD render of the timepiece.

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Collection Three

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The Blue Blood The world of pottery had been around from the existence of mankind possibly starting from the neolithic period. Earliest form of pottery was made from clay which were fired at low temperatures in pitchers. Glass was discovered in the ancient civilizations of Egypt, Syria, Iran and Indus Valley.

Glazed Stoneware was being created as early as the 15th century BC in China.

Blue Pottery is highly celebrated in Jaipur although it’s origin is in the Turko-Persian region. The name “blue pottery” comes from the striking blue dye that is used to colour the pottery. The use of blue glaze on pottery is an imported technique, first developed

by Mongol artisans who combined Chinese glazing technology with Persian decorative arts. This technique travelled east to India with early Turkic conquests in the 14th century. Today, blue pottery is an industry that provides livelihood to many people in Jaipur. The traditional designs have been adapted and now along with urns, jars, pots and vases, one can find newer and more contemporary application of this craft.

Fig 93: The artist’s supply at the potter’s place.

Fig 94: Blue Pottery coasters bought from the potter to start his sales on the auspicious day of “Akshaytritiya”.

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Blue pottery is a very unique way of creating pottery.

It is does not use clay. The dough is prepared by using quartz stone powder, powdered glass, fuller’s earth, borax and water. The pigment used to do the outline work is cobalt oxide and for the rest of the colour filling other metal oxides are used. Most of the craft items of blue pottery uses motifs with floral pattern, plant pattern or animal pattern.

Fig 93

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While designing with blue pottery the main idea was to experiment with the nature of the pigment.

The inspiration was generated from water colour paints, the way watered down paint reacts, follows and marks its own movement. The base form was kept absolutely simple to let the pigments be the highlight. The design did not a set pattern but was kept open for experimentation. The artists were allowed to play with the colours and have a little bit of fun with it. And the designs took its own course.

Various shades and saturation of blue was used at certain points. The bright and bold blue colours were contrasted by the elegant and luxurious brass clock arms. The underlying philosophy behind these blue pottery products is that time flows in its own course, and the maximum one can do is to get most out of it and make it a celebratory event.

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From dough to the finished product on the wall, blue pottery involves quite a few steps in its production.

Below is the detailed description of each of the steps: PREPARING THE DOUGH: The dough is prepared with quartz powder that is available in Jaipur in powdered form, cullet which is the ground up fine powder of chunks of glass, saji, katira gond, fuller’s earth. All of the dry ingredients are then sprinkled with water and formed into a non-sticky dough. The dough is rested for a few hours before using.

MAKING THE MOLD: The moulds used are made out of POP. Moulds are made of the desired shapes and sizes, and then dried. Sometimes a product can be made out of a single mould or it can involve usage of 2-3 different moulds like certain vases, where the parts are joined using a little bit of dough and water.

Fig 95: The casted pieces are kept for air drying before any further process takes place.

Fig 95

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Fig 95

CASTING THE PRODUCT: Once the dough has rested properly, a considerable amount is taken and flattened into a round chapati shape of approximately 1 cm of thickness with a flattening tool called “thepai”. The flattened dough is next placed onto the mould and tucked in nicely to get the shape of the mould. The mould with the dough is then filled with burnt wood ash and pressed in gently so that the mold does not deform and the dough takes the shape of the mould. The extra edge of dough that comes out of mould is cut using a knife. Mould is turned upside down and it is slowly removed. The product is left for drying for 1-2 days along with burnt wood dust in itself. Once the product dries the burnt wood dust is removed. With the small broom excess dust is brushed off from the product. For this particular project wood dust was not stuffed in as it is a flat circular disc form. The outer rim for the square cavity and the hanging points were then attached to the base form using some dough and water. Once the product is completely done it is left for drying for 1-2 days and then sent for the following processes.

Fig 96: The dried pieces are rubbed on the stone underneath to smoothen out the surfaces before painting.

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SMOOTHENING: Once the product is dried properly, the rough edges are smoothened by rubbing it gently against a stone. After this, the product is rubbed with the sandpaper to remove grains and to make surface of product even. After this step, it is coated with a slurry made of dough and water to fill up the pores. It is then left to dry and again sanded to smoothness. After second round of smoothening the products are dipped in mixture of quartz powder, powdered glass, Maida (edible flour) and water. It is evenly coated and kept for drying. Once the product is dried it is rubbed with sandpaper evenly and made ready for painting.

PAINTING: After smoothening the pieces are sent for painting. The colours that are used are oxides and Ferro metal, easily available in the market. It is mixed with edible gum, which acts as a binding agent.

Brushes and sponges were used to paint the pieces to give them an abstract, uneven texture. Watered down paints were used and they were let to drop down to give a natural dripping effect. Different ratios of water and pigment was used to get the different saturation of colour.

Fig 96: The craftsman making a centre hole for the movement shaft using a metal rod of the desired diameter.

Fig 97 & Fig 98: Two generations of craftsmen at painiting work.

Fig 96

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Fig 97

Fig 98

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GLAZING: A special glaze is prepared using different raw material like powdered glass, borax, zinc oxide, potassium nitrate, and boric acid. These raw materials are heated at a high temperature; melting point is reduced by borax. When everything is done, mixture is put to cold water to cool and it splits to splinters.

Splinters are collected and then grounded. The grounded grit is mixed with water to form glaze, the coat of glaze should not be too thick or too thin, and it should be evenly coated. Too thick will give matte finish and when it is too thin it will leave the pores exposed. The products are dipped in glaze and left for drying. Once it is dried it is ready to be fired.

FIRING: The products are kept inside a furnace to dry. The products are properly stacked inside so that they doesn’t touch each other. The kiln is closed from front and heating is done from below using wood and charcoal, and an even circulation of heat within the kiln is maintained by leaving the centre core open for heat to move freely. The firing takes place for 4-5 hours and the firing has to be controlled gradually because changes in temperature might cause cracks in products. The kiln is left for cooling for 2-3 days and then products are taken out for quality check.

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Fig 101

Fig 100

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Working with Blue Pottery was a very new experience. The visit to the artisan’s place was quite eye opening. There were times when prototyping became extremely difficult due to the monsoon as with higher water content in the atmosphere, the drying process slows down. Therefore, during the rains the artisans generally shut their work and stop taking orders. This craft has the potential to become greater with innovative ideas and explorations.

Working with colour pigments was just a small step towards understanding this craft. In future there are plans to expand the horizon and see how this particular material behaves with other materials like brass, wood, concrete, etc. It would be interesting to explore new joinery and fixing details for these unusual ideas and experiments.

COSTING DETAILS: 300mm Dia BP Base - ₹ 700 Clock Movement - ₹ 300 Clock Arms - ₹ 500 Total Prototyping Cost -₹ 1500 450mm Dia BP Base - ₹ 1200 Clock Movement - ₹ 300 Clock Arms - ₹ 800 Total Protoyping Cost - ₹ 2300

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It was an honourable experience to stay with the craftsmen and learn from them. When this new technique of painting the products was introduced to them, they did seem a bit confused and skeptical, but eventually grew out of it and started to enjoy the process.

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Collection Four

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Marvellous Marble The final craft chosen for this project was the Marble inlay of Agra. Inspired by the famous Pietra dura work on the beautiful Taj Mahal, marble inlay, also known as Pachhikari is a method of inlaying coloured marble or semi-precious stones onto a marble or stone base, often in geometric or floral patterns. The art of marble inlay or “Pachhikari” was introduced in India in the 17th century by the great Mughal Emperor “Shah Jahan” who envisioned the decoration of the Taj Mahal using this unique decorative art. The inlay is so fine that the inlaid patterns seem to have grown out of the marble, hence it is hardly possible to detect the incisions.

The designs developed in this series are highly inspired by the pixilation aspect of the process. Each small design element is composed of a number of slivers of stone. This collection is named “Animalia” because it is also inspired by the magnificent animals and birds. More than anything it focuses mainly on highlighting the geometric nature and flaunts the edges and sharpness. The intricacies of the craft works with perfect harmony with the brightness and boldness depicted through colour and expressions.

Fig 103: “Pachhikari”, Pixabay, pixabay.com Fig 104: An illustration of the world famous Taj Mahal.

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Animalia: The Deer The deer is the manifestation of the grandeur and drama of the animal deer in a graphical format. In many cultures deer is considered to be a symbolism of peace and gentleness. Even in Indian mythology the deer is associated with knowledge and learning.

The animal with its soft eyes, majestic antlers and a vivid character never fails to inspire. The image on the left served as an inspiration to develop this concept. To match up with the colour palette and to amplify the royal appeal, brass accents are used. The clock markers and the clock hands are also made of brass with very minimal form to balance it out.

Fig 105: “Toffee the deer”, https://www.

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mattblatt.com.au/toffee-the-deer

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Animalia: The Owl Owl is the night’s creature, mysterious, majestic and unique. In western culture the owl is considered to be a bird of wisdom and intellect. Although in Indian culture owl is the ride of the goddess Lakshmi but not considered auspicious. Yet this piece is an attempt to bust the myth and look at the beauty of this nightly bird. The base is kept of a black marble to mimic the night sky and the bright colours of the owl, inspired by the artwork on the left, adds a fun character to the product. The marker here is the sliver of the moon with brass accents.

Fig 106: “The Blue Owl”, n. a. n. d. https://in.pinterest.com

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The process of making each piece is quite painstaking. Below is the detailed explanation of each step: MARBLE SELECTION: First the base material is chosen. The role of the base material is extremely crucial. Marble come in a variety of types and colours.

It was very important to choose the correct variety of marble so that it does not clash with the bold artwork coming over it. For the deer, a soft white Baswada marble was chosen. It has a very soft finish to it with subtle veining. It works harmoniously with the bright and bold artwork. Whereas for the owl, a black Markina marble was chosen. It has white and grey veins with specks of white that gives an appearance of a starry night and builds up the overall story and the drama.

MARKING: In this step, slabs of marble are cut into the desired dimensione and prepared for the following steps.

CUTTING: Once marked, these are cut with the help of saw. The raw edges are filled and given a smoother finish to be fitted into a brass framework. Once this base work is done it is sent to the next artisan for the next phase.

TRACING AND CONTOUR CUTTING: The artwork is traced onto the marble and likewise cavity is cut to fit each coloured piece of stone within it.

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COLOUR MATCHING: Full scale prints of the art work is taken out and each part is colour matched to the artwork. The colours of the stones are matched to the colours of the artwork. While working with semi-precious stones, often times it happens that it is not possible to find the exact colours used in the artworks or they are not available in the market.

This aspect effects the overall design and necessary changes are done to match the available semi precious stone colours.

Fig 107: The chosen stones for the inlay work on the deer art.

Fig 107

Fig 108

Fig 109

Fig 108: The cut outs of the semi-precious stones laid out to match the line-work and dimensions of the given artwork before pasting them together.

Fig 109: The lapidary artist painstakingly joining the tiny pieces using Elalite before inlaying it into the marble.

The beauty of working with these semi precious stones is that they are unique and each piece has an individual character. Even after colour matching very minutely, the pieces would not come out identical and this add to its exclusivity. The semi-precious stones used here are - Black Agate for black, Red Agate for red, Petrified Wood for brown, Red Jasper for orange, Yellow Aventurine for yellow and Yellow Agate for bright Yellow.

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STONE CUTTING: The Lapidary Artist takes his time and starts the intense work of cutting each piece of stone to the required shape and size with the help of specialised tools. Different shades of semiprecious Stones are minutely selected to give the precise gradation and shading as per the given artwork. Initially an outline of these coloured stones are marked on the surface of the marble which are to be engraved, then these shaped gem stones are arranged in the marble panel at the specific position marked by the master artisans with the help of carving tool along the pattern. To make the process easier, the coloured semi-precious stone pieces are joined together prior to the inlay process.

INLAYING: Once joined it is laid down on the 2mm cavity on the marble surface. The Marble is then chipped out to set the coloured stones firmly on its surface. Subsequently the Gem is glued to the marble using a special mixture called Elalite.

SMOOTHENING: Once the inlay work is done, the surface is scrubbed with stone and water to remove the coloured layer and finally the surface of marble is buffed to obtain a smooth surface.

Fig 110: The joined piece is laid out on the base before making the final inlaying process for rechecking the dimensions & alignment.

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BRASS INLAY: Once the inlay work of stone is done the brass inlay work starts. The brass used for this piece was ordered from the Moradabad in 3mmX3mm long bow wire roll. 3 mm incisions were made into the marble base for the inlay process. A minimum thickness of 3mm was kept so that even after final buffing and polishing material was left in the artwork and did not get eroded away. As a final touch, a brass framing was added with hooks inbuilt to get fixed on the wall brackets. The framing helps the marble base from chipping around the corners.

Also the Marble is chamfered around all the edges to prevent chipping and to get a cleaner finish.

Prior to the delivery the product is carefully examined by the trained eyes and hands of the master craftsmen.

COSTING DETAILS: Marble artwork with inlay and framing - ₹ 50,000 Movement mechanism - ₹ 1500 Clock arms - ₹ 500 Total Prototyping Cost - 52,000 Fig 111: Inlaid brass in marble, www.holyhunt.com

Fig 111

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This particular range faced quite a few challenges while its manufacturing. Each piece takes around a month to complete. That too depends on the availability of the raw material. Another option left to deal with such issues is to go for the artificial stone inlay but it does not give the same quality result. Therefore, it is worth the wait. During various discussions with the vendor the design artwork kept changing based on the availability of the resources and also due some technical aspect of it. The process of inlaying and colour matching is done in the bright daylight to get the truest match of colours. Therefore, work slows down or stops during the evening hours when the sun goes down.

Along with that each piece is generally handled by a single craftsman for the maximum level of concentration and understanding of colours. In a bigger mix of artisans, the focus might shift and the colour matching might vary based on personal understanding of each colour. All these factors add on to the already lengthy timeline. The overall size and weight of the pieces were quite on the larger size and needed to be mounted on a frame for better support and protection.

It is highly inspiring to see how chunks of stone gets translated into a story using hands and just some simple tools. After observing the artisans, it became clear that vision, patience and hard work is the key to any great achievement.

On this page: The final owl artwork for the black marble inlay.

Right: CAD render of the Deer artwork timepiece.

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Part Nine This chapter mainly focuses on the work that are still under the process of development and the future prospect of the project. Future market placement of the developed products is also discussed in this chapter. An overall experience during this extraordinary journey is also shared here.

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Work in Progress

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Way forward

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Market Placement

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Learnings

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In The End.

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Work in Progress Adding on to the previous concepts which are prototype ready, a few more concepts are in line for further detailing. These mainly revolve around mixing and matching materials and processes to generate a fusion of crafts. These ideas are kept for further exploration too. Once insights are generated via market trials, future decisions would be taken.

The brand language and foundation are set and now ready for added experimentation and innovation.

MAGNIFICENT BEASTS: “Magnificent Beasts” is a celebratory collection featuring the beasts of India.

It is widely seen around the country how animals are treated and celebrated for their immense contribution to the society. Various festivals are celebrated, and the animals are lavishly decorated with painted motifs and heavy jewellery. This present situation is necessarily not the greatest approach to treat the animals, yet, it is widely spread across the Indian culture and influences various design ideas.

This unique visual language is taken ahead in this collection and makes it exclusively Indian.

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MOUNTAINS: India is a land of diverse culture and a diverse terrain. Along with the extensive coastline to calm the souls, India also demonstrates its variety with the vast deserts and age-old mountain ranges.

Previously the collection “Sands of Time” looked into the deserts for inspiration whereas “mountains” seek inspiration from the expansive mountains of India.

India has some of the largest mountain ranges and the mountain roads in the world. These mountains are the epitome of soul searching and immense beauty. Here the idea was to capture this beauty through colours and geometry. Marble inlay proves to be an apt method for this purpose. The bright yet earthy colours of the semi-precious stones work harmoniously to bring out the depth and appeal of the mountain ranges. The geometric patterns of each of the pieces add on and reveals an edgy yet organic form to depict the grandeur of the ranges.

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Way Ahead The completion of the clock project only opens up newer opportunities. With all the basic understanding of the market, the processes and the craftsmen, the possibilities are endless. There are plans to take forward each of the earlier discussed collections and develop a series of furniture and home accents. This is probably one of the many ideas. In future this project can take various forms and delve deeper into the sentimental and developmental aspects of the crafts and craftsmen. With further research, experimentation and exploration, newer perspectives would be generated which would lead to further evolution of TOD as a design studio. The final intention is to look beyond product design and bring about changes in the system as a community by working towards restoring the heritage and integrity of Indian culture and propagating its uniqueness at a global stage. It is a highly ambitious project yet not impossible. With smaller and consistent steps, there are high chances of achieving the goal.

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Market Strategies The progress of a project does not stop after the prototyping and manufacturing stage. It is equally important to know the efficient way of marketing and selling the products. It is highly important to make sure that the products reach their target audience and make a mark in the current society.

A sustainable model needs to be made to make this idea grow even further. Some of the ideas include direct retailing, organising exhibitions and participating in various national and international fairs. Competitions also serve as a great promotional platform for showcasing ideas. Future plans of conducting workshops and skill development courses for artisans might also prove helpful in propagating the ideas of enhancing Indian crafts.

Along with these conventional methods, internet has opened a greater channel to widen the market even more. With a connected community and the use of the ever-evolving social media it has become much easier and efficient to reach to a wider audience.

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Learnings This graduations project had been a wild ride. In many ways it clearly prepared me for the future projects and opportunities to come. It was absolutely delightful to see an idea get developed from scratch to completion and be a major part of it. It helped me realise the importance of observation and paying attention to details. Taking responsibilities was a major aspect for this project. Starting from design decision making to dealing with the vendors and craftsmen, this project taught me all. With all the guidance received from the sponsors, guides and fellow team mates, it was an eye-opening experience. A first-hand understanding of how this industry works and survives. It was crucial to keep in mind the various factors, technical and financial constrains while working on the concepts. Along with designing, this project also taught me how to approach people for collaborations and chose the correct collaborator. There were aspects where work could have been done more for sure, but they can be implemented in the coming years by the company.

Overall, a thrilling yet satisfying final project to keep in mind and heart for the years to come.

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In the End With the end of the Graduation Project, the journey of being an Under Graduate student in NID comes to an end. Now looking back to the decisions made in the past years of joining NID, the furniture and interior design discipline and taking up this project, leaves me feeling satisfied and happy. With the understanding and experiences of the last 4 and a half years I have grown to know about myself even more. This journey has given me a deeper understanding of what impact design has on the environment and evolution of a society as a whole. And every time it astonishes me with the plethora of newer possibilities lying ahead of us yet to be explored. It just takes an open mind and a courageous gut to go ahead and face the challenges and come out with flying colours. In the end that is all that matters!

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Part Ten This chapter is a compilation of all the technical drawings developed for the production process along with meanings of some technical terms used in this document. It contains detailed technical drawings and specifications of the products that have already gone for sampling to the vendors the rest would be done as per company’s requirement.

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Glossary

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CAD Drawings

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Glossary UG - Under Graduate FID - Furniture and Interior Design CAD - Computer Aided Design EPCH - Export Promotion Council for Handicraft IHGF - International Handicraft and Gift Fair R&D - Research and Development UP - Uttar Pradesh GDP - Gross Domestic Product SOE - State Owned Enterprise SME - Small and Medium Enterprise Q FACTOR - Quality Factor ppb - Parts per Billion IITF - India International Trade Fair MDF - Medium Density Fibre board CNC - Computer Numerical Control PU - Polyeurethane POP - Plaster of Paris

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Technical Drawings The detailed technical drawings made while prototyping the products are attached here. All the products did not call for detailed drawings as they are to be prototyped later once the first batch is received and thoroughly analysed for quality.

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SAND 1

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Part Eleven This chapter is a compilation of all the research sources, books and reference used while studying about this topic. It also contains all the links and citations of the images used that are not the authors property.

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References

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Image References

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References All information sources have been arranged in accordance to the respective page numbers.

Pg 17-18 Nid.edu. (2017). National Institute of Design. [online] Available at: http://www.nid.edu. Accessed on 5 Nov. 2017.

Pg 20 “Toddesign.” Toddesign, 2017, https://www. todinnovations.com/.

Pg 34 “Arts And Crafts Movement: Origins, History, Aesthetics.” Visual-Arts-Cork.Com, 2017, http://www. visual-arts-cork.com/history-of-art/arts-and-crafts. htm.

Pg 35 “Arts And Crafts Movement.” En.Wikipedia.Org, 2017, https://en.wikipedia.org/wiki/Arts_and_Crafts_ movement.

“Maker Culture.” En.Wikipedia.Org, 2017, https:// en.wikipedia.org/wiki/Maker_culture.

“What Is The Maker Movement? - Definition From Techopedia.” Techopedia.Com, 2017, https://www. techopedia.com/definition/28408/maker-movement.

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Pg 36 “Crafts Aren’t Just Our Heritage, They Are India’s Global Comparative Advantage.” Huffington Post India, 2017, http://www.huffingtonpost.in/ranakapoor/collaborate-to-contempori_b_10043634.html.

Pg 38 “EPCH: Export Promotion Services & Supporting Council For The Handicrafts.” Epch.In, 2017, https:// epch.in/.

Pg 40 “Handicraft SWOT Analysis, Handicrafts Industry SWOT Analysis.” India-Crafts.Com, 2017, http://www. india-crafts.com/business-reports/indian-handicraftindustry/swot-analysis-handicraft-industry.html.

Pg 46 “India Consumer Close-Up.” Goldmansachs.Com, 2017, http://www.goldmansachs.com/our-thinking/pages/ macroeconomic-insights-folder/rise-of-the-indiaconsumer/report.pdf.

Pg51 “Hygge.” En.Wikipedia.Org, 2017, https://en.wikipedia. org/wiki/Hygge.

Pg 52 “Trends Forecast Spring Summer2018.” Epch.In, 2017, https://epch.in/ecraftcil/issue31/pdf/04TrendsForecast_SpringSummer2018.pdf.

Pg 60, Pg 64 “Time.” En.Wikipedia.Org, 2017, https://en.wikipedia. org/wiki/Time.

Pg 68 “Ajanta Associates.” Ajantaworld.Com, 2017, http:// ajantaworld.com/.

Opalclocks, 2017, http://www.opalclocks.com/.

Pg 69 “Clocks, Wall Clocks, Mantel Clocks | Seiko Clocks.”

Seikoclocks.Com, 2017, https://www.seikoclocks. com/.

“NOMON CLOCKS | Indoor Clocks.” Nomon.Es, 2017, http://nomon.es/en.

“Tothora | Time Sculptures.” Tothora.Com, 2017, http:// www.tothora.com/.

Pg 70, 71, 72 “25 Cool And Unusual Clocks.” Bored Panda, 2017, https://www.boredpanda.com/cool-and-creativeclocks/.

Pg 73 “Etsy.Com | Shop For Anything From Creative People Everywhere.” Etsy, 2017, https://www.etsy.com/inen/.

“Online Furniture Shopping Store.” Pepperfry.Com, 2017, https://www.pepperfry.com/.

Pg 76 “Wall Clocks.” Hubpages, 2017, https://hubpages.com/ style/great-wall-clocks-to-buy.

Pg 79 “Quartz Clock.” En.Wikipedia.Org, 2017, https:// en.wikipedia.org/wiki/Quartz_clock.

“How Quartz Watches And Clocks Work.” Explain That Stuff, 2017, http://www.explainthatstuff.com/ quartzclockwatch.html.

Pg 83 “Clock Making Parts.” Clockparts.Com, 2017, https:// www.clockparts.com/.

Pg 132 “Dreamcatcher.” En.Wikipedia.Org, 2017, https:// en.wikipedia.org/wiki/Dreamcatcher.

Pg 146 “Brass Casting Process.” D’source, 2017, http://www. dsource.in/resource/brass-work-moradabad/process.

Pg 154 “Blue Pottery | Blue Pottery Jaipur | Neerja International Inc.” Neerjainternational.Com, 2017, http://www.neerjainternational.com/blue-pottery.

“Blue Pottery Of Jaipur.” En.Wikipedia.Org, 2017, https://en.wikipedia.org/wiki/Blue_Pottery_of_ Jaipur.

Books Read: Ranjan, Aditi, and M. P Ranjan. Handmade In India.

New Delhi, Council Of Handicraft Development Corporations, 2007.

Harris, H. G. Handbook Of Watch & Clock Repairs. 7th ed., New York, Barnes & Noble Books, 1984.

Movies and Videos Watched: Villeneuve, Denis, director. “Arrival.” Filmnation Entertainment, Lava Bear Films, 21 Laps Entertainment, 2016,.

Shinkai, Makoto, director. “Kimi No Na Wa.” Comix Wave Films, 2016,.

Big Think. “The Multiverse Has 11 Dimensions.” 2011, https://www.youtube.com/watch?v=jI50HN0Kshg.

Pg 130 “The Uses And Properties Of Brass.” The Balance, 2017, https://www.thebalance.com/metal-profilebrass-2340129.

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Image References Images mentioned here are copyright of the respective owner or organization. Rest of the images are owned and clicked by the author of this document unless specified otherwise.

Fig 1

Shah, Jayneel Pradip, PD UG2013, NID

Fig 26

Pixabay, pixabay.com

Fig 27

Pixabay, pixabay.com

Fig 28

Pixabay, pixabay.com

Fig 29

“Due Collection, Cutlery.” 2017, https:// www.zola.com/shop/brand/mepra.

Fig 30

Pixabay, pixabay.com

Fig 51

Sunburst Mid Century clock, etsy.com

Fig 52

Cycle wheel clock, etsy.com

Fig 53

N. a. n. d., pinterest, pinterest.com

Fig 54

N. a. n. d., pinterest, pinterest.com

Fig 55

B83Box Plain Turquoise Cuckoo Clock with pendulum, etsy.com

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Fig 64

Coole, Kimberley. “Camels, Camels, Camels And More.” 2012, http://www. coolephotography.co.uk/blog.

Fig 65

Katespade, New York http://katespadeny. tumblr.com/

Fig 66

500px, “Lost in Prayer”, 500px.com

Fig 67

ColorCombo22, https://www.colorcombos. com

Fig 69

Shah, Jayneel Pradip, PD UG2013, NID

Fig 87Fig 92

Gambhir, Sakshi, D’source, “Brass Work of Moradabad”, http://www.dsource.in/ resource/brass-work-moradabad/process

Graphic Resources Icons: Flaticon, www.flaticon.com Vector Art: Freepic, www.freepik.com Fonts: Google Fonts, www.googlefonts.com Software Resources Graphics: Adobe Photoshop CS5 Adobe Illustrator CS6 Adobe InDesign CS 6 3D, CAD and Rendering: Rhinoceros 5 Autodesk AutoCAD 2015 Luxion Keyshot 5

Additional Acknowledgment I would like to thank a few more people who helped me during the compilation of this document but could not be mentioned in the acknowledgment at the start of the document.

For constant motivation: Shivaranjani Ravishankar, CGD UG 2013 Amrasha Bafna, TD UG 2013

For helping with proof reading: Dr. Sagnik Roy Anwesa Guha

For Company and Bun-maska: Shivani Singh, TD UG 2013 Himani More, TD UG 2013 Heta Shah, FID UG 2013

For always helping out: Rohit Dongre, PD UG 2015 Edwin Saurav Minj, FID UG 2013

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Sonal Roy • Graduation Project • 2017 Email: millee.roy@gmail.com