Tableware for urban india, Graduation Project by Srishti Dube

GRADUATION PROJECT TABLEWARE FOR URBAN INDIA SPONSOR : Self-Sponsored

student : SRISHTI DUBE programme : BACHELOR OF DESIGN guide : SWAGATA S NAIDU

2016 CERAMIC AND GLASS design

National Institute of Design Ahmedabad

The Evaluation Jury recommends SRISHTI DUBE for the

Graduation of the National Institute of Design IN CERAMIC AND GLASS DESIGN

herewith, for the project titled ““ on fulfilling the further requirements by*

Chairman Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar(Academics)

Copyright ÂŠ 2016-2017 Student documentation publication meant for private circulation only.All rights reserved. Bachelor of Design, Ceramic and Glass Design, Ahmedabad, India. No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography,photography and videography recording without written permission from the publisher, Srishti Dube and National Institute of Design. All illustrations and photographs in this document are Copyright ÂŠ 2016-2017 by respective people/ organisations. Edited and designed by Name: Srishti Dube E-mail: srishtidube4@gmail.com Processed at National Institute of Design (NID) Paldi, Ahmedabad - 380007 Gujarat, India. www.nid.edu Printed digitally in Ahmedabad, India

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 diploma of any other educational institution, except where due acknowledgement is made in this graduation project. Moreover 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 projectâ&#x20AC;&#x2122;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.

I hereby grant the National Institute of Design the right to archive and to make available my graduation project in whole or in part in the Instituteâ&#x20AC;&#x2122;s Knowledge Management Centre in all forms of media, now or here after 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 : Srishti Dube Signature: Date:

Student Name in Full: Srishti Dube Signature: Date:

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Acknowledgement

There are hundreds of people I can name at this stage but space is limited so my gratitude to everyone who became a part of my project knowingly or unknowingly. Puneet, Thank You for giving me an opportunity to work for your studio and helping me grow as a person. I learnt the most wonderful time in Auroville. Lorenzo, for morning discussions and Diya, for Despicable me times.

work with. Also, for letting me assist you in papermaking at your workshop. Kannu Bhai, and everone at Sarkhej who lead me to him. All visiting faculties who have inspired us and opened our eyes to fresher perspectives.

Thank You Swagata for being my guide, trusting me and giving me space to explore my own voice.

Ashwarya, for being my roommate, for our contemplations on the oddities of life. Lakshmi, Mehak, Priya, Vibhu, Sahil - who accompanied me on the road (usually) not taken - how we have morphed through these years and came out stronger. Prerna, Ayushi, Swapnil, Sonal, Tejaswini for helping me through. Annu, Yash for helping while photographing.

Neelima, for the constant support you are, probing us to push our boundaries.

KMC and the innumerable and overwhelming resources being constant distractions.

The workshop staffAnand Bhai, for answering my (at times) silly questions when I was perplexed ever since Basic Materials in Foundation. Jaswant Bhai, for being patient with my nagging to send firing throughout. Ranjeet Kaka, for helping us with those little big things all these years.

My family, for constantly supporting my decisions, for being these through thick, through thin, for Instilling the confidence in me to fall, to fail- knowing that you all would be there anyway.

For my faculties at NID who supported me when I needed it.

Clay, for making me resilient and patient.

Everyone at Clay Club-Nikunj, Maulik and the rest for helping me and giving me material to

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Synopsis

Most of our daily routine revolves around a single activity - eating. Over the time we have developed certain objects to add value to this multi - sensorial experience. Tableware has become inseparable part of this activity. This project focused on the development of a range of tableware for the most influential consumer group of the time, the urban young. It began with the study of consumer lifestyle aspirations to identify the key aspects that eventually governed the design decisions. The world is constantly shrinking virtually, our kitchens have opened doors to multiple cuisines and ways of eating. Nuclear families are on the rise and eating with families and friends is becoming a casual and laid-back affair. This highlighted the need for innovation in tableware to adapt to the evolving eating habits.

unique flair. Handmade pottery establishes an emotional connect with the user, celebrating relationships through products. Two ranges were proposed- the first range comprises of a five-piece setting wherein the components can be mixed and matched to suit indivdual needs. The other range, a three piece place setting consists of three basic components suitable for users who focus on acquiring multi-purpose products. Wheel throwing and slip casting were used for production , with creation of tangible surfaces using slips and glazes.

The ranges aim at the bare minimum needed, posing a simple question- What does one really need to eat well? Another key insight which defined the design was the environmental impact of our products. The increase in consumerism has lead to creation of objects that are rendered obsolete in a shorter span of time. Sustainable products which create an emotional connect with the user can address this issue with a

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Content 1. Introduction

3. Tableware

1.1 National Institute of Design

Ceramic and Glass Design Graduation Project

2. Decals for Windglaze Studio Pottery 2.1 Auroville 2.2 Windglaze Studio Pottery

3.1 Introduction

3.1.1.Project Proposal 3.1.2 Initial Brief

3.1.2 Scenario

21 22

The Studio Existing Product Ranges Uniqueness Market and cliente

2.3 Market Study

2.4 Explorations

2.5 Working Brief

2.6 Decals

2.7 Conceptualization

2.8Transformation

2.9 The Indigo collection

3.2 Design Research 3.2.1 Food

Initial

Explorations and Product Range

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

History, Cuisines, Categories, Influences

87 89

3.2.2 Tableware

101

3.2.3 Market Study

110

History, Tableware in India, Tableware based on cultures, Standard sizes & capacity ranges

Insights and analysis

Explorations and Product Range

Insights and analysis

3.3 Material Matters

125

3.4 The User

131

Available materials, Ceramic as a material

The context, Persona Residential Study Analysis and synthesis

3.5 The Story of things

Designing objects Consumerism, perception, Value, Emotional Durability

151

3.6 Redefined Brief

161

3.7 Task Analysis

163

3.8 Creating the range Functional, Form, Ergonomic

172

3.8.2 Celebrating Handmade

176

3.8.3 Conceptualization

180

3.8.4 Form

182

Throwing, Slip Casting

Initial Ideas

Explorations, Form Language

3.8.5 Surface

Explorations

208

3.10Additional Range

214

3.12 Proposed Production setup

219

3.13 Technical Realizations

224

3.11 Costing

225

Details, Technical Drawings

Insights and analysis

3.8.1 Design Considerations

3.9 Final Range

4. Reflection

226

5. Bibliography

228

6. Technical Drawings

229

193

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Image: Bhushitendu Bhatt 12

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

1.1

National Institute of Design, Ahmedabad

National Institute of Design (NID) is a premier institute located in the heart of the beautiful cultural city of Ahmedabad, Gujarat. The foundation of NID has a long history which takes us back to the early 50’s. In 1955, Pupul Jayaker, founder of the Indian Handlooms and Handicrafts Export Council (HHEC) met the renowned American designer Charles Eames at the Museum of Modern Art in New York. At the same time the Government of India was considering establishing an institute of design, under the advice of Pupul Jayaker and other likeminded people. In 1958, Charles Eames was invited to our country where he presented the ‘India Report’ to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education. Based on the India Report, the Government with the assistance of Ford Foundation and Sarabhai family established the National Institute of Design as an autonomous all-India body in September 1961 at Ahmedabad. The institute aims to provide multi- disciplinary approach to design using, “Hands on, Minds on”, experience leading the design scenario of India to newer heights.

machinery, it believes in learning by doing. The knowledge management centre (KMC) is one of the most equipped libraries across the world. Inauguration of the Design Vision Centre placed at the NID lab facility on the world map, cuts down the time line between the conceptualizing and the end product. Numerous exchange programmes has helped broaden the perspective of not only the students but also the rest of the community. NID’s research and development team is building towards a brighter design scenario in India. Working with the Indian craft person and tapping the abundant potential in India itself is an innovation done in NID for the Indian government and otherwise have proven its mettle everywhere. NID’s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership.

Its aim is to work towards a congregated system of design education, design training and design practice for the young minds. Equipped with studio and state of the art

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Ceramic and Glass Design

Ceramic and Glass discipline offers tremendous expressive qualities in the domain of art and creativity as well as functional possibilities in the realm of craft, architectural spaces, healthcare, hospitality industry, home décor, hi tech products and lifestyle product categories. This program at NID takes inspiration from both art and craft traditions of the country and it equally recognize its potential and scope in the future of mass production and new technologies. An extensive exposure provided towards craft sector, studio based practice as well as ceramic and glass industry brings in awareness towards wider range of production techniques and variety of work environments & work culture. Following the core philosophy and approach of NID’s pedagogical approach towards ‘learning by doing’, supports students to develop their basic skills, dexterity & conceptual thinking with the ceramic and glass materials aligned with theoretical and practical inputs towards material technology; providing clarity and innovative approach to explore and experiment with the medium. Moreover, exposure to allied materials, such as bamboo, wood, metal & leather besides core materials is provided for a wider knowledge base.

fundamentals of design; including form, colour, structure, space, light etc. to enhance the sensibility and sensitivity of the students toward aesthetic & function of design. In addition, inputs in ergonomics make them aware of the usability aspects. Deeper understanding of existing local-global concerns & ever changing social fabric forms a critical part of the curriculum; supported with critical thinking, the process aids student’s quest to explore, visualize, seek opportunity and demonstrate design interventions for the emerging contexts. Global exposure through Student exchange programs with several international educational institutes adds to their overall learning at NID. The overall understanding of technology, production techniques, material skills enable the students to work within a variety of industry, producing tableware, tiles, sanitary ware etc,. Graduates are also well equipped to work with NGOs, design studio set up’s, craft sector or else set up their own enterprises and generate wealth and employment for the times to come.

Initial years provide critical inputs into

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Pinched pot, Pit-Fired terracotta, Studio of Lipi Biswas, Shantiniketan

Wheel thrown, colored stoneware

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Melted marbles and bottle, Explorations with glass Guide: Swagata S Naidu

Triple Slip cast, Bone China,Arta Broch, Vadodara

Vase, slip casted stoneware Guide: Neelima Hasija

Poppy seed pods, Flame worked glass Guide: Neelima Hasija

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Graduation Project

The end of the students’ academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the graduation project and subsequent documentation of the same that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the graduation project, after which, students are awarded NID’s professional education programme final graduation. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioners of design. However, this project must be done with academic rigour incorporating systematic inquiry and informed design decisions. The phrase ‘systematic inquiry’ implies the presence of a structure and method by which the student must carry out his/her project.

• apply his/her learning to current practices in the process of creating new forms of products, processes, services, and systems. • analyze and refine his/her ideas in an iterative manner on the basis of critique. • evaluate/ reflect upon the creative processes s/he has followed. While the last point above represents a higher order of inquiry usually expected in research, its significance in design cannot be understated if the designer is also to be viewed as a ‘reflective practitioner’. The graduation project reflects the students’ competence to excel in their chosen profession. This project orients the students to the needs and demands of the industry; it also helps students to make an informed decision about which career path they would like to follow upon graduation.

The graduation project should reflect the thought leadership manifested through creativity and innovation. The project should lead to new knowledge creation and should align with broader objectives of the institute. The graduation project reflects the student’s ability to:

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

The graduation project initially started as a Sponsor project with Windglaze Studio Pottery, Auroville. The given brief was to work on a terracotta tableware range which was later changed to surface and decal development. Due to some unfortunate circumstances, the production was not possible then. However, it was decided to take the project ahead as a self-sponsored one with NIDâ&#x20AC;&#x2122;s support. This project has been shared in the document because it laid the groundwork for the major project shared later.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Part 1 :

Decals for Windglaze Studio Pottery

To develop surfaces for the existing product ranges.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.1 Auroville Auroville is a universal city in the making in south-India dedicated to the ideal of human unity based on the vision of Sri Aurobindo and The Mother.

the studio in this quaint village inspired by the Auroville ideology and its proximity to Pondicherry.

The Auroville Charter states the ideology behind the township1. Auroville belongs to nobody in particular. Auroville belongs to humanity as a whole. But, to live in Auroville, one must be a willing servitor of the divine consciousness. 2. Auroville will be the place of an unending education, of constant progress, and a youth that never ages. 3. Auroville wants to be the bridge between the past and the future. Taking advantage of all discoveries from without and from within, Auroville will boldly spring towards future realizations. 4. Auroville will be a site of material and spiritual researches for a living embodiment of an actual human unity. BOMIARPALAYAM

This little village situated on the outskirts of Auroville, is about 10 kilometers from the Pondicherry Railway Station. Windglaze studio is situated in this village. The owner of the studio, Puneet Brar started

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Source: Google images

2.2 Windglaze Studio Pottery A small scale studio pottery, Windglaze primarily works in two temperatures ranging from earthenware to stoneware. The products range from mosaics for the bath/kitchen/floor to mugs and tableware. It sells locally , exports and undertakes specific design and manufacture commissions for homes/restaurants etc. The team consists of craftsmen and women who had no prior knowledge of clay work, all trained by the pottery. The production pottery until now used to make mostly utilitarian products. Currently, the pottery is undergoing a change in format and making a shift to more design oriented, well crafted products.

Philosophy Puneet Brar, the founder started this pottery to create products that we decide to live with rather than acquire. Objects that have a presence and a character ,that share spaces with us and are not based on function alone or on trends to render them meaningful. That make us think and question the way we treat them, the time we spend with them and consequently the life we lead.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

The Studio The studio focuses on batch production. Windglaze’s strength lies in Slip casting, Jigger and Jolly, glazing and slab method. These are the techniques being used by the studio over a period of time, which has given uniqueness among other nearby studios working.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

• The clay is prepared at a stretch and allowed to age and taken out as and when required. The infrastructure included two major processes: Slip casting and Jigger Jolly

• The Display Room showcases past and current work making it easier for the customer of vendor to select.

• The greenware is arranged on make shift racks and shelves before going for biscuit or for glaze firing.

• Gas Fired Kiln • The proximity of the racks to the kiln makes it easier to transport

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Existing Product Ranges The studio primarily deals functional products in the following ranges-

Source : www.windglaze.com

• Decor

• Tableware

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

• Aromatherapy • Bath

• Tiles and Murals • One Offs

Uniqueness • The studio majorly produces products of utility.

• The following attributes are shared by the products:

• The studio’s major strength lies in the processes of production aided with molds: slip casting, jigger and jolly and using slab. Been used for years now, it distinguishes Windglaze from nearby studios.

Earthy Handmade Inspired by nature

• Owing to the location of the studio, the designs and philosophy are majorly affected by the environment of Auroville. • The designs are heavily influenced by the abundant flora and fauna that surrounds the studio. Elements such as coconut trees, cashew, and themes such as marine and forest can be seen as inspirations.

Calligraphic expressions: Chai, paani, coffee ; some of the bestsellers.

• Calligraphy has also been explored and has lead to some of the most popular products such as the chai-paani mug and paani bottle. • The influence of location can also be seen in the colour palette seen across: shades of blue, green turquoise from the sea, browns, oatmeal and creams from the sand and soil and greens from the trees.

Textures created by pressing leaves found locally.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Market and Cliente These products are sold locally, export and undertake specific design and manufacture commissions for homes, restaurants, hotels etc. • The major clients are Good Earth, Fabindia and some shops in Delhi. The studio also caters to local shops in Pondicherry. Good Earth works a season ahead. • Puneet also takes the products to exhibitions all over IndiaKala Ghoda (Mumbai) Dastakar (Delhi) Craft Council of India (Chennai) A few in Bangalore • Since she has been going to these exhibitions for years, an understanding of the crowd and the market is developed, based on which her product ranges are developed for each exhibition. This also determines the surface and color, quality and pricing.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.3 Market Study Research is done to get thorough understanding and/or derivation of the context, opportunities. Here it was specifically undertaken to get an overall of the market in terms of surfaces.

Bold use of colour, Imitation of terracotta. GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Image: www.fabindia.com Image: www.goodearth.in

A dominance of decals can be seen.

Traditional Indian ornamentation has found new mediums of expression and is being experimented with.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Metallics are popular. Mostly chosen for fine dining, not favorable when it comes to microwave usage.

Indigo, still fresh. The richest blue never goes out of style and keeps making comebacks in fresher and novel ways, from textiles to home Decor.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Insights and Analysis • Subtle ornamentation Instances of bold usage of color, glazes can be seen, however the market appreciating such remains limited.

• Use of Decals Though the technique has been around for a while now, it is now growing in popularity amongst artists and studio potters as well who see it as a quic way of expression. This can also be attributed to the ease with which the decals can be produced and customized.

• Openness to experimentation What was realized that the wider market is now more open to experimentation in terms of surfaces. There has been a wave of runny, flowy glazes making way into the mainstream commercial. Though at present it can be seen in objects of decoration, it is gradually making it’s way in tableware as well.

• New ways of representation Traditional motifs and themes represented and produced with contemporary techniques and processes. This can be seen in the way Mughal art has been contemporised by brands like Good Earth and India Circus. And how stoneware glazes are used in a way as trying to replicate to generate the essence of earthenware.

• Indigo - still enchanting The demand for classics such as whiteware and use of cobalt in ceramics remains. It has made a successfully evolved in terms the usage and aesthetic base to remain at par with the market. As blue is not seen as an appetizing colour, the placement becomes vital.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.4

Explorations (Initial)

Since the brief given was about developing ceramic surfaces, the direction forward involved getting a grasp of the techniques already being practiced in the studio. Following techniques were explored:

• Painting • Stamping • Stencils • Stamps • Texture and embossing •Decals Puneet showed willingness to contemporise the language of the studio and dabble into a relatively new technique for studio pottery in India.

Existing products in terracotta with multiple glaze options. 1.NWT 2.Matt MG 3.White Glaze

5 GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Explorations with Harinder white slip: brushwork, wax resists

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

The studio also works with decals. The result of the decals tried by the studio initially was poor quality due to improper application.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.5

Working Brief

To develop range of decals based on the studio language. These decals are to be used by the studio on existing tableware.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.6 Decals Also known as transfer or indirect printing, decals are primarily applied in industrial processes that enabling same decoration on ceramic pieces for mass distribution. The use of decals to decorate pottery in an industrial setting dates from the mid-18th century in England. • Decals are used to decorate, mark or identify ceramic ware in several markets, such as tableware, tile, lighting, sanitary-ware, promotional products and insulators. • Decals are of two types: water-slide and heat-release. Water-slide decals are best suited for small and medium runs, since the transfer is done manually. Heat-release decals enable the transfer of a large number of pieces in a short time, but they require sophisticated equipment. • The inks used are called enamels and are made of colored mineral pigments or precious metals such as gold and platinum. These enamels are printed on specially designed decal paper which is varnished later. This coating disappears during the firing process and leaves no trace. • The right firing temperature is important.

Less firing temperature can leave decals delicate. • Three types of enamels are specific to ceramic: a. Onglaze—for surface decoration; vitrified at 1350-1450°F (700-800°C) b. Inglaze—for decoration in the glaze; vitrified at 1850-2200°F (1000-1200°C) c. Underglaze—for decoration under the glaze (directly on the ceramic bisque); vitrified at 2200-2550°F (1200-1400°C)

Advantages • Not many studios in India are currently practicing decals. This creates a niche and myriad possibilities. • It can be combined with other techniques as glazing already in place to provide an additional source of expression. • Production will become simpler as the process become relatively effortless and workers can easily be trained. • A demand can be seen from the cliente as they are also delving into the technique.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Disadvantages • If overdone, it can go away from the studio’s identity of being handmade. However, it should not be an issue till the decals are made applied according to the studio language and used in combination with other techniques the studio is known for.

Application Process • Simple and minimal equipment are required: a water pan, a small flexible squeegee, and a cloth. • The decal in a pan of warm water and soaked for a few seconds, then placed on a clean surface. The color print usually slides from the paper surface after 30-60 seconds. • The color print is dragged from the paper to the ceramic or glass surface to decorate and adjusted accordingly. •Any air bubble or water is removed with the help of a squeegee. • It is allowed to dry for approximately a day and is fired at the required temperature.

Trying out decals The studio used single fired glazes, applied at raw stage. This gave freedom to explore with slips at the same time. There were some issues after the first test firing â&#x20AC;˘ Putting decal otherwise meant for flat surfaces on curved surface was problematic. The decal folded and did not adhere to the surface properly. â&#x20AC;˘ It was smudging after firing. This could be because of improper temperature or need of glaze coat on top.

Application of Decal, taking out of the paper base.

Image: Google images

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.7 Conceptualization Puneet wanted something rooted in Indian tradition yet fused with contemporary sensibilities. The concepts were derived by understanding the studio and based on the market research. Inspirations came from the surroundings. To understand the surrounding better, multiple trips around the vicinity (stretching till Pondicherry) were made. As an outsider, there were certain things which were recognized as inherently belonging or peculiar to the area. Some of the themes thought of are shared below: • Flora The surroundings were dotted with trees and plantations of Cashew, Banana, Coconut, Banyan, Palm, etc. Certain motifs, as that of pomegranate, were seen repeatedly especially in the work done for Good Earth. Mother Mirra gave names to different flowers found in the area based on their attributes. However, this risked the products becoming contextualised souvenirs instead of appealing

to the nationwide audience the studio caters to. • Kollam Floor design drawn at dawn and evening, considered as auspicious times, marking the beginning and end of the day. At these times God enters in the form of positive energy at these times. Done using rice flour some tiny insects like ants can feed on it. However, the idea was discarded later as the studio had already worked on it sufficiently in the past. • Sea and the coast As coastal area, the everyday life routine is built around the sea. Inspiration can come from marine life, man-made systems around the sea. • Stories, Myths, Folklore Stories like Ramayana, Mahabharata,

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Panchatantra can be narrated and represented. • Green Practices Auroville from its beginning has stressed on sustainability and related practices. • Transformation Auroville has been endorsed as an ongoing experiment in human unity and transformation of consciousness. Pondicherry was the place Sri Aurobindo chose to practice his “Internal Yoga”. This later transformed into a forest themed range. Some of these themes have been discussed in the following pages. • The Mughal Influence Both digital and screen printed decals were proposed as per the client brief.

Kollam, made fresh each morning

Stone signs describing the symbolism behind Matrimandir’s twelve petals.On the way to Matrimandir from Visitor’s Centre.

Green practices, Auroville multiblade windmill

Serenity Beach one fine evening.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Stories & Character Development Character of a cat was developed as the protagonist for stories from Panchatantra. Seen in an Indian context, it was ornamented and detailed with Indian motifs. This was also in continuation to the foxes made while exploring with slips before. However, it was realized later that the visual expressions were personal and were not in synchronization with the studio theme. Also, Panchatantra would have appealed to a relatively younger audience as compared to the target audience. Taking all this into consideration, the idea was dropped and other themes were worked on.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Ornamentation was added to the cats to make them more closer to the context.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Flora: Banana Banana holds a special place in the culture and tradition of South India. Banana leaf was taken as inspiration and explored and simplified. However, the studio had already worked with the theme and wanted to break away from it. Hence a different theme was thought of.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.8 Transformation Auroville has been endorsed as an ongoing experiment in human unity and transformation of consciousness. Pondicherry was the place Sri Aurobindo chose to practice his â&#x20AC;&#x153;Internal Yogaâ&#x20AC;?. Discussions with Puneet moved on to Buddha going and Rama being exiled to forest and how it eventually transformed them and the situations. This was seen in connection with Auroville as it has a history of transformation from a barren land to a lush green land, literally, metaphorically and spiritually.

Image: www.auroville.org

Ideas of mystical / enchanted forest were worked upon. Trees in the vicinity were identified and a illustration style was worked upon. This included the trees not only naturally belonging to the landscape but some which were brought in by immigrants over time as Auroville also talks about diversity. The focus was not on representation in the literal sense but on change while retaining parts of the identity.

Image: www.auroville.org

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Some of the flora seen in the area:

Banyan

Chikoo

Source: www.auroville.org

Papaya

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Banana

Coconut

Borders which were thought of initially were not used to as to give a sense of expanse.

Palms

Champa

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Birds, Butterflies, bees were added to give a sense of movement.

Tulsi

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Peepal tree

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Lemon tree

Tamarind

Banana tree GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Placement Different placement variations were quickly done on sheets of paper. This helped in • Realizing the placement • Getting a general idea of sizing and dimensions. • Understanding the importance of negative and breathing spaces on the forms from a viewpoint. • Exploring the motifs in varied wayszooming in and out, using parts of it, creating borders, creating bootas. • If partially unglazed, amount to be left unglazed.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

The selected were then painted on bowls, mugs and cups with acrylic paints and pencil. This turned out to be advantageous in the following ways: • Translation and affect two dimensional onto three dimensional forms. To decide which motifs work and which don’t. • The size of the Decals. • Understanding the areas for decal placement. The parts which show, the parts that don’t. Hence the areas to be highlighted. • Placement based on user interaction.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

• When it is left partially unglazed, the placement naturally becomes as if the trees are growing from the unglazed part and one gets the idea of soil. • The results look different with different glaze bases. Bright bone China made the colors look more vivid whereas earthy tones worked better with the studio’s oatmeal and dull white glazes. Black and white, line drawing or filling created a different language all together. • Pop of colors like red, pinks, yellows were added to the butterflies. birds and flowers. These motifs were otherwise being overpowered by the main motif owing to the small size. It also added more interest and playfulness against the earthy colors. • It was realized from the exercise and also by the research done earlier that shades of blue (mostly indigo) worked best both on the palette of the products and in the market. Color decisions were a determining factor in costing. Hence, a single colour was fixed upon.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Additional Option: Pomegranate This was chosen as it has been explored by the studio before, mainly for Good Earth. Some of the characteristics of the tree are: • Appears to have delicate stems and branches with plenty of small leaves, the red fruits hanging on the fragile branches. • The fruit has a characteristic shape of pod flaring open with juicy seeds inside. • The flower is a miniature with the flaring top of the fruit with a shrunk belly. • The focus goes on the redness of the fruit and makes them easy to spot. Overall motif f the tree was developed along with individual motifs of the fruit, flower and border variations using the stem and leaves. These motifs can be used individually or in combination to achieve desired results some of which have been shown in the facing page. Placement and glaze variation are also suggested leaving certain areas unglazed. This provides the required contrast element leaving clay bare. Image: Google images

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Additional Option: Coconut Inspired by the coastal closeness, the studio has worked on using coconut multiple times in multiple ways before. The client wanted a close likeness of he tree hence the motif on the facing page was developed. Tree characteristics: • Trunk growing slender as it grows taller, the leaves open up high like a flower. • The fruit grows at the point where the leaves seem to branch out from. • The stem has lines going around in circles horizontally throughout the length. Different placement options were explored reflecting how the tree grows, as it marks the landscape itself or in groups. The individual motif of leaf was discarded as from a distance it resembled feathers. Clouds were added to signify height and add to the sense of expanse. Interesting patterns were achieved as same the motif was repeated in different ways.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

2.9

The Indigo Collection

Puneet wanted to develop a blue and white collection. This also came as a response from the market study. Though water was taken as the central theme, some other ideas have also been shared. These were shared with Puneet and some were taken forward while some were discarded.

Initial Ideas Can also be done by stamping

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

A walk in Lorenzoâ&#x20AC;&#x2122;s garden.

Generating pattern bands which can go on the rim and elsewhere. Can be used by itself or in combination. GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Option 2 : Back to basics Compositions were created using simple shapes like circle, triangle and rectangle as elements. This was done in response to the studioâ&#x20AC;&#x2122;s want to shift to a contemporary and bold look. However it was discarded as it went astray and away from the studio language.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Option 1 : Iznik Iznik refers to the colorful pottery and ceramic tiles produced in Iznik, Turkey during 16th and 17th centuries. Tulips were often seen and colours resembling those of semi- precious stones can be seen. The idea came from the work of clients such as Good Earth, wherein ample of thematic inspirations come from Mughal, Persian and related art and ornamentation. It was translated to a single colour to cut down cost.

Developing individual motifs

Developing patterns

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Option 2 : Botanical Inspiration was taken from botanical illustration. Botanical illustration depicts the details of plant species like form, colour etc. mostly done in watercolour. These depections are scientifically accurate and have a certain artistic component attached. They were mostly used to understand plants better and can often be seen in botanical books and related subjects. For the purposes of this project, not the scientific accuracy but the visual depection of the plants was translated and abstracted as the explorations.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Option 3 : Lotus Pond After a session of quick brainstorming, water was taken as the central theme for the collection.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

school of fish: Ideation for the fish. The client wanted the fish to look happy, hence the expressions.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Sheet from other set of explorations. Puneet liked the idea of stylizing the motifs and this was further developed and refined with lotus pond as the central theme.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Final Motifs - Digitally Printed

Lotus bud - closed

the lotus- Top View Leaf - option 1

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Lotus bud - Open

Leaf - option 2

Fish Dragonfly

Leaf - option 1

Water droplets - Border option 1

Lotus Toran - Border option 2

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

It was observed that the Decal sheet custom made for the studio had different motifs on it with a single layer of wax. A possibility of having a single sheet of decal with continuous pattern on it was thought of. This offered plenty of opportunities: • The sheet can be cut as and when required from any angle required. • This made creating different patterns easier and quick using the same sheet. • Surfaces of some pieces are worked on by Puneet, this can also give her more opportunity to create conscious changes as and when needed. Disadvantages: • Can lead to wastage if not used judiciously.

This can be seen as a piece if patterned or printed cloth, which can be cut and sewed in ‘n’ number of ways to generate different sides each time, n being indefinite.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Pattern Explorations

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Placement Variations

For mugs, decals outside work the best.

It is visually uncomfortable when half of the motif is seen when viewed from front (as illustrated)

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Using different pieces in combination can lead to creation of stories.

The placement should be in an area less exposed to scratches from eating and washing.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Part 2 :

Tableware

To develop a range of surfaces for the existing product ranges.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

3.1.1

Project Proposal

PROJECT SPONSOR Self Sponsored DESIGN INTENT To develop a range of tableware based on evolving eating habits of the urban population. Social FactorsAs the world is constantly shrinking virtually, our kitchens have opened doors to multiple cuisines and ways of eating. Nuclear families are on the rise and eating with families and friends is becoming a casual and laid-back affair. Even though food in a pill or edible crockery are being talked about, the need for tableware in near future remains constant. Environmental FactorsTo address the issue of landfills and disposables, objects that are being produced need to be thought about. The range aims at creating emotional connect with the user, hence making the range sustainable in terms of emotional durability. PROJECT SCOPE

The project provides an opportunity to - Tap into the need and expectations of the growing Indian tableware industry. - Understanding how studio pottery works as a system. - Understand how design can satisfy the emotional, cultural and cognitive need of a country as diverse as India. DELIVERABLES

Analysis and Explorations based on the information collected - Determining opportunities Phase 3 Concept Development - Prototyping and finalizing - Experiments with material and surface possibilities Phase 4 Production - User testing and refinement

To be decided based on research PROJECT METHODOLOGY & TENTATIVE SCHEDULE The project will commence on 15 March 2016. The work process for 24 weeks is given

Phase 5 Documentation

Phase 1 Research and Information Collection - Understanding and identifying the need of the market - Determining the target group - Understanding the pottery and its working as a system- its competitors, market, history, future and philosophy. Phase 2 GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

3.1.2

Initial Brief

To develop a range of tableware based on evolving eating habits of the urban population. To work on the surfaces for the same.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

3.1.2

Scenario

The present is under constant flux. There is no single prevalent opinion, but a galaxy of opinions. Nothing is completely right, nothing is completely wrong. With rapid technological developments, we need to stop and ask ourselves if our bodies are evolving at the same rate. Mobiles are slowly becoming an extension of our body and we are loosing sense of touch. Cities are no longer defined or identified by a single culture. Multiple cultures co-exist and novel sub-cultures and identities are constantly emerging. A plethora of aspirations is followed by constant need to belong and stand out at the same time. Surrounded by uncertainties, a question has always been of botherence - How do we imagine the future then?

As the world is constantly shrinking virtually, our kitchens have opened doors to multiple cuisines and ways of eating. Nuclear families are on the rise and eating with families and friends is becoming a casual and laid-back affair. Traditionally, objects were passed down and used by generations of a family. The increase in consumerism has lead to creation of objects that are rendered obsolete in a shorter span of time. To address the issue of landfills and disposables, objects that are being produced need to be thought about.

The range aims at creating emotional connect with the user, hence making the range sustainable in terms of emotional durability.

Perhaps we need to look at things in perspective and then see what we can do as Designers, but most importantly as humans to create the shared futures we would want to live in. The project offered an opportunity to address this question.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

3.2

Design Research

Methods . Food . Tableware

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Research is done to get thorough understanding and/or derivation of the context, opportunities. At the onset, urban India was seen as the context. However, further details were derived from the research. This part of research was primarily done fora. Realizing the context b. Understanding the context To get better understanding both primary as well as secondary research were carried out. Parts of the research happened simultaneously. For reasons related to better clarity and flow of the document, some of the research has been divided and mentioned in other chapters. The methodology of acquiring information can primarily be divided into primary research and secondary research.

Secondary research

Primary Research

The first step was collecting relevant information available through already available resources to get acquainted with the brief. Weight-age was given to recent information and future scenarios.

With plenty of misleading information available online, it remains crucial to collect information personally as well. This was done by conducting personal interviews and talking to the target across professions. Market

Resources

Market research was also undertaken with walk-in surveys and approaching salesmen for information.

Books Internet Magazines like Tableware International , Better Homes and Gardens, Elle Decor were also referred. Lifestyle blogs BRANDS Buy Me Once

User Research was undertaken to understand people in the context of their daily experiences.

â&#x20AC;&#x153;Design Research is systematic inquiry whose goal is knowledge of, or in, the embodiment of configuration, composition, structure, purpose, value, and meaning in man-made things and systemsâ&#x20AC;? - Bruce Archer, presented at Design Research Society in 1980

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

3.2.1

Understanding Food

History and Influences . Food preparation . Ritual of eating: Habits and Experiences

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

History of food From spice route to Bread riots ultimately leading to French Revolution, history is full of environments built around food and shaped by it. The evolution of food over history can be deduced from the evidences that are left behind: cave paintings, stories, tools, pottery. Man started as a food gatherer, mostly collecting fruits and then eventually became food cultivator. Approximately 1.8 million years ago, as Homo Erectus appeared, tools were developed and meat became one of the main dietary component. After 10,000 BC, as agricultural practices developed the reliance on meat decreased. Though it is not known exactly when fire was discovered, it revolutionized eating. There has been no looking back since then.

Image: Google images

Cave Paintings, Bhimbetika,Madhya Pradesh. These paintings depict the activity of hunting as a means of gathering food.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Cuisines over the world A cuisine is a style of cooking characterized by distinctive ingredients, techniques and dishes, and usually associated with a specific culture or geographic region.

â&#x20AC;˘ American American food can said to be a fusion of what was bought by immigrants adopted to what was found in their new homeland. Ethnic cuisines from other countries also dominate the restaurants as American-Chinese, American- Italian and so on. Some typical American food : Hamburgers, Hot Dog.

Image: Google images

â&#x20AC;˘ Asian One of the largest and most populous of the continents, Asia has a variety of cuisines. Some popular cuisines being: -Indian -Chinese -Thai - Vietnamese -Japanese

Image: Google images

From top-bottom: 1. American: Burger, French Fries 2. Chinese Noodles 3.Japanese Sushi

Image: Google images

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

• European and Mediterranean

• Middle Eastern

The mainland European food (excluding the islands) is referred to as Continental food.

This cuisine includes:

-French -Italian -Greek -Spanish -British -Scandinavian Mediterranean cuisine is the food from the lands around the Mediterranean Sea and its preparation. This geographical area broadly follows the distribution of the olive tree, which provides one of the most distinctive features of the region’s cooking, olive oil. -French -Italian -Greek -Spanish - Ottoman - Levantine - Maghrebi

-Arab -Iranian -Israeli -Kurdish -Turkish Some commonly used ingredients include olives and olive oil, pitas, honey, sesame seeds, dates, sumac, chickpeas, mint and parsley. Some popular dishes include Kebabs, Dolma, and Doner Kebab.

Image: Google images

From top-bottom: 1. Italian: Pizza 2. Greek Salad 3.Middle Eastern: Doner Kebabab

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Image: Google images

Indian Food With area more than 3.2 million square kilometers, 29 states and many religions, India is truly a diverse country. Immigrants, invaders, diaspora and travelers have over the centuries shaped the current Indian culture and food. What was once considered esoteric and distant has now become common.

- Kashmiri Cuisine The Kashmiri cuisine is essentially meat-based There is a variation in the different eating habits of the Hindu and Muslim Kashmiris that determines which spices are used and which meats too since beef is prohibited for Hindus.

- Punjabi Cuisine Punjab has an abundance of milk and therefore milk products are an important part of daily diet. The people of this region are largely wheat eaters. Popular dishes: Aloo parantha, Sarso da saag, makke ki roti.

- Uttar Pradesh Cuisine

- Gujarati Cuisine

Many Hindu communities are staunch vegetarians and they have created a vast variety of vegetarian dishes whereas the Muslims, Kashmiris, Kayasthas and Christian communities cook up a storm of nonvegetarian dishes. Popular dishes: Aloo-puri, kebabs, curries , biryanies.

Almost always strictly vegetarian, it is widely considered to be a sweet pallatte, However, a gujarati thali is a delicate balance of flavors sweet and sour, salty and spicy, crisp and soft, low fat and deep-fried. Popular dishes:

undhyoo, kadhi, shrikhand

- Mughlai Cuisine This came with Mughals and had great impact on local food culture. Its origins lie in the yesteryear hunting expeditions of the nobility. Popular dishes: Dal-baati, choorma, soola.

- Bengali Cuisine

- Rajasthani Cuisine

- Andhra Cuisine

Due to scarcity of water and fresh vegetables, milk, gram flour, bajra and corn are widely used. Every region has its own sweets. Popular dishes: gatte ki sabzi, roti.

Andhra food is deliciously hot and tangy. While Andhra cuisine (barring Hyderabadi fare) is predominantly vegetarian, the people of the coast do eat fish and prawns cooked in sesame or coconut. Popular dish: Biryani

Bengali food consists of a lot of fish, lentils, rice and sweets. Popular dish: Rosogulla

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Categories

- Goan Cuisine

- North Eastern Cuisine

Goan cuisine is the end result of the blending of local Konkani and Portuguese food styles. Popular dishes: Pork Vindaloo, Chourisso

The food of Tamil Nadu is what passes for “south Indian cuisine” everywhere else in the country. The Brahmin areas are vegetarian and southern and coastal areas are nonvegetarian.

While Manipur is known for its fish delicacies, Nagaland is better known for its bamboo and meat fare. Mizoram mainly has boiled and subtle preparations rather than the fried foods. Sikkim and Arunachal Pradesh are more strongly influenced by our eastern neighbours like China Tripura’s cuisine is evidently influenced by the mainland and is known for its bursting masalas. Assamese food can vary but again is well known for its tangy flavours brought in by the extensive use of tomatoes and various citrus fruits.

- Kerala Cuisine

- Fusion Cuisines

Rice is the staple of the Kerala diet Various preparations form the base of the meal; curries of fish, meat and vegetable accompany it. Popular dishes: Puttu, Kadla

With Indian migrating and foreign communities immigrating, there has been a fusion of cuisines. This was accelerated by the advent of Internet. Of the many, most prominent are Indian Chinese, Anglo-Indian and Indian-Italian. It is mostly adapted as foreign base with Indian seasonings.

- Tamilian Cuisine

Food can broadly be categorized based on the region, source, taste, cooking methods.

Sources Vegetarian Non- Vegetarian Texture Solid Liquid Semi- Liquid Dry

- Maharashtrian Cuisine Marathi Cuisine varies from recipes which are extremely moderate to dishes that are very spicy. Rice and bread is the staple of the delicacies. Popular dishes: Vada Pao, Poha Jalebi

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Categories Tastes Ayurveda identifies six basic tastes in which all all food can be classified. It is considered important to determine the effect food we eat has on our state of balance- body, mind and spirit. Each taste has crucial role in our health, physiology and well-being.

SWEET (Madhura) Earth+ Water

ASTRINGENT (Kashaya) Air+Earth

SOUR (Amla) Earth + Fire

SIX TASTES

PUNGENT (Katu) Fire + Air

BITTER (Tikta) Air + Ether

Salty (Lavana) Water + Fire

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Food Preparation Food is primarily eaten in two ways1. Raw fruits, vegetables,salad 2. Cooked Various cooking methods are followed based on the type of food being cooked and the results wanted. Food is cooked for certain reasons• Scientific -Heat kills harmful bacteria -makes the food easier to digest • Experience tastes and looks pleasant when cooked • Preserving jam or marmalade Food can be cooked by two mediumsa. Using liquid b. With dry heat Moist Cooking Stewing

- For meat and vegetables - Food cooked in liquid - During the long, slow cooking the juices and flavors of the meat and vegetables enter the liquid, producing a well flavored gravy. Steaming - Used for fish and vegetables - Food is cooked by steam coming from boiling water - Light and easy to digest - Retains plenty of flavors and vitamin content

b. Stir Frying - Large frying pan/ kadhai is used - For poultry, fish, vegetable, healthy- little oil - Short time consuming process c. Deep fat frying - Completely immersed in oil/ hot fat - Most foods except potatoes need a coating before they are put in the kadhai, which prevents the food from breaking up - Cooked evenly - Retains nutrients

Boiling

Freezing

- Cooked in just enough water to cover the food. - For rice, pasta

- Used for preserving food for a longer time

In Oil Frying - Quick method - Good flavor - Fried food generally absorbs extra fat Frying can be done in three waysa. Shallow Frying Done in frying pan

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Influences

Food and the city

Of the multitude of factors influencing food choices, most can be categorized as

- Geographical

Apart from experimenting with traditional Indian food, cuisines across have diversified what is being prepared in urban Indian kitchen. A cuisine is a style of cooking characterized by distinctive ingredients, techniques and dishes, and usually associated with a specific culture or geographic region. Most popular of these today are Italian and Chinese. After fast food movement and MacDonaldisation, slow food movement is slowly catching on. People are getting health conscious and increasingly aware of what they are eating.

Availability in a region, with ease of transportation, geographical influences are getting blurred.

Economic identities of places- opening of fast food chains

- Economic Price, Affordances

- Social social media- advertising, peers, popular culture, eating out

- Cultural Background, Religion, Upbringing

creating marketable local identities tourism as influence

-Preferences (Personal/Collective) Taste- can be a matter of habit, time and effort Conscience- not eat meat Health awareness

Convenience foods

-Instant cook foods -Ready made foods

Home-cooked food

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Food and Emotion Emotional Eating The relationship between food and human emotion has been widely researched all over the world. However, it varies for each individual. Negative emotions have been said to increase food intake. Positive emotions are generally associated with eating healthy. Researches done by Cornell Food and rand Lab confirm this further.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

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GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

3.2.2

Tableware

The context . User Persona . Experience of the city . The new Indian chic . Case Study

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Tableware Tableware/ Dinnerware refers to the dishes used in setting a table, serving food or dining. Tableware can also include glassware and cutlery. Dishes can be made of a variety- wood, metal, ceramic, plastic, glass, natural materials. Possession of tableware is also considered as a status symbol and sign of individual wealth. As civilizations changed, tableware has taken different forms to suit the then needs. Perhaps the first tableware was the cupped hand (s). All the later forms have evolved from it.

Image: Google images

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GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Tableware based on culture The Indian Thali India being a country blessed with diversity, there is no one way of eating. For the purpose of this project, it has been boiled down to the maximum percentile.

plates are the popular choice. There has been a shift to melamine and ceramic recently. However, for the majority ceramics is still reserved for special occasions.

Indian food is served as an one course meal in a “thali”. The thali can broadly be categorized into two types• Flat with additional katoris/ bowls • With compartments. The first kind is preferred by the majority as addition or subtraction of components can be easily done. Compartment-style plates can be washed at once, the stacking is easier and takes lesser space. One user also pointed out that compartment style plates are usually used in prisons or in canteens and give them a feeling of confinement. The thali gives the user the liberty to modify and combine his/her food as needed. Predominantly a metal country, stainless steel GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

103

A Gilas or a tumbler comes in various sizes based on the drink to be served.

A chammach ( large spoon) is used to serve and a Chamchi (small spoon) is used as an aid to eat from a thali or a katori.

A katori is simply a small bowl arranged around the periphery of the thali. It is used to serve curries, dal, dessert.

A thali is a round platter with raised rims, used to serve or eat food from. Image: Google

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GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Image: Google images

In parts of South India, especially Kerala, Food is served on banana leaves. Sandhya is a single- course meal on banana leaf . Food is eaten with right hand, without the use of cutlery. Using banana leaves has many advantages- it is readily available, is one of the most Eco-friendly disposables. The leaf also adds aroma and is large enough to accommodate adequate quantities. In North India, Sal and Banyan leaves are use

In North India, Sal and Banyan leaves are used as “pattals” (plates) and “Donas” (Bowls). These trees are sacred and the leaves are said to have medicinal properties.

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Western culture Table setting refers to the way tableware and cutlery is laid on a table. When is is done for a single diner, it is called place setting. This arrangement has been different for different cultures. As per the western etiquettes, there is a defined way of arranging the table based on the occasion. It is sold either by the piece or as a matched set for a number of diners, normally four, six, eight, or twelve place settings. The influence of this system is such that a side plate is usually placed with the main plate in most Indian restaurants today.

Images: Google images

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GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Indian Tableware Industry Traditionally, India has been a metal country with brass, copper, silver being major materials for tableware production. In some parts, biodegradable natural materials such as leaves were also used widely. Ceramic was limited to some Muslims. As a British colony, India underwent major lifestyle changes. Eating on table was promoted and western ideas and ways were introduced. In 1955, first organized ceramic unit called Bengal Potteries was setup. After the big success of the unit some other units also came into being: • Digvijay Porcelain, Jamnagar • Sodepur Potteries, India Potteries & Allied Ceramics(Formerly Bharat Potteries), Kolkata • Delight Ceramic Industries, Maharashtra • Hitkari Potteries, Faridabad & Ghaziabad • Parshuram Pottery The growth of the products was very limited due to poor quality and old technology. Only Bengal Pottery and Parshuram Pottery had the equipment and the machinery to sustain quality production and also capture

markets. With technological development, the production rate also increased. Presently, India is one of the leading manufacturers of ceramic tableware and also exports internationally. Growth is more organized in large industries but the small scale industries are largely unorganized. At present, 50% of the market is comprised of organized players, with brands like Yera, Ocean, Luminarc, La Opala, JCPL, Bharat, Corelle and Treo. Though the market has been there for a while, there is still plenty of untapped potential. Overseas brands are also entering the market, like Noritake, Rosenthal and Ariane.

Images: Google images

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Standard Tableware sizes / Capacity ranges Dishes come in standard sizes, which are set according to the manufacturer. They are similar throughout the industry. Plates Plates are standardized in descending order of diameter size according to function. Bread & Butter plate: 4-5” Salad plate: 7-7.5” Luncheon plate: 8-8.5” European dinner plate: 9.5” US dinner plate: 10.5” The dinner plate usually holds the main course. Charger plate : 12” Indian Thali: 10-12”

Cups and Mugs Turkish coffee cup: 2 oz. Demitasse cup: 4 oz. Standard (bowl-bottomed) cup: 5 oz. Can (straight-sided) cup: 8 oz. Tall cup: 10 oz. Breakfast cup: 12 oz. Others Serving platter (oval): 10-14” across Oversized serving platter: 18-22” across

• Plate rims may range from ½” (bread & butter) to 2” (dinner plate) • The food surface of a plate is considered to be that between the rims Bowls Fruit/dessert bowl (rimless): ½ cup – 4” Cereal bowl (rimless): 1-1 ½ cup – 5”-8” Soup bowl (rimmed): 1 cup – 9”-10”

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GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Curry Bowl

Soup Bowl

630 mm

Chutney Bowl

100 mm

114 mm

90mm 35 mm

76 mm

45 mm 25 mm

165 mm

241 mm

Tumbler

Side Plate Dinner Plate

Analysis of typical dinner set at Parul Shah’s “Maati”. GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

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3.2.3 Market Study Market research is any organized effort to gather information about target markets or customers. An indispensable part of the design process, it was undertaken to get a better understanding of• • • • • •

How the market works What is selling and why Realizing the opportunity areas Analyzing the competition Overview of the market size Who should be targeted

Home Stop (Ahmedabad) Atalier (Ahmedabad) Fabindia (Ahmedabad, Indore, Pondicherry) Options (Ahmedabad) PURE Home+Living (Ahmedabad) Tribes India (Jaipur) Evok (Indore) Patterns were seen in customer behavior across and important parts are shared in the following pages.

Getting an idea of how the customer behaves helped in understanding how to market the product later as well. The research can follow different methods of inquiry. It can be objective based (quantitative) or subjective (qualitative). For the purpose of this project emphasis was paid to subjective approach. This was done by walk-in surveys, interacting with the salespeople and customers. Information was also collected Online. Some major outlets studied were-

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Local shops and HaatsAhmedabad • Mostly sets are sold, especially tea set with six cups and six saucers. Open stock is also gaining popularity. • Whiteware with floral ornamentation is becoming a passé and more and more color options can be seen. • The products from Khurja are vibrant and have been able to adapt to changes with fresher look. • These can be bought open stock are in sets. A typical dinner set consists of: To eat fromPlates- 6 large, 6 quarter Bowls- soup Soup spoons For servingCasserole - 2 Serving bowls- 2 a pair of salt and pepper shakers

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Options Brain child of designer Janki Patel, the store was launched in 2002. It aims at providing exclusivity and variety, for which people had to previously travel to other major cities, to do up their living spaces. • With primary focus on handmade, good design, luxurious and exclusive products the store sells mostly studio pottery. • The aesthetic is reflects handmade and earthy, different from those found in malls and popular home furnishing chains. The approach is more experimental. • Products are mostly purchased for domestic use as a limited quantity is available. • The store sells ceramic mostly open stock which can be used individually or combined to make a set. • The store houses a variety in terms of the surfaces- from runny glazes to decals, metallics to exposed clay. • The customer base is niche owing to higher prices and product language.

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Evok Home Mega Store- Homes with Soul A home interiors retail, Evok showcases contemporary products in home furniture, soft furnishing, home decor and accessories. • Ceramic was predominantly seen in the home decor and the kitchenware section. • The decor items (mostly vases) had runny and experimental glazes whereas, the crockery was mostly white.

• Crockery (exception being mugs) sell more when they have subtle ornamentation than those which are loud. These ornamentations are usually floral. • Wood, stone and modular systems dominate the interior trends. Glass top table are going out of fashion.

• Mugs sold most and were available in variety of colors and patterns, bought mostly by younger generation. • Both genders participate in the decision making. • The trend of mix ‘n’ match has been on a rise and people mostly buy glass glasses and pair them with ceramic and melamine crockery. • Melamine has been a strong competition to ceramics, being lightweight and similar looking. • Sets, though available do not sell as much as they used to, are mostly bought as wedding gifts.

Image: Google images

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Good Earth- Stylish sustainable luxury Retail Founded in 1996 by Anita Lal in Mumbai, the brand focuses on luxury design and reviving the authentic skills of the crafts communities of India. The brand also talks about sustainable luxury. • The brand offers products in the following categories- Tableware, Bed, Bath, Cushions, Decor, Wall-coverings, Wellness, Kids and Books. • The brand caters to the high end market. • Recently, their focus has also shifted to promoting Online marketing and reaching out to wider audiences worldwide. • The ceramic is sold open stock. However, it can easily be combined to create a set as required. • The overall language is luxurious, opulent. • With some exceptions, Indian themes are explored - the stories, culture, prints, crafts.

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The tableware collections are based on stories on craft, culture and history. Emphasis has been put on the presentation of products.

Images: Google images

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Nicobar The story of the brand starts at Good Earth. Sharing the same fundamental values as the mother brand,it is a fresher and contemporary version. • Nicobar is for modern consumers who seek connection with things they acquire. • Their main target group being young modern India, they recognize an individual’s persona needs. • The brand deals with four major categories: Women, Men, Travel, House & Home. • The products are fresh and contemporary with a timeless appeal. • Emphasis is paid to marketing along with the presentation. This is mostly done online, website, instagram, facebook, etc.

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Images: Google images

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Fabindia Celebrate India Established in 1960 by an American John Bissell, Fabindia started out in export before expanding into retail. Fabindia boasts of being India’s largest for-profit retail platform for products that are made from traditional techniques, skills and hand-based processes. • Though they mainly deal with textiles, they have also expanded into other lifestyle areas as personal care range, organic food, handcrafted jewelery, furniture and home accessories.

contemporary silhouettes. • Focus on using traditional elements in contemporary context. • Sophisticated and elegant with importance to detailing.

• With hundreds of retail stores across the country and few overseas, the brand has started focusing on Online retail. • Despite the prices being lower than Good Earth, the brand sensibility majorly caters to the high end market segment. FABLES Realizing the paradigm shift in the market caused by the population below 30, the company launched its western wear line “Fables” recently. The line brings back the signature block prints and fabrics in 118

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Traditional

Contemporary

The brand houses ceramics - mostly tableware- as gift ware. The tableware range encompasses a variety from plates to mugs, oil dispensers to storage jars. Bath-ware - soap holders are also available. Ceramics can also be seen in the jewelery section.

The overall language is earthy and reflects the sensibilities of studio pottery. However, fresher products are seen with decals- a relatively new technique. This further reflects the vision of Fables crossing over into other ranges and products as well.

In some of the recent ranges, decals can be seen.

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Analysis and Synthesis

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Green is in

Meaningful Experiences

People are getting aware of environmental impacts of the products they are buying and want to know more about the material it is made of. According to a salesman from Pure home and Living, Ahmedabad, apart from their classic white pieces, the olive green collection sells best. Home stop has also launched “Back to Earth“ which is one of their most selling products.

The previous belief of spending on luxurious goods is being seen as irresponsible and unsustainable. More and more people are spending on experiences rather than designer luxurious goods. This calls for products that can stand the test of time. As consumers are increasingly believing in investing rather than spending.

Focus on the young

Within Reach

More and more brands are focusing on the popularly called millennial generation. They seen as the biggest and the most influential customer group.

Even though the customer mostly remaining upper and upper middle class, it is getting more and more affordable. The overall prices of most selling mugs in different shops was between 250-350 rupees.

Simplicity

Buying habits

Whiteware remains the most selling. People prefer subtle ornamentation rather than loud colours. Yet most of the products available in the market are excessively decorated and lack elegance. There is a demand for products that can easily fit into today’s home interior trend of keeping it clean, minimal and focused on materials as wood & glass.

Purchases can broadly be categorized as to be impulse based or need based. A certain hierarchy is followed - visual, tactile and financial. With so many products seeking attention, the product has to stand out.

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Fluidity in decision making Even though the last word on what becomes part of the home has been that of women most of whom are middle-aged and housewives, there has been a steep shift in the same. As gender divider is becoming more fluid, men are also increasingly taking decisions. The young generation is also a growing part of the customer base.

Parts make the whole In all the stores studied, the buyers tend to buy different pieces separately and combine them to make a set rather than buying them as sets provided by the manufacturer. “It can easily match our home interiors then“,said a buyer. Pieces bought like this can also be combined separately and used on different occasions. It is also cost effective in the sense that some pieces of the sets remain in the shelves permanently.

The new middle class Past few years India has seen rapid socioeconomic changes. Still in transition, this has given rise to a changes middle class. Changes in lifestyle, aspirations can be seen. This group has been the core driver of consumerism.

Appreciation of Handmade The consumer segment with eye for handmade is expanding. This segment is looking for exclusivity and produced in smaller numbers, handmade fulfills that.

Marketing and Presentation Marketing is as crucial as development of the product itself. Customers are willing to pay a higher price is there is a story attached to the product. This story can be the process of making itself. New platform like instagram are being utilized to reach out target audiences.

Image: Google images

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Purchase Mapping “Red or blue?” “Long or short?” “But that looks so much better!” An average consumer is bombarded with choices each day. There is a new wave of comparing this plenty both offline and online before actually making the purchase. In order for a product to be successful commercially, it becomes crucial to understand why users buy what they buy.

PURCHASES

Impulse based

Planned/ Need based

These needs can be basic or survival needs, or status or luxury needs. Purchases can be personal or meant for gifting purposes.

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By observing the customer’s behavior and conducting a simple study which is discussed later, it was realized that there is an underlying hierarchy determining the decisions.

Colour

Form/Shape+Size

Visual

Surface, form and texture Details - rim, mouth,etc.

Pricing

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*Can ceramic be used as a material to retain sense of touch? *What does the material want to say? *Can it become a participant in our daily rituals to do so?

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3.3

Material Matters

Other materials . Ceramic as a material

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With continuous technological development, the market is full of options for varied needs and budgets. This study was done to realize the strengths and weaknesses of using ceramic as a material to eat from.

2. Stainless steel

5. WOOD

Pros: Affordable Doesn’t react poorly with food taste like silver

Cons: Cannot be used for every dish

1. Melamine

Cons: Whether it releases metal or not is still debatable

Pros: Extremely durable, Crack-proof Available in a wide array of shapes, colors and patterns. Affordable Distinct smooth texture. Low conductivity- food stays warm longer and is easier to handle Cons: Pure melamine is expensive, cheap alternatives contain urea Chemical can leach into food from the dishes, especially hot acidic food Inferior melamine deteriorates and fades fast With melamine being added to food products, it can lead to “synergistic toxicity” Non-recyclable

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3. Glass Pros: No leaching

6. CERAMIC Pros: easy to clean Cons: Break-ability

Cons: Easy brekage Crack can happen if subjected to heat based on the ind of the glass 4. Aluminium Pros: Affordable Unbreakable Cons: Can leach the heavy metal

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On the facing fage, from 1-6: Melamine, Stainless Steel, Glass, Aluminium, Wood, Ceramic

6 Images: Google images

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Ceramic as a Material

Going further into ceramics, there are certain kinds which are considered better than others based on the purpose. Here is a concise comparison. This helped to decide which clay to work in later. With the factors (as stated on the facing page) kept in mind, stoneware was chosen as the material to work with.

From right to left: Terracotta, Stoneware, Bone China, Porcelain

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Clay

EARTHENWARE

STONEWARE

PORCELAIN

BONE CHINA

TEMPERATURE

Low

High

POROSITY

Porous- needs glazing

Non-porous

BREAKABILITY

Highest

Less

Least

AFFORDABILITY

Inexpensive

Reasonable

Expensive

WEIGHT

Highest

Less

Least

Readily Available, Roadside vendors

Available, Roadside vendors, Small shops,

Lifestyle and Retail shops

APPEARENCE

Natural, earthy, Mostly

Natural, Earthy, Yellowish

White, smooth

Vivid White, transluscent

PERCEPTION

Casual, relaxed

casual relaxed/ formal

Formal

Formal, Fine dining

LANGUAGE

Handmade, Craft

Handmade, Industrial

Industrial

AVAILABILITY

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* When you are constantly moving, how do you get a sense of belonging? * How does our environment inform and influence the clothes we wear, the food we eat, the music we like? * How do we “find” ourselves? * Can a product only do what is intended by the maker?

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3.4

The User

The context . User Persona . Experience of the city . The new Indian chic . Case Study

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The Context Every design is created to accomplish goals in a particular environment. The understanding of context remains important to create successful design. This does not refrain others from using the product though.

Who? Urban Indian Population, Young Professionals, Young married couples, students

income and live luxurious lives. Yet the overall atmosphere of a home is informal and laid-back. There is an increased interest in international cuisines and healthier living. There has been a trend of reduction in the average age of the home loan buyer from the mid-40s to the mid-30s over the last two decades. There is also a growing segment of under-30 year olds who are buying homes and taking loans for the same.

Why? India is growing younger, and will become the youngest country by 2021. It is now the biggest and the most influential consumer group.

Highly influenced by social media, especially Pinterest and Instagram, there is a raised interest in interiors, cooking and home entertaining. With easy access to different cultural lifestyles, the generation is experimental and open to innovation.

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India is growing younger, and will become the youngest country by 2021.

User Persona Personas are widely used in Fashion industry as a tool to give a distinct picture of who the person is, what they look like, what they wear and projected persona. In Fashion there maybe a disconnect between who is the product intended for and who buys, this happens when the image that the line portrays is so inspirational that the buyer wants to buy the projected image. Some factors considered while generating persona are gender, socio-economic status, age, lifestyle and physicality, environmental, sociocultural values, etc. However, with the exposure to social media, each individual has developed distinct tastes and personalities. This was particularly challenging while developing the persona.

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Students • Less money to spend • Live on rent or in hostels • Irregular lifestyle • Prefer less fuss, instant and less time taking things, Not many cook themselves, Instant food- Maggi, coffee • For many of them refrigerators and microwaves are unaccessible • Less space to accommodate things • Use one thing in many ways- a mug can be used to drink coffee/tea, as pen stand or for growing a plant.

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Young Professionals • (Unmarried), Stay by themselves or share apartment • Freshly employed, ambitious, money to spend • Look for exclusivity, associate with brands and stories Buy things based on appearance • Buy mostly from malls and mega-stores • Work over the week and meet friends and go out or relax over weekends • Experimental with food- multiple cuisines • Nomadic lifestyle - buy things that can be shifted easily • Look for customization and modularity

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Young Couples

• Live-in relationship or married • Single income- more domestic and traditional setup, home-cooked food • Double income- Cook on weekends or only a meal in a day • Seek comfort and relaxation after a busy day of work • Invite friends over for dinner • A routine is followed, organized • Have proper tableware- limited but with assigned roles • A certain comfort level seeps in- less experimental

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Young couples (with children) • Depending on the age of the child(ren), certain routine is followed • Children play an important role in decision making- colors, sizes, characters, popular culture • Ceramic not an ideal material- issue with breakability. However some feel it will help sensitize them • Hectic lifestyle

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Image: Srijan Chaurasia

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Experience of the city It is an animal with diversity as the fuel. It constantly evolves, with the flux of multiple cultures and aspirations pooling in- each contributing, shaping, molding it uniquely. Yet something inherently remains the same. Labyrinth of polarities constantly renewing: new and old, collective and individual.

An individual in a city Part of a whole, self-conscious, questioning origins. One creates rules generating comfort in surroundings.

Being together in a city One wants to belong, while retaining personal identity.

Image: Srijan Chaurasia

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Residential Study

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• The newer kitchens are all about modular. • Earlier when the dining tables used to be six to eight seater, there has been a shift and now its mostly four seater. This is due to more and more families becoming nuclear. • The interiors are more about marble, wood and clean lines. • With shift in lifestyle and different timetable for each, lesser family members eat on the table at the same time. • The dynamic is different for students, who have limited space and manage in fewer things.

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Traditionally food was eaten either while seated on the floor or on low cushions or mats. With colonization, eating on tables and the use of fork was promoted. • Homes are shifting from table to low seating arrangements.

• Breakfasts are lighter as compared to lunches and dinners. Due to office hours, many have lunch in offices or get it made by domestic help. Weekend is when lunch is mostly cooked. People go out for dinner on weekends.

• Most formal dinners and lunches happen in restaurants. People frequently eat out. However, at times they invite guests over, when it is more formal. • Home is a place where they can relax and connect with people close to them. • With time crunch mobiles, laptops and televisions have become a part of the activity for many. They see eating as a time to check websites like facebook or instagram and reply to e-mails. • When it comes to ceramic, mostly mugs and bowls are used. Plates are refrained from as they are perceived as relatively more breakable. Ceramic, mostly Bone China plates are used only for formal eating. • Whitewares with slight hints of color or design are preferred more.

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Electronics have become an inseparable part of our life.

• Eating together can also be seen as an activity that keeps people connected. • It is difficult to keep large plates on lap or hold in hands for a longer duration. Bases like - table, platform, stool etc. were used for the same. • Some preferred to eat with hands while others preferred spoons.

More and more users are moving away from the traditional idea of table. Everyday casual eating is done sitting on the floor or on the sofa or bed.

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Usage

• Different cutlery is used for different occasions. For breakfast, small plates and mugs are used. For lunch and dinner, larger plate and bowls are used. It is also different for everyday eating and when guests come over. Due to lack of space and everyday living being more luxurious many look for merging the two. • Crockery is stored in cabinets, drawers and almirahs. To make most of the available space, these are stacked or nested.

STORAGE

USE (Eating, Serving, Storing food)

• While eating, it is used with metal cutlery and glass glasses. • Ceramic crockery are washed separately from the metal ones. This is done to reduce the chances of breakage. • Because of its tendency to break easily, maids are reluctant to wash ceramic and take more wages if asked to do so. • After washing it is cleaned with a dry cloth and returned to the cabinet or drawer.

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POST-USE (Washing, Drying)

Storage

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• It the ceramic is opulent and overly decorated, it is used as a decorative and made a permanent part of the display. • This beats the purpose of making ceramic for functional use. Hence a middle ground has to be reached.

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Washing • Ceramic crockery are washed separately from the metal ones. This is done to reduce the chances of breakage. • Because of its tendency to break easily, maids are reluctant to wash ceramic and take more wages if asked to do so. • After washing it is cleaned with a dry cloth and returned to the cabinet or drawer.

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Analysis and synthesis Experimental nature The generation is experimental and open to innovation. As the world become a smaller place, multiple cuisines are being experimented and explored.

Multi Tasking Because of hectic lifestyle eating out has increased. Eating at home has become a casual and laid back affair. It is combined with other activities as watching television or working on laptops. Some even skip breakfast altogether to have Brunch- a combination of breakfast and lunch.

Multi functionality As living spaces decrease, there is a constant need to own things that save space and can cater to multiple functions.

Stand out + Fit in There is a need to stand out yet fit in and be a part. This paradox has lead to evolution of

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aesthetics and lifestyles with combination of traditional and recent ideas.

Health Consciousness Although fast food chains have seen a rise, there is also a growing segment that goes to gyms and advocated healthy lifestyle. This segment has been a trigger for slow food movement in India as well.

The Bowl Culture Casualisation of tabletop and increased interest in healthier living and cross-cultural cuisines has been the main driver for the recent bowl culture. This versatile vessel is becoming synonymous with healthy eating, especially with those concerned with portion control. Bowls also support the recent surge in one-dish meals.

The New Indian Chic The popularity of internet has created a wave of experimental and diy approaches. Living progressive lifestyles, traditional values are deeply embedded in the subconscious.

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

Taking tradition and packaging it in a contemporary manner. This can be seen across diverse areas as textiles, home interiors.

New Indian Chic

Traditional Elements

Creative ideas (Foreign/ generated)

Images : Google images

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* What is transient and what is permanent? * Why do things break easily? * Our machines donâ&#x20AC;&#x2122;t function well for a longer time as they used to earlier. Why?

* Brand bring us together or they set us apart? Is consumption about conformity or about distinction?

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3.5

The story of things

Designing objects . Consumerism . Perception and Value . Emotional Durability . Case Study

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Designing objects STAKEHOLDER(S) Ceramics become permanent once fired conscious of what we create take responsibility understanding the life-cycle of products

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PRODUCTION (Design + Manufacturing)

Researcher, investor, manufacturer, designer, engineer

DISTRIBUTION Transportation + Advertising

Marketer, Shipper, Transporter,Advertiser, Retailer

CONSUMPTION Acquisition + Use

User

DISPOSAL Landfilling + Recycling

Recycler, Disposer

Consumerism

PacMan, one of the most popular arcade games, can be seen as an example of consumerism. The player controls the PacMan to eat all the pacdots in order to reach next stage. Four enemies roam around the maze to catch him. The game was designed to be endless, till the player had even a single life left and should keep on eating and eating to go on.

FAD

TREND

CLASSIC

starts, peaks and wanes in one season

Colour silhouette, surface treatment or style that starts with early adopters, hits the fashion conscious and eventually fades into the general population, lasts over several seasons.

Generally a colour or silhouette that forms, peaks and never really recedes from fashion.

Audrey Hepurn wore Hubert de Givenchy for Breakfast at Tiffany’s in 1961. Paired with pearls, long gloves and hair tied up, the idea of little black dress (LBD) went on to become iconic. Though the silhoutte has changed over the years, it remains classic even today.

What makes a classic? functional and aesthetic durability

Images: Google images

The definitions of “Consumerism“ are varied, it is here referred to as the acquisition and consumption at ever increasing rate. Our objects become obsolete much earlier than they did before. This obsolence can broadly said to be technological, emotional or cultural.

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The world as we see it

can be liberating or limiting

Breakable Luxurious

Formed opinions

Perception

Varies from person to person

Earth Aesthetic Expensive

dependent on environment and experiences CAN CHANGE OVER TIME

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Exclusive

The worth of things

Value

Objects mean different things to different people

Value Aggregate for the Wedding Ring

Constantly changing relationships between people and things

Value can be-Financial/ Economic (price and afford-ability) -Aesthetic -Functional/Utilitarian -Brand Value (Customer loyalty) -Historical -Emotional(repositories + triggers of memories and emotions) -Symbolic -Environmental -Social (Fair- trade) -Cultural (lifestyles, behavior, rituals and practices of individuals and groups)/ Can be multi-cultural -Political Designers are majorly (but not only) concerned with Functional, Strategic, Environmental, Aesthetic and Brand value of an object.

Symbolic

Emotional

Utilitarian

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Emotional Durability Passé to en vogue Objects and associations Humans have a tendency to assign meanings to objects, this creates an emotional bond.

Culture

Design and Emotion One of the most important aspects of design is how it is understood in the minds of the customer. Cognitive sciences developments have shown that the relation between cognition and emotion is interdependent. The importance of emotion in the life of a productright from its birth, purchase, use, decline cannot be ignored.

Design Emotions

Culture difference affects emotional preference in tableware product design.

As the jeans gets older, it gets more comfortable as it adopts to the body of the wearer. Old rugged jeans (that fits perfectly!) can be seen as a good example of objects that stay for a longer time.

Senses

“Things embody goals, make skills manifest, and shape the identity of their users. His self is to a large extent a reflection of the things with which he interacts. Thus objects also make and use their makers and users.” -Psychologists Mihaly Csikozentmihalyi & Eugene Rochberg-Halton

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Case Study: Buy Me Once (www.buymeonce.com)

Love things that last. Founded by Tara Button, Buy me once is an online platform, currently shipping in USA and UK. The focus is on finding and promoting products that are affordable and last for a long time. They deal in diverse product ranges - clothes, kitchenware, shoes, toys, tools,beauty, sports, furniture.

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Inspiration: Remnants of a separation MFA thesis, Aanchal Malhotra Remnants of a Separation is Aanchal Malhotra’s MFA thesis, which began in 2013 and was first exhibited at the FoFA Gallery, Montréal in the fall of 2015. According to the description: Remnants of a Separation is an Oral History archive focusing on material memory. It is the first and only material study of the Partition of India, taking into consideration those objects that refugees brought with them when they migrated across the border, those objects that were left behind in houses and lastly, those objects that were lost in the midst of the journey of migration. The essence of the research, though, is this: What do you bring with you when you don’t know whether you will ever return to your home? Do you take what is valuable, or do you grab what you can as you leave in haste? These objects tell stories of families, they speak of society, of love, of relationships, of loss and displacement and a yearning for a home that now exists on the other side of an unnatural border.

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Images: Google images

From 1966 to 1988, for about twenty years, Swedish automobile manufacturer Volvo ridiculed “Planned obsolescence” in its marketing campaign. Even today the ads seem to be relevant more than ever.

Analysis and synthesis Sustainability by Emotional Durability With our landscape changing rapidly, it is important to create products that are not thrown away as quickly.

Establishing Connection Although many factors govern it, it can be partly done by sharing the story of the product. Internet has emerged as the quickest medium to reach wider audience if used well. One example could be Tortus Copenhagen, which has been able to market themselves successfully on instagram.

A ceramic plate shared by an user. This plate belonged to the userâ&#x20AC;&#x2122;s grandmother and is almost a hundred years old. It is still used to eat from regularly.

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3.6

Redefined Brief

To develop a range of tableware based on evolving eating habits of the young urban population focusing on the emotional durability of products.

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3.7 Task Analysis To get further insight into the buying patterns and requirements of the users, a simple study was conducted with seventeen people picked at random. A variety of tableware was arranged on a table. Participants were asked to create their own set based on their eating habits, aesthetic preferences and other factors considered when buying tableware. Later the participants were asked to eat from it, metal components were put in for weight. Certain patterns emerged over the course of the study.

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* Most preferred having fewer items- the bare minimum they needed. * Grooves were a welcome feature for the grip though a satin surface was also preferred. * The circular forms were preferred over those with corners as the fit naturally into the palm. 164

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The next step was to put weights in the dishes and asking the participants to pretend use them. It was realized that there was a huge gap between purchasing and using. Many realized that the forms they thought were comfortable turned out to be tiresome during use. This was also to do with the preconcieved notions about comfort.

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Bowl • Recently there has been a shift from plate-centered collections to bowl-centered collections. • The bowl is held in one hand and the spoon in another. • The smaller bowls were easy to hold and were a comfortable fit in hands. The larger bowls became difficult to hold for a longer time durations. • Ergonomics of a bowl • The bowl with flange was easier to hold. But this increases the chances of break-ability when using ceramic as the material. • Grooves were seen as a welcome feature. • The bigger bowl became uncomfortable to hold for longer durations when weight was put in.

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“If I could, I’d eat everything out of a bowl.” -Nigella Lawson, Food Writer

There were different ways of holding the bowl.

With weight, the large bowl became uncomfortable to hold for longer durations.

The tableware collections are based on stories on craft, culture and history. Emphasis has been put on the presentation of products.

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Mug + Cup

Everyone has their favourite mug • A cup usually has a top diameter greater than its foot, mostly because it is used for hot beverages like tea. A cup is usually accompanied by a saucer. The saucer acts a stand for the cup. In Indian context, the saucer often acts as a plate on which tea is poured and made cooler before drinking.

• A mug is essentially a large cup, taller than it is wide, usually stable. The foot diameter is not much smaller than the rim diameter. Mostly cold beverages are had in a mug. • Most preferred the larger mug as it can accommodate more. Ergonomics • A difference in the way of holding was observed for a mass produced product and the handmade product although both were ceramic. The handmade mug was help with both hands. The industrially made mug lacked the warmth and hence was held by one hand. • Gender also to an extent decided how the mug was held. For men, it was difficult to accommodate all fingers in the handle. 168

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Plate

• Majority pointed out the need for a larger plate, closer to a thali. • The protruding rim was unwelcome in plates as majority considered it to be space going waste. • Ergonomics of a plate • How easy it is to lift the food off the plate was given preference. It was easy to lift food off a raised rim plate than one with a flat rim. • While lifting up the plate tilts a bit. This leads to potential food spillage if the rim is not high enough. • Flanged ones also made it difficult to hold for a longer time as compared to flanged ones as the weight is distributed protruding out.

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* Can machines do what we can? Can they replace and render us useless? * In this fast-paced world, how can we cherish time? * Is it something which would be cherished? * Is it about rarity, exclusivity or about taking commonality and celebrating it?

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3.8

Creating the range

Design Considerations . Celebrating Handmade . Wheel throwing, Slip Casting . Explorations . Product development and detailing

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3.8.1 Design Considerations Certain facts, inferences, observations need to be considered before, during and after creating the products.

Functional

These considerations can broadly be divided into:

Function takes the precedence when making objects for daily use.

a. Functional b. Form c. Ergonomic d. Technical e. Aesthetic f. Manufacturing g. Economical

• Multi-functionality takes the front seat while targeting Gen Y. The live casual lifestyles and follow a practical approach while buying. They look for versatile products that can be a statement and can be made casual as and when needed. • Crockery for everyday use should meet the demands of the user’s busy life • Reference surface area- area that is intended to come in contact with food in normal use. It is crucial that this area is free of toxins and harmful chemicals leaching into the food. This is done by using food safe glazes.

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Form Perhaps all tableware evolved from the most natural vessel of all- cupped hand or both hands cupped together. In anthropometric associations, parts of a ceramic object are usually named as body parts such as lip, foot, etc. Forms can be masculine or feminine, and can have human characteristics like weak or strong.

•The form should be suitable for intended use. Accordingly, it should be easy to hold and use. Since the user group usually eat in flexible, casual spaces and end to move around, the grip and centre of gravity become important. • The form should be easy to clean. • With the storage spaces becoming smaller, it becomes crucial that the form is stackable or nestable.

Bottom and Foot Feet in pots, as feet in humans create the ability to stand. They are the foundation from which the pot grows.

• The relationship of the foot to form is partially determined by the intended use other than the aesthetic relation. • The foot also supports the object in drying and firing processes. At times foot rim also prevents the glaze from sticking to the kiln shelf during firing. • For wares which are to be lifted frequently, the foot rim makes it a lot more easier to pick up, pass and hold in hands.

After the overall form of the piece, the rim/ mouth is usually the first to be noticed by the buyer. For functional wares, it is important that the edges are strengthened, which is mostly done by making them slightly thicker. This is done to minimize the chipping and breakage. This detail becomes further important when the object is intended to be poured from. Also it should not be harsh on the delicate lip area while drinking from.

Considerations

• For bowls, the foot should be wide enough for stability and small enough to be held comfortably in hand for longer durations. The foot should not damage and be abrasive to other surfaces.

• If it is likely to be drunk from, how does it fit the profile of mouth? The rim should be durable for everyday use. • The rim is subjected to most wear and tear. Rims are made stronger by making them thicker.

• Since, shape is taken into consideration before buying, the foot should complement the overall form. • Plates tend to warp while firing. Having multiple foot rims helps in minimizing the warpage and sagging.

Rim and Mouth

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Ergonomics According to International Ergonomics Association, “Ergonomics is the scientific discipline concerned with the understanding of interactions among humans and other elements of a system, and the profession that applies theory, principles, data and methods to design in order to optimize human well-being and overall system performance.” As the products are intended to be used regularly, the ease of use cannot be ignored. The importance of ergonomic can also be seen in the task analysis. • This also gives a basic idea of how the form should be and the the dimensions. •

Image: Google images

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Aesthetics

Technical Considerations

Studying the buying habits- customers tend to pick an object based on its colour and form. Then comes touch and feel. The most visible aspect of design remains appearance.

• Microwave safe Most microwavable are shallow open, rarely being deeper than 2”-3”. This allows easy access of the bombardment of low frequency waves.

Some benefits that aesthetic provides are- Affords protection from competition -Cuts through information clutter -Allows for premium pricing -creates loyalty Overall, the form was defined by the ergonomics and eating habits, the details act as differentiator.

• Stackability/Nestability • Refrigerator • Food-safe- clay and glazes Keeping up with the healthy and dynamic lifestyle • Non-porous When fired to the right temperature, stoneware by the virtue of its properties is porous, glazing seals it completely. This also makes it hygienic and easy to clean.

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3.8.2 Celebrating Handmade We live in a Post-modern world after Industrial revolution. Products created by an individual are being celebrated and appreciated. • This can be seen by emergence of movements as the Indian Maker Movement which is a platform not only for technology but also for art, craft and DIY (Do it Yourself).

In this project, two production techniques have been explored and utilized• Wheel Throwing • Slip Casting

• Users are becoming conscious about the source of the products • Sense of time through the object • Material Experiences- everyday objects • Fingerprint- each is unique

Inspiration: humanMADE This was found while researching the project. HumanMade is Charlotte Nordmoen’s project done during her Masters at CSM, London. The project uses machine learning and a genetic algorithm to create a robot designer that generates new pottery designs. The project acted as an inspiration to put the human making at the front seat.

“On reflection, one must conclude that in bringing cheap and useful goods to the average household, industrialism has been a service to mankind - but at the cost of the heart, of warmth, friendliness and beauty. By contrast, articles well made by hand, though expensive, can be used in homes for generations, and thus considered, they are not expensive after all.” - Soetsu Yanagi in his book “The Unknown Craftsman” 176

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Wheel Throwing

Few intense moments, recorded forever Ancient Chinese developed the potterâ&#x20AC;&#x2122;s wheel in 3rd millennium B.C. which revolutionized the making of ceramic. Most primitive wheels (some used even today) are powered by hand or foot contact.

-Trimming tools Trimming is the process of finishing the bottom of a thrown piece by turning it upside down and removing excess clay. Different kinds of loop tools are used for the same. Loop tool

Some predominant types of wheel are the kick wheel, treadle wheel and electric wheel

Cutting wire

Although clay is a material that when in right stage responds to slightest touch, a variety of tools are used to aid the process and achieve the desired result. Basic tools used while throwing are: -A Sponge Used to remove and add water as and when required. - A cutoff Used to separate thrown pieces from the bat or wheel head. -Rib/ Kidney Used for compressing and shaping.

Needle/ pin tool

Sponge

Basic tools required while throwing. Wooden kidney

Metal Rib

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The Process Centering

Finising the rim, Addition of other details

Pulling the basic formusually a cylinder

Cutting

Drying

Shaping

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Finishing the bottomTurning

Centring Hollowing

Kneading and Weadging

Pinching and LIfting, Refining

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3.8.3 Conceptualization Ceramics as a material is contemplative in its essence is almost as if the material is alive when it is molded, pinched, carved, as it transitions between states of matter and becomes permanent when exposed to high heat. There are methods which can be followed to make the production short in terms of time. What all goes in the range? Initially it was thought that there would be maximum four pieces per person.

Another range with three components was also thought of, with: - A small plate - Multi-purpose bowl - A tumbler. This was done keeping in mind for the nomadic ones who want to possess fewer objects. This range was done using slip casting as the production method with slip detailing on surface. This has been discussed in detail later.

- 2 bowl sizes - A plate - A mug With the task analysis and further research, need for the larger plate was realized. Hence a 5 piece range was fixed upon. - 2 bowl sizes - 2 plate sizes - A mug Since it would be sold as open stock, it provides more room for choice.

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Product attributes Simple Texture Tangible Sophisticated Contemporary Timeless Comfort Handcrafted Exclusive

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3.8.4 Form Form and shape are areas or masses which define objects in space. As derived from the research, form is one of the important factors that affect the purchasing and use. Explorations were done on the wheel to realize the best possible language. Since it is intended for domestic use, the form should have comfort and relaxation attached to it. Therefore, organic and open forms were explored more. Certain revelations happened as the forms evolved on wheel both while throwing and turning. As mind juggled with creating something unique yet recognizable and emphasizing the tactile nature of material, the process of creation became intuitive yet informed by research done and previous experiences.

Organic

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Geometric

Mug When the word ‘mug’ is uttered, an image appears of a somewhat cylindrical vessel with an handle attached to it. • One of the biggest differentiators of mugs can said to be the handle. There are all kinds for a single finger, for two fingers, for three or for all four. Some have thumb rest some don’t. Then there are different kinds of people who all have their own ways of holding them. This can be influenced by many factors such as the age, gender, the temperature of the liquid inside etc. • The most comfortable handle, for the maximum percentile remains the one where all fingers can be accommodated comfortably. • The handle should also enhance the form. • Different forms were explored and some were taken forward majorly based on the aesthetics and to considerations mentioned earlier.

All Fingers Most comfortable to hold for the majority.

Two fingers / Thumb Instead of being a detached identity, the form becomes one with the handle as the user interacts with both.

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When the cup demands to beheld in both hands, it also implies a break from cellphones and being in the present and promotes metacognition.

For larger mugs, thumb rest functions as an additional ergonomic feature, making it easier to hold the mug for longer durations.

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Handle-less mug? Though handles has their own advantages, the idea sounded alien in the context of our history where beverages are had in gilas or kulhars.

It was found that there is a certain level of discomfort while holding the kulhar accommodating hot liquids. An attempt was made to overcome this with form and surface (which, for reasons relating to documentation clarity have been discussed later).

Typically made of terracotta, a kulhar or kulhaad is a traditional handle-less cup from North India. The cup is usually under-fired and unpainted. These are inherently hygienic in the sense that it is to be disposed off after being used once. The fact that the clay is left porous has a major implication on the taste and the aroma that develops when hot liquid is poured in. With the dominance of Styrofoam disposables in the market, this traditional disposable has unfortunately given way and has witnessed a steep decrease in popularity. This was seen as an opportunity to take inspiration from something that has stayed for so long, but in a fresher and apt-to-the-times way.

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Bowls Two bowl sizes were worked upon- the small katori or dessert bowl and the large multipurpose bowl. The large bowl can be used for salads, one course layered meals or even for serving when required.

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The flanged rim may break easily. 188

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Plates With a large surface area prone to cracking due to uneven drying, plates have to be made carefully. There are chances of the base slumping down under higher temperatures. Hence, different rims were thought of. The base is where the plate is ultimately held from, it is crucial that the base is good to hold. The base should be compressed well while throwing with the help of ribs or simply applying pressure through fingers. Plates can be deceptive in the terms of the amount of clay used to make one. A plate used considerably more clay than was thought initially.

Three rims are not needed- enough support can be provided by using just two. Adding three rims also leads additional weight the plate can do without.

A rim is needed in the center to provide support while firing. The chances of this slumping later are high.

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Ideally a plate should have thinner centre to provide for even drying. Although the chances are thin, this can lead to warpage or cracks.

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Though the form can be stacked easily saving space, the highly obtuse angle will lead to food spillage. The flanged rim makes it vulnerable to breakage.

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3.8.5 Surface and Color Being one of the first aspects to be seen by the user, the surface defines the pieces in many ways. As the users are more and more absorbed in the digital world, they are loosing a sense of touch and intimacy. Keeping this in mind, surfaces with tactile nature were thought of. This also helps in developing a connect with the user. The material being ceramic opened up endless possibilities which had to be filtered and narrowed down. This was done due to the time, material and infrastructure constrains. Some of these have been discussed in the following pages.

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• Reminiscent of ripples and Zen gardens, these grooves are for calm and tranquility. • The grooves also emphasis the process of pottery as meditative. •These grooves are made while turning. • The grooves also have functional attributesprovide grip and can reduce grip. • Visually, the grooves break or unite the form and provide texture.

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Image: Google images

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Back of a plate, • If left unglazed, possibility of accumulation of unwanted residue. • Hidden at first glance, can be a disadvantage when kept on display.

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Grooves on bowl: • Interesting play with light and shadow

Leaving the throwing marks can be the visual language.

Grooves on mug: • Can act as a functional element, keeping the beverage from dripping down.

Offcentre turning, • Unique, • Relatively time consuming • Difficult to standardize • Can look like a mistake if not done well.

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Offcenter Turning When the ware is trimmed on the wheel, it is slightly shifted and trimmed when it is offcenter. • The shift in position makes all the difference. • Can easily be done on plates. However needs to be standardized as can increase the chances of warpage.

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Chattering Chattering is a decorative technique where a flexible metal tool is allowed to jump across the surface of a pot whilst turning on the wheel. This removes clay from the surface and creates texture. • The outcome can be manipulated by changing the tool used and the angle it is kept at. • It is best done when it ware is leather hard. • The challenge remained to develop glazes that can be accommodating to such nuances.

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Slip decoration • Slip was applied on the ware, added and removed based on the result needed. • The method is quick, to be done while the ware is still on the wheel. • A certain level of skill is required to get it right • There are endless possibilities with coloured slips and varying hand and finger movement. • The method provides tangible surface. If the thickness can be varied as required it can also aid for hand movement when the inside content is hot. • The texture also provides improved hand grip due to the texture. Bowl with a wave: • Wave too subtle, might not show after being glazed. Need to be more pronounced.

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Waves made with agile hand movement.

Slip on tumbler: • Quick method • Should look intentional • Each one would be slightly different which adds to the value.

Tumbler with scratched slip decoration: • Unique, Each piece will be different • Needs to be placed where transparent glaze can be applied or it can be left unglazed.

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The technique gives different results when clay lumps are mixed in the slip.

This also give an interesting surface to grip on.

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Glazing Glaze is the impervious coating applied over ceramics and fused during firing. Glazes are used both for aesthetic and functional reasons. When working with a new clay body and glaze recipes, it becomes important to send test firings to achieve desired results.

considerable time. Stamping was done to get better idea how the glaze breaks or pools in. The method of application though ideally should have been dipping or spraying, painting was chosen. This was done as only a small amount of glaze was made initially as deemed necessary.

Few things were constantly kept in mind while doing so-The process, methods and outcomes should be thoroughly documented for future references. - The overall method should be simplified to get quicker results. A novice in glazing, the process made me aware about the materials used and substitutions made. Though there are many approaches to glazing, the twice fired approach was followed herethe glaze was applied after the piece was bisqued. This reduces the chances of breakage and loss.

Waiting to be fired after application of glaze.

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Glaze Palette The glaze palette was developed based on the following keywords: Calm, Comfort, Tranquil There were certain restrictions imposed based on various factors: - Material availability. - The temperature, the positioning in the kiln.

Turquoise, Blues

Yello Ochre

Plain white, Speckled white

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Glaze explorations done to get better clarity on the application and results. Combinations of the developed glazes were used to get the desired results.

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Final collection

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Alternate colorway

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Products in use.

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Additional Range: Slip Casting

Slip casting is a ceramic forming method wherein slip is poured in a dry plaster mold and allowed to sit in fit a while before being poured out. The plaster absorbs water from the slip and causes a layer of solid clay to form.

Step 2: The prepared casting slip is quickly poured into the mould in one operation. The mould is often spun or shaked to remove any air bubbles.

The thickness of this layer is determined by two major factorsa. The time slip is kept in b. The dryness of the mold. The drier it is, the quicker it absorbs.

Step 1: The mould is dried, cleaned and kept ready.

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Step 3: When the wall of the cast piece is sufficiently thick, the excess slip is poured out for reuse. The mould is inverted to allow the excess to drain out. The rim is finished and piece is left in the mould till leatherhard. The mould is then inverted and the piece is taken out.

Slip trailing

Simple elements like dots, dashes and lines were used to generate tangible surfaces.

Iron oxide was painted inside the mold before casting the ware. This later reacted with the glaze adding visual depth and character to the surface.

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Step 1: A thick plastic sheet is taken an folded in a cone.

Step 2: Liquid slip is poured in the cone. Step 3: After securing the open end with tape, the pointed part is cut based on the thickness needed. The cone can be used in different ways by varying the pressure.

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Some explorations done with dots.

Bowl an tumbler, dots spreading out

Since the purpose is to create interactive surfaces, the back of the piece was also given a certain texture. This also came from the user study as many of them hold the bowl in their hand while eating casually.

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Proposed production setup 3.11

At the onset it was clear that the project would be batch production and studio based. Keeping Ahmedabad as the base, potential studio and infrastructures were looked for to get the production done later once the designs were finalized. A model was realized where the production can be sourced without investing on the setup required. This of not owing but sourcing model has multiple benefits• Less maintenance hassle and costs.

Throwing- Artisan

Clay sourced from Clay Club

Bisque Firing- Artisan Transportation Glazing- Clay Club + Slip Casting

• Increasing opportunities for the artisans • Readily available infrastructure for small scale production. Hence, cutting down the cost of setting up. • Makes it easier to focus on the importance of investing time and effort in creating objects that are to be treasured and valued.

Glost + Bisque Firing- Clay Club

Packaging and Transportation

However, the model also increases the dependency factors.

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Soucing Locally There are many advantages to sourcing locallyECONOMICALviable for small businesses Saves cost Energy efficient Economy of effort CONTROL More control can be exercised changes can be made quickly- lesser or no middlemen REGIONAL IDENTITY Access to distinctive skills local craftsmanship

been throwing since he was 15. Firing Range700 degree Celsius Fuel Wood Decorations observed Reduction, Oxidation Cutting Stamping Existing Products Plates Planters Gullaks Vases

Ahmedabad is home to local potterâ&#x20AC;&#x2122;s community called Sarkhej Kumbharwada. These potters belonging to the Prajapati community have been for generations making pottery and are skilled with making process like throwing, mould casting. The products range from diyas to gullaks (piggy banks). Through trips made to Sarkhej, I came across Kanu Bhai, an artisan living in Chandolia, Ahmedabad. Kanu Bhai belongs to the same community but has moved to the city for benefits like electricity. Almost 60, he has 220

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Products thrown by Kannu Bhai. A traditional potter working in terracotta, his products are usually thick walled and have chunky foot rims.

There were breakages because of the way it is loaded in the kiln. The kiln is wood fired and top loaded. With promising potential, training will be required to achieve desired quality and results.

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Clay Club A design consultancy plus studio based in Ahmedabad, Gujarat. Started by a group of architects, the studio deals with a variety both in terms of projects and materials. (WRITE MORE ABOUT CLAY CLUBPRODUCTS, PROJECTS AND ALL) Why clay Club? • The studio is in close proximity to Kannu Bhai’s residence (approximately a kilometer). • Established infrastructure and setup- the studio had already tested clay and glazes. The studio also has facilities for slip casting. • Having dealt with projects in tableware as well, the studio can help in refining the products further. • The studio team is supportive, warm and welcoming. • Possibility of collaboration in the future. • Since the founders are from architectural background and deal with diverse areas, it provided opportunities of learning.

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The infrastructure has multiple facilities- from electric pottery wheel to slip casting.

All basic raw materials are available to work with. Since the studio works with a plethora of projects, they also have a glaze pallette develop which can be utilized. However, some glazes are signature and can only be used by the studio.

Nikunj spraying glaze. A protective mask is worn as ceramic materials can be hazardous to health. Different glazing techniques are used- Pouring and dipping, spraying, brushwork, etc.

The electric kiln, loading for glaze firing.

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3.12 Technical

Realizations

Timing There are different stages of clay as it dries and finally hardens when exposed to heat. The states in which two parts are attached should match. Though there has been an experience of almost four years working with the material, using a different clay body posed its own challenges and had to be understood freshly. Testing

of time it is dipped/ poured/ sprayed and the glaze consistency determines the thickness of the glaze. Once glaze is applied on once side, it should be allowed to rest before glazing the other side. Overall, the piece should be completely dry to avoid breakages in the firing process. Also, decisions had to be made quickly so that the processes after can be carried on.

If materials from different batches are used, they should be tested thoroughly as sometimes they may behave differently. Making While making on the wheel, the base should be compressed well, especially in plates. Failing to do so may lead to â&#x20AC;&#x2DC;sâ&#x20AC;&#x2122; cracks while drying. It is important for plates to dry evenly. The plaster mold should be adequately dry before casting. Leaving the plate in the mold for longer durations lead to it cracking. The ware should be dry before glaze application for better soaking. The amount 224

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3.13

Costing

The costing of a product is dependent on multiple factors. These costs can broadly be divided into Fixed and Moving. The parameters of fixed and moving costs are as given below Fixed cost • Capital Investment: • Raw Material: Clay- 19 rupees per kg, glazedependent on the ingredients used • Labour • Basic expenses: electricity bill, taxes • Rejection • Profit: The profit margin varies from product to product Moving Cost • Firing: Bisque, Glazing -2000 for bisque firing(full kiln), 3500 for glaze firing (full kiln) • Raw material: The prices change if vendors are changed •Transportation • Packaging • Research and Development • Overheads Dependent on market and retailer: Product demand, value and perception GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

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4. Reflection

The project unofficially started sometime early this year and as I write this I am ready to move in to the next. Looking back in retrospect, the year was not a seamless dance, the choreography was broken, and that is what makes it so special. I was fortunate to experience both worlds - inwards and above; Incredible to do both - a sponsored and a selfsponsored project, to realize how different yet innate and similar they are. The idea of being able to do what you want has been romanticized plenty. Much to my surprise, I found myself utterly lost, struggling as I found out I could do anything and everything at that threshold. It was difficult to draw down those boundaries and not drown in the waves. A major learning was- You cannot do everything in this shrinking-expanding, rapidly evolving world all by yourself. It is crucial to surround yourself with the right people who understand and support. It was a challenge to find the right infrastructure, people, developing the required combinations, managing in the set time constraint but I am glad it all worked out towards the end. Over the time, I developed a relationship with the project which changed me for better. It also lead me thinking what if objects are not just objects, but an extension of us? That was when the idea of emotional durability came in.

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I may not have created the perfect products, but that was non-matter as opposed to to acceptance of the transience and the process for what it is. I underwent a process of metacognition, to be more aware of my own thoughts. I may have not been able to answer all the questions I have grappled with. These fleeting thoughts, these seemingly simple questions were the hardest to answer. But I felt it was important to share them, for you who is reading this right now, to see if maybe you do. If we can start a dialogue and bring change in the way we think bit by bit. Though the voice maybe a part of the chorus, it is important all the same. The invaluable learning through the project has laid the ground work to improve and develop myself and my work meaningful for the times to come. For what is perfection anyway?

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References LETâ&#x20AC;&#x2122;S TALK FOOD Indian Food : A historical companion -K.T. ACHAYA Oxford India Paperbacks, 1998 http://www.natgeoeat.com/# http://theplate.nationalgeographic.com http://food.nationalgeographic.com https://www.vahrehvah.com/indian-cuisine http://food.ndtv.com/food-drinks/foodiestrail-flavours-of-northeast-india-695962 https://en.wikipedia.org/wiki/Tableware http://www.anindiansummer.in http://www.bhg.com http://elledecor.in

https://www.quora.com/Is-there-a-differencebetween-a-cup-and-a-mug-if-so-what-is-it https://www.quora.com/Why-do-thehandles-of-some-coffee-mugs-get-hot-in-themicrowave-quickly-while-others-dont https://digitalfire.com/4sight/glossary/ glossary_microwave_safe.html http://www.indiacurry.com/faqhints/ popularindianstatefoods.htm http://www.auroville.org http://www.kultur.gov.tr/EN,99946/thecharacteristics-of-iznik-tiles.html

http://www.tulsionline.in http://www.theshopindia.com http://www.eninde.com/home/ https://www.moonriverstore.com http://thehiatusproject.tumblr.com/archive http://aanchalmalhotra.com/Aanchal-Malhotra

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TECHNICAL DRAWINGS

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229

R125

R120

R5 9

R65

R114

R121

0 R2

250

240

All Dimensions in Millimeter

230

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

R105

R96

R85

R105

R100

R79

R1 9

200

170

All Dimensions in Millimeter

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231

R27,5

R21,5

,75

R27,5

R43,7 5 R44 ,38

R39

R44,3 8

87,5

All Dimensions in Millimeter

232

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

R6 2

R6 3,2 3

R34

R40

8 R5

87,5

125

87,5

125

All Dimensions in Millimeter

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233

5 5

1,2

3,7

R43

,75 R39

,75

R31,25

37,5

X' R25,25

37,91

125,86

87,5

100

84,06

87,5

36,01

0,41

62,5

All Dimensions in Millimeter

234

GRADUATION PROJECT | SRISHTI DUBE | B.Des. 2012 | CERAMIC AND GLASS DESIGN

235