Fabric construction by Surabhi Gangrade

FABRIC CONSTRUCTION

Expressions of Gold

Fabric Construction | Surabhi Gangrade

Expressions of Golden Fabric Construction

Guide : Aditi Ranjan Surabhi Gangrade Textile Design National Institute of Design 2009

Fabric Construction | Surabhi Gangrade

Objective of the course The purpose for this course is the exploration of various textile techniques while working with different mediums. The essence of a certain reference can be translated in exploring various attributes, using appropriate materials and techniques. One refers to a certain inspiration and tries to analyze, appreciate and sensitize to its tangible and intangible qualities. It is important to understand the character of the material we are working with.

of significance imbued in it and to try to build the same into the material that we work with. With all these factors in mind, we work towards developing treatments, textures and finally, products that carry a strong connection with the philosophy of the original inspiration while also creating something new.

This course is also about understanding the culture and the symbolic significance that underlies any object or textile. The objectâ&#x20AC;&#x2122;s life cycle is also an important consideration which helps us understand how it interacts with its environment. One other important factor regarding any textile is how it relates with its user, which particular occasion it is meant for and the processes that go into making it. It is important to engage with the object, and understand the various levels Fabric Construction | Surabhi Gangrade

Fabrics : An Overview A textile or cloth is a flexible material consisting of a network of natural or artificial fibres often referred to as thread or yarn. Textiles are used for covering the body, for warmth or coolness, personality enhancement and sometimes to display oneâ&#x20AC;&#x2122;s status in the society. In this way, they perform various layers of purpose. Textiles are formed by weaving, knitting, crocheting, knotting, or pressing fibres together (felt). Textile refers to any material made of interlacing fibres. Fabric on the other hand, refers to any material made through weaving, knitting, spreading, crocheting, or bonding that may be used in production of further goods (garments, etc.). PURPOSE In our assortment of lifestyles, textiles have various uses, the most common of which are for clothing and containers such as bags and baskets. In the household, 4

they are used in carpeting, upholstered furnishings, window shades, towels, covering for tables, beds, and other flat surfaces, and in art. In the workplace, they are used in industrial and scientific processes such as filtering. Miscellaneous uses include flags, backpacks, tents, nets, cleaning devices such as handkerchiefs and rags, transportation devices such as balloons, kites, sails, and parachutes, in addition to strengthening in composite materials such as fibre glass and industrial geo-textiles. Fabrics are manufactured from various raw-materials which are available from nature or artificially generated or mix of both. Fabrics can be classified based on the origin of fibers and its processes or its end usage. Natural fabrics are those which are created from the fibers of animals coats, the cocoons of silkworms, and plants seeds, leaves and stems. It is breathable and never cause rashes apart from being soft and

durable. Natural fabric is the best choice for everyone. It does not change color from Ultraviolet light and there is no warming until the material looses its tensile strength. Synthetic or man-made fabrics are made from fibers which are either completely made from inorganic materials or organic materials combined with chemicals. Synthetic fabrics have numerous properties with the purpose for which it is produced and finished. Some are lightweight with ultra sheer while others are moisture wicking and fast drying. Few are very luxurious to imitate some other natural fabrics and some are very strong and tough.

Knitting and crocheting involve interlacing loops of yarn, which are formed either on a knitting needle or on a crochet hook, together in a line. The two processes are different in that knitting has several active loops at one time, on the knitting needle waiting to interlock with another loop, while crocheting never has more than one active loop on the needle. Braiding or plaiting involves twisting threads together into cloth. Knotting involves tying threads together and is used in making macrame.

Lace is made by interlocking threads together independently, using a backing and any of the methods TECHNIQUES described above, to create a Weaving is a textile produc- fine fabric with open holes in tion method which involves the work. Lace can be made interlacing a set of longer by either hand or machine. threads (called the warp) Carpets, rugs, velvet, with a set of crossing threads velour, and velveteen are (called the weft). This is done made by interlacing a secon a frame or machine ondary yarn through woven known as a loom, of which cloth, creating a tufted layer there are a number of types. known as a nap or pile.

Fabric Construction | Surabhi Gangrade

Felting involves pressing a mat of fibres together, and working them together until they become tangled. A liquid, such as soapy water, is usually added to lubricate the fibres, and to open up the microscopic scales on strands of wool. Nonwoven textiles are manufactured by the bonding of fibres to make fabric. Bonding may be thermal or mechanical, or adhesives can be used.

dyeing in between them (batik), or using various printing processes on finished fabric. Woodblock printing, still used in India and elsewhere today, is the oldest of these. Textiles are also sometimes bleached, making the textile pale or white.

Textiles are sometimes finished by chemical processes to change their characteristics. Since the 1990s, with advances in technologies such TREATMENTS as permanent press process, Textiles are often dyed, with finishing agents have been fabrics available in almost used to strengthen fabrics every color. The dyeing and make them wrinkle free. process often requires several dozen gallons of water for each pound of clothing. Colored designs in textiles can be created by weaving together fibres of different colors (tartan or Uzbek Ikat), adding colored stitches to finished fabric (embroidery), creating patterns by resist dyeing methods, tying off areas of cloth and dyeing the rest (tie-dyeing), or drawing wax designs on cloth and Fabric Construction | Surabhi Gangrade

Looking for inspiration At the start of the course, we undertook a series of field trips into the city to find any craft or object that we felt was organic, natural, sustainable or recycled/reused. On each of these trips we came across various examples of such items and we then selected one that we felt exemplified these concepts. The next step was to find out how and by whom these products were made.

Other objects of interest included the reuse of waste fabric in objects like wall hangings and room separators, embellished and decorated for a colorful home. Over several objects I looked at, some options remained and thereafter the research began.

Looking across various parts of the Ahmedabadâ&#x20AC;&#x2122;s Old City, searching for examples for sustainable and exciting references, I came across several objects of keen interest. A reuse of shredded fabric was seen in mats being sold, whereas waste paper was being re-purposed as decorative designs for celebrations. Mats and similar items made of bamboo were also an interesting reference, involving basketry techniques.

Fabric Construction | Surabhi Gangrade

Subject 1 : Brooms On Gandhi road, I came across the religious brooms used for cleaning the floors of the Hanuman temple located on the road. These brooms were made of bamboo strips, and bound in a very specific way. The use and make of the broom was quite interesting, and so I went and looked for more examples of interesting designs of the brooms available in the market. Finally, however, I did not pursue the design for reference, as it was not exhaustive enough for developing a meaningful range of explorations.

Fabric Construction | Surabhi Gangrade

Subject 2 : Miniature Clothes for Lord Krishna Close to the festival of Janmashtami, the Manek Chowk area was flooded with the pretty miniature clothes for dressing up the baby Lord Krishna idol, called vastras. These clothes are not made in Ahmedabad, but are mass-manufactured in Mathura, by specialised tailors. These clothes use sewing techniques like plaiting, box creases, and piping on the fabric, along with the embellishments of sequins, ribbons and even peacock feathers. Fascinating is the way the tailoring is done for a miniature garment, retaining the essence of a normal garment. Along with the garments, the jewelry, crowns as well as small cushions are made for Lord Krishna.

Fabric Construction | Surabhi Gangrade

Janmashtami Krishna Janmashtami , also known as Krishnashtami, Saatam Aatham, Gokulashtami, Ashtami Rohini, Srikrishna Jayanti, Sree Jayanthi or sometimes merely as Janmashtami, is a Hindu festival celebrating the birth of Krishna, an Avatar of the Hindu deity Vishnu. Krishna Janmashtami is observed on the Ashtami tithi, the eighth day of the dark half or Krishna Paksha of the month of Bhadrapada in the Hindu, when the Rohini Nakshatra is ascendant. The festival always falls within mid-August to mid-September in the Gregorian calendar. Sri Krishna is considered as the eighth avatar (incarnation) of Lord Vishnu’s, (one of three major Hindu Gods) on earth. He is considered to be the Lord’s most glorious incarnations. Since Sri Krishna lived in luxury throughout his life, Sri Krishna Jayanti is celebrated with pomp and splendor. Plenty of sweets are made on this day. Among these are laddus (yellu oonde), chakli, 12

cheedai, payasam (kheer), and so on. In addition, plenty of milk products especially butter, which was Sri Krishna’s favorite childhood food, is given in offerings. A wide variety of fruits are also offered. The most common sweets made laddus and payasam. One who fasts in this festival, follows the Janmastami vow, and keeps an all-night vigil on this day becomes freed from the sins of ten million births. CUSTOMS Most of Lord Krsihna’s devotees fast for on this day and open the fast at midnight when it is assumed that Lord Krishna has been born. At the time of midnight also, the people who have observed fast whole day prefer to have only milk and milk products as they are considered auspicious as well pure. Some of the ardent devotees of Krishna observe the fat for the entire day even without consuming water- it is called ‘nirjal vrat’. There are other

devotees who observe two day fast in the honor of Lord Krishna.

portant deeds and legends associated with Lord Krishna are staged.

On the birthday of Lord Krishna, devotees indulge in continuous chanting of Krishna’s name for the entire day. They chant sholkas, mantras, richas from the Veda. They also read Bhagwat Geeta and sing bhajans in the name of Krishna. It is said that chanting 108 names of Lord Krishna brings auspiciousness in one’s life.

It is known that Lord Krishna was extremely fond of sweets and dairy products. So on the day of Krishnashtami, devotees of Lord Krishna prepare umpteen varieties of sweets and dairy products and offer them to the idols of Krishna. This ritual is called ‘bhog’. Later, these sweets are distributed amongst the devotees as ‘prasada’.

Bhajans are a vital custom of the Janmashtami celebrations. Devotees sing and dance with fervor in the name of Lord Krishna. In many temples of Mathura and Vridavana, one will find devotees mesmerized and overwhelmed with their love and devotion for Lord Krishna.

At many places in the country, devotees tie swings on the trees and take rides on that. It is said that taking a swing ride on the occasion of Janmashtami is considered auspicious. This ritual is extremely popular in the rural parts of the country.

Devotees of Lord Krishna organize plays on the life of Lord Krishna called Krishnaleela. In these plays organized by professional as well as amateur artists, several im-

Fabric Construction | Surabhi Gangrade

DECORATIONS During the two days celebration of the birth of Krishna, they decorate their house and temples with flowers and decorate the cradle of Lord Krishna similar to

ambience of heaven in order to welcome the Lord. The statue of Lord Krishna and his cradle is decorated to the best in the Janmashtmi. The statue is decorated is bathed in panchamrit (honey, Gangajal and ghee) and decorated with new bright clothes and garlands. The cradle of Krishna is decorated with marigold and rose flowers and adorned with different kinds of bells and torans. During Janmashtami, temples of Lord Krishna are beautifully decorated. Generally, the temples are decorated with natural flowers and the tableaus depicting popular incidents from Lord Krishna’s life. The grandeur of the decoration of Janmashtmi at Dwarakadheesh temple in Mathura is worth watching. WORSHIPPING RITUAL (PUJA)

Janmashtami puja is done using the items that are required especially for the festival. Some of the very important puja items for

Krishna Janmashtami include a puja thali, bell, diya (earthen lamp), rice, cardamom, betel nuts (pan supari), betel leaves, roli, small container (lota) filled with Gangajal, honey, vermilion (sindoor), incense sticks, flowers and clarified butter (ghee). Apart from this, one also requires new clothes and jewelry for the deity as well as a small cradle. The items needed to make the Panchamrit include Gangajal, honey, ghee, milk and yogurt.

illuminated with diyas, while the devotees chant mantras and sing bhajans, praising Lord Krishna. Next, the idol is swung in a cradle, during which conches are blown. When the entire puja is over, the devotees break their fast by having ‘panchamrit’. Thereafter, the prasad is distributed among the devotees.

The puja for the festival usually begins early in the morning, when a sacred bath is given to the idol of baby Krishna, using the holy water of Hindus - Ganga jal (water collected from River Ganga). After bathing, the idol is adorned with new clothes (that are decked with precious stones) that are made especially for embellishing it on the auspicious occasion. Yellow, orange and red may be the color of the clothes. Thereafter, the idol is clad with jewelry. The holy place is Fabric Construction | Surabhi Gangrade

Fabric Construction | Surabhi Gangrade

Miniature clothes : Vastra The birth of Lord Krishna is celebrated with much pomp and splendor, taking every step to ensure that the Royal status is upheld with all the embellishments and comfort provided to the deityâ&#x20AC;&#x2122;s idol on the eve of celebration. The clothes, jewelry, as well as the throne are elaborately decorated, along with the offering plate. The clothes called vastras, are in particular the focus of the ensemble of the idol. A highly embellished piece of clothing, it is a truly fascinating piece of work. Tailored in great detail and with much care, these clothes are an example of careful, meticulous work, coming together in an ensemble that the buyer can make for themselves for the idol.

Fabric Construction | Surabhi Gangrade

Reference 1 : Miniaturization Taking off from the miniature clothes for Krishna, I looked at miniaturization as a concept for the reference. The technique of meticulously reproducing an object on a much smaller scale, so as to represent precisely the original form and details, is a much tedious and specialised one. It is used in several different ways for different objects. The miniature food industry is an amusing enterprise, coming out of promotional needs of the companies or purely for amusement. The miniature collectibles industry is a widespread tourist attraction. The bonsai plants are very good examples of a mainstream hobby. The plants are miniaturized in a very specific and tedious process, They are an expensive commodity and are most popular. All these objects have an inherently meticulous skill and a keen observation involved in their creation.

Fabric Construction | Surabhi Gangrade

Studying Rhythm Before starting with the explorations on paper, I took a look at how rhythm can be represented in various ways in art. Coming across various examples helped me in the development of the further explorations. Here are the various references in their respective styles and interpretations of rhythm.

Fabric Construction | Surabhi Gangrade

Reference 2 : Ghagaras The miniature clothes led me to research the embellishments applied on them, and brought into focus the garments they emulate. The ghagaras are the long skirts worn in many parts of India, but some of the most embellished ones are found in the state of Gujarat. A specific image in focus, I started the explorations with stripes on digital software (Corel Draw) and then on paper. The image, shown here, is a collection of garments that have several colors and patterns along with being embellished. The composition and the colors inspired the following explorations.

Fabric Construction | Surabhi Gangrade

Explorations on paper : Ghagra inspired

Fabric Construction | Surabhi Gangrade

Reference 3 : Golden embellishments - Gota The details of the explorations represent a use of the golden gota ribbon. This ribbon is used extensively in several garments in Gujarat, along with several other embellishments, explained below. ZARI AND ZARDOZI

Zari is gold, and zardozi embroidery is the glitteringly ornate, heavily encrusted gold thread work practised in Jaipur and a few other cities of India. To most foreigners - used to sleek, understated wear - the north Indian bride’s lehanga, choli and dupatta, heavily embroidered with gold and silver threads comes as a visual shock. Either real silver thread, gold-plated thread or an imitation which has a copper base gilded with gold or silver color, is used for zari. Traditionally made for Mughal and Rajput nobility, it has now been officially adopted as bridal wear by anyone who can afford it. 24

of course, the days of using real gold and silver thread are now history. What you can get, however, is synthetic or ‘tested’ zari embroidery. Metal ingots are melted and pressed through perforated steel sheets, to be converted into wires. They are then hammered to the required thinness. Plain wire is called badla, and when wound round a thread, it is called kasav. Smaller spangles are called sitara, and tiny dots made of badla are called mukaish.

of fringed border decoration. Zardozi work makes a garment quite heavy so one must try it on before buying. Besides, the metal thread work can make the skin feel itchy and can be uncomfortable.

Jaipur is well known for its intricate Gota Work all over the Globe. Gota work is a special kind of embroidery using the applique technique. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate Akin to applique, gota work patterns. Lengths of wide, golden ribbons are similarly involves placing woven gold cloth onto other fabric to cre- stitched on the edges of the ate different surface textures. fabric to create an effect Kinari, or edging, as the word of gold zari work. The gota suggests, is the fringed or tas- method is commonly used for selled border decoration. This women’s formal costumes. art is predominantly pracGota is a unique kind tised by Muslim craftsmen. of embroidery work using Zardozi, a more elaborate the applique technique. It version of zari, involves the is done by applying small use of gold threads, spanpieces of zari ribbon onto the gles, beads, seed pearls, fabric with the edges sewn wire, gota and kinari. Kinari down to create sophisticated or edging refers to the art patterns. Golden ribbons, of Fabric Construction | Surabhi Gangrade

Fabric Construction | Surabhi Gangrade

different widths, are stitched on the edges of the fabric in the same fashion, creating an impression of gold zari work. Gota method is commonly used for womenâ&#x20AC;&#x2122;s formal costumes. Khandela near Jaipur is well known for gota embroidery work.

Gota work: The gold embroidery of Jaipur, known as gota -work, is an intricate form of appliquĂŠ with patterns of amazing richness, worked out in minute detail in fine gold thread. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Lengths of wide, golden ribbons are similarly stitched on the edges of the fabric to create an effect of gold zari work. The gota method is commonly used for womenâ&#x20AC;&#x2122;s formal costumes. Khandela in Shekhawati is best known for its manufacture. Kinari is usually practised by the Muslim craftsmen.

Fabric Construction | Surabhi Gangrade

Reference board and attributes The reference board brought together all the aspects of the research in a dynamic way, so as the focus kept shifting from one reference to another. After much trial, the final reference was chosen to be the gota work, and hence, a gold inspiration. Thereafter, explorations produced various forms and types of golden qualities.

The attributes associated were as follows : Miniature garments Embellishments Reuse waste fabric Specific, religious purpose Glossy Zari, Gota work, sequins Celebration Tailored Colorful Value addition Stitched, pasted, pleated Detailed The techniques to be used were as follows : Stitched Pleated Miniaturized AppliquĂŠ Embellished Gota work included

Fabric Construction | Surabhi Gangrade

Miniatures Idols and cultural items Bonsai Miniature roses Food items Play sets and toys

GOTA Garments Toys Embellishment

Colors Pure Hues Bright Rhythm Contrast

Materials Satin ribbons Metal wire Gota Wrappers

Fabric Construction | Surabhi Gangrade

Explorations on paper Starting with an understanding of the gota work in the miniature garments, the initial explorations were emulating the patterns followed in the traditional designs, As the concepts evolved, the explorations took a more contemporary and rhythmic turn. The concepts of the various tones, rhythms and other expressions of gold as well as silver were played with. Furthermore, the foils, metallic papers, sequins, strings and ribbons came together to make textures and patterns. Finally, the sample which compares the various types of gold, in ways of pattern, color, texture as well as rhythm, was taken as inspiration for the development of the textile explorations.

Fabric Construction | Surabhi Gangrade

Sourced Fabrics Several trips to the Ahmedabad Old City and the Sindhi Market led to the sourcing of quite a few fabrics I used in the subsequent explorations. The fabrics had to be gold and of several qualities and tonal variations of the same. The fabric qualities range from extremely flamboyant to ones with a subtle shimmer. The idea was to acquire all kinds of gold I could find from various sources, and to have a look at how I could have made them come together in a manner that the subtle and the extravagant balance each other. In various compositions of yarns and shimmer qualities of these fabrics, they were quite a palette for beginning more thoughts on explorations in their own capacity.

Fabric Construction | Surabhi Gangrade

Sourced Ribbons Along with the fabrics, an obvious requirement was to acquire another palette of the ribbons available on the chosen theme. As the gota ribbons are extremely flamboyant, I decided to again collect similar as well as contrastig and subtle ribbons. These ribbons were in gold as well as silver, and also in several bright colors in the satin ribbons variety.

Fabric Construction | Surabhi Gangrade

Quilting and stitching explorations Quilting is a sewing method done to join two or more layers of material together to make a thicker padded material. The process of quilting uses a needle and thread to join two or more layers of material to make a quilt. Typical quilting is done with three layers: the top fabric or quilt top, batting or insulating material and backing material. The quilterâ&#x20AC;&#x2122;s hand or sewing machine passes the needle and thread through all layers and then brings the needle back up. The process is repeated across the entire piece where quilting is wanted. A rocking, straight or running stitch is commonly used and these stitches can be purely functional or decorative and elaborate. Quilting is done to create bed spreads, art quilt wall hangings, clothing, and a variety of textile products. Hand quilting is the process of using a needle and thread to sew a running stitch by hand across the entire area to be quilted. This binds the 50

layers together. A quilting frame or hoop is often used to assist in holding the piece being quilted off the quilterâ&#x20AC;&#x2122;s lap. Machine quilting is the process of using a home sewing machine or a longarm machine to sew the layers together. With the home sewing machine, the layers are tacked together before quilting. This involves laying the top, batting, and backing out on a flat surface and either pinning (using large safety pins) or tacking the layers together. Longarm Quilting involves placing the layers to be quilted on a special frame.

made a translucent screen of various textures and patterns in the ribbons used. Also, I explored with the borders of fabrics, ribbons and fabric, both in contrast and in rhythm.

The quilting techniques led me to explore the various ways I could try out stitching and compose rhythm and patterns with ribbons and fabrics. The explorations began with the contrast in place, which did not seem like a good color palette. Subsequently I tried exploring with only ribbons, which Fabric Construction | Surabhi Gangrade

Fabric Construction | Surabhi Gangrade

Explorations based on Braiding The braiding methods used were from the interlacing stage to a three dimensional structure . These explorations were an insight into different materials can be utilized as well. So far, we have worked with cords and linear cylindrical materials, but I decided to try it with ribbons. The explorations were striking and had good potential. The two dimensional braiding, interlacing and finally, three dimensional braiding were the order explored. The final three dimensional structure was of further potential as a decorative storage item.

Fabric Construction | Surabhi Gangrade

Explorations in weaving techniques The weaving techniques explored were during another course, where I took the theme of this course, to explore more in this direction. The techniques of double cloth and extra weft were used to explore, with the additional materials as golden thread for patterning as well as texturing on the fabric. All the explorations were in cotton and the added materials were synthetic in nature, thus giving an additional effect to the fabric, without any further surface decoration. The extra weft technique of weaving creates a lot of various patterns on the surface, which are additional to the fabric in nature. The double cloth technique was a way of integrating various qualities of gold and silver in the very color combinations of the fabric.

DOUBLE CLOTH

EXTRA WEFT

Sample I -

Warp : Cotton | 2/20s | unbleached white

Warp : A - Cotton | 2/20s | light yellow B - Cotton | 2/20s | mustard yellow

Reed count : 30 Denting : 2/dent Number of ends : 242 Width : 7 inches

Fabric Construction | Surabhi Gangrade

Explorations in dyeing techniques The fabrics sourced were mostly of synthetic nature, not providing much to play with the dyeing of the fabric. The dyes used were reactive dyes as they are used for synthetic fibres as well. However, the experiments in dyeing resulted in interesting ways for different compositions, and in many ways the subtle change in color was a an understated effect which was much desired. In the ribbons, dyeing revealed little difference in color, except for the one ribbon with the most cotton content in its composition. The color was taken quite well by the fabric and this dyed ribbon can be used for the earlier braiding techniques, for a rhythm of color in the explorations. The fabric with the least color absorption was dyed in black for a subtle difference, yielding a tarnished look to the fabric. Also dyed in blue, the fabric exhibited very little scope for a good dyeing

sample. However, the small color change can be used to layer resist dyed fabrics, to make a very organic looking surface. Next was the fabric with the most absorption of dye, which took color magnificently. However, the golden yarn used in the weave was too bright for it to adhere for the subtle type of look I was trying for. I also tried resist with the fabric in form of typical bandhani butis and stripes. They were also quite bright and flashy, and hence, defeated the theme. Finally, the fabric with viscose and synthetic was the last one I tried dyeing. This fabric was rather interesting in its composition. The synthetic golden part got completely dyed along with the viscose. When I tried resist on this fabric, the result was a very fascinating quality in which the part of the fabric that did not get dyed was left with glittering gold shimmer, while the rest got dyed. Fabric Construction | Surabhi Gangrade

Fabric Construction | Surabhi Gangrade

Bibliography BOOKS Stoddard, Patricia Ormsby Ralli quilts : Traditional textiles from Pakistan and India USA : Schiffer Publishing Lynden, Pauline van Rajasthan New Delhi : Timeless Books WEBSITES http://www.elainecraft. com/wallhangings.html

http://www.nios.ac.in/ srsec321newE/321-E-Lesson-24.pdf http://en.wikipedia.org/ wiki/Textile http://www.textileschool. com/School/Fabrics/FabricTypes.aspx http://en.wikipedia.org/ wiki/Quilting http://www.quiltingstudio. com/

http://appareldesigns.blogspot.com http://www.oldandsold. com/articles04/textiles20. shtml http://www.instructables. com/ http://www.olgasmacrame.com/index.html http://folknet.in/SS2008/ html/component/content/article/90-festivaldarshan/870-sri-krishna-janmashtami

Fabric Construction | Surabhi Gangrade