Teja Siva Srinivas Payapalle | PG191054

Hyperlocal
Craft

Future
Faculty: Rishav Jain
TA: Shail Sheth
Spring’21
CCCCCCCraft

Future
Future
Future
Future
Future
Future
Future
Future
First Edition: 2021

This is an academic publication

outlining the details of the Studio:
Craft + Future = ? offered for the
students of Master of Design (Interiors).
This course was conducted at the
Faculty of Design, CEPT University
during the Spring 2021.

All rights reserved. No part of this

book may be reprinted or reproduced
or utilized in any form now known
or hereafter invented, including
photocopy and recording, or in any
information storage or retrieval system,
without permission in writing from
Studio Tutors or Students.

Publication Design: Shail Sheth

 Hyperlocal
C

Future
Faculty: Rishav Jain
TA: Shail Sheth
Spring’21
 RESEARCH
PROCESSES

DESIGN
POSITION

CRAFT INTERIOR
PRODUCTION PRACTICE

DESIGN
METHODS

6
OVERVIEW

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

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

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

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

Learning Outcomes:

• Analyze and categorize the contemporary craft design practices of India

• Evaluate and critique literature and research done on contemporary craft and
write/derive/formulate a theoretical position on craft
• Formulate a craft-design solution based on pre field studies and given design
constraints.
• Devise design solutions that use craft in a future-relevant and contextual manner,
rather than a mere aesthetic tool.
• Construct contemporary craft design prototypes, material boards and make
presentation drawings
7
8
Learnings
The idea of Narratives, relevances, cultural
nuances and the impact of technology on
shaping the future of communities has led
me to pursue the studio of Craft+Future = ?

The understanding of craft, craftsmanship,

position in the society kept on evolving.
Extensive readings, short exercises such as
card sorting etc., Helped in gaining on a
craft position.

Further the systematic way of looking at

interior practices and projects from 2010-
2020 helped in putting together the pieces
of craft perception and the position of
craftsmanship in the current scenario.

Hyperlocal Future speculation is in a

constant dialogue with the technological
aspect of future. Technology should benefit
localities and help in provinding more
opportunites and in creating diverse and
experimental content that can be shared
and disussed rather than building on
templates of what has been around for a
while now.

Recent times of pandemic places emphasis

on solutions of local scale. A need for
exposure, to experiment and learn was
realized while field mapping of various
crafts and craftsmen that led to the idea of
celebration and the conception of a festival.

The studio has given me an opportunity to

develop and take forward learnings which
will be of great help in my pursuit of self
actualization.

Teja Siva Srinivas Payapalle

9
10
Contents
Know
Ex.1 | Card Sorting

Ex.2 | Visual Mapping

Ex.3 | Field Mapping

Ideate
Ex.4 | Theoretical Position

Develop
Ex.5 | Accumalizer

Ex.6 | Envisaging the Future

Ex.7 | Abstraction

Ex.8 | Elementalism

Make
Ex.9 | Generating Interior Space

Ex.10 | Manifesto

Ex.11 | Design Development

11
 Ex.1
Card Sorting
Duration: 1 week
“ Design innovation through
collaboration between
craftspeople and technology
can contribute towards
sustainability. ”
Initial iteration is a storyline
which highlights the importance
of maker(craftspeople), making
(designer, design innvation and
resources).
Understanding of locale and
participation of community
plays an important role in the
creation of relevant content
12
bridging gap between the
makers and trends/cultural
nuances.
Employment of technique,
technology relevant to region,
creating an identity and adding
cultural value would help in
appreciating subcultures and
exchange of ideas.
Importance of local/region is
an observation from the recent
pandemic times. Supporting
micro level entities would help in
building a sustainable future.
Iteration 01: Card sorting

Top 5 cards

Iteration 02: Top 10 cards

13
 Ex.2
Visual Mapping
Duration: 1 week
Interior practice and projects
from 2010-2020 were
looked at to understand
better the position of crafts
and craftsmanship in the
contemporary times.
While projects like The India
Pavillion and shrine were
pushing the boundaries of
craftmanship, there are also
projects which work towards
the benefit of communities
and in the preservation of
existing skills like hunnarshala.
In projects like Beehive coolant
14
and chennapattinam furniture,
craft is explored at product level
either to address performance
based issues or put forward a
message.
There is no doubt in saying
that craft is being consumed
as a valuable commodity for
ones own reasons, be it for the
cause of sustainability, to be a
part of the community and the
narrative or as an item of luxury.
Communities should play
an active role in building a
collective future, relevant to the
context and the times.
15
16
17
18
19
20
21
22
23
 Ex.3
Field Mapping
Duration: 1 week
First reality check of
understanding the position of
craft.
Varied perspectives are crucial
to try and understand the
current market scenario,
relation between craftsman
and the craft, perception of
craft by the end user, scope and
limitations, etc.
Pottery craft cluster nearby
Sarkhej Roza, Allwin indutries
Metal sand casting, Wood
Carving were among the others
24
studied apart from the studios
and experts facilitated by the
studio.
There is a need expressed by
craftsman to up their craft,
and a need for outreach and
exposure. Designers face
the challenges of availability
of craftsman, perception in
market competition with mass
manufactured/western goods
etc.
The study helped further to
understand scenario and build
up proposition.
Pottery - Craft Cluster - Sarkhej Roza

Casting for making flower pots Pressing machine - Diwali lamps - operated by
women - Notion - Less labour intensive

Dada bhai Craftsman at work - Cutting the base Kiln - Baking - The Heart of Pottery
with thread
25
 Metal Sand Casting - Allwin Industries, Shahibag

Kranti Ben working on making clay moulds of a Aluminum being poured into the mould
brass sculpture

Kiln and Raw material - Aluminum in Bar and Mould for casting and clay core kept inside
Plate form
26
Wood Carving - Naqshi - Mohanlal Carpenter

Tools of the craft - Wood Carving Master Craftsman at work

Assembly and cross checking From Sketch to Realising

27
 Ex.4
Theoretical Position

Duration: 1 week

“ Elemental nature of practice The approach and inclination

dictates the position of crafts
and craftsmanship.”
“ Sense is the interaction
between person and place and
depends on spatial form and
quality, culture, temperament,
status, experience, and current
purpose of the observer.
A sense of place can be created
by the pattern of reactions that
a setting stimulates for
a person.”
- Kevin Lynch – Urban theorist
towards the idea of craftsman-
ship in interior practice has
been looked at and categorized
as responses to
1. Programmatic requirements
2. Contextual approach
3. Elemental approach
(To explore an aspect as a whole or in
fragments) and
4. Adaptive Reuse.

28
The effort towards sustainability
can be widely seen in the choice of
materials, and techniques. Hence
categorizations are made to
understand the intent behind the
inclination towards craftsmanship.
Crafts in India extend beyond
the tangible boundaries of skill,
workmanship, and other physical
aspects. Indian craft is a reflection
of the immense creativity of
ordinary people in the quest for
self-expression and contentment.
India has been known as a land of
crafts and craftsmen
- (Chattopadhyay, 1980)
Figure 1. Shaam-e Sarhad - Sandeep Virmani, 2. Andhra Arts and Crafts Hotel - Ameet Mirpuri,
3. Padmanabham Restaurant - Urban Mistri
Programs which intend to promote
craftsmanship through Eco Resorts,
Hotels, Community Centers
indicate the need for revival of local
crafts.
According to Richards (2005),
Co-ordinator of the European
Association for Tourism and Leisure
Education (ATLAS), “Culture, crafts,
and tourism are rapidly becoming
inseparable partners. Local
crafts are important elements of
culture, and people travel to see
and experience other cultures,
traditions, and ways of living.”
29

Apart from programs which
aim to promote local crafts, there is
an inclination towards living tradi-
tionally in a contemporary setting
which opens a chance to reflect
upon the culture and heritage of
the local setting or India as a whole.
Figure 4.Artisan House - morphogenesis, 5. Commercial Boutique - Muse Lab, 6. The ark - Landscapeindia
30
Apart from programs which aim to
promote local crafts, there is an in-
clination towards living traditionally
in a contemporary setting which
opens a chance to reflect upon the
culture and heritage of the local
setting or India as a whole.
It is a designers choice to employ
locally available resources an crafts-
manship a response to context.
In such scenarios context is deman-
ding local craftsmanship. New
techniques of building crafts and a
fresh approach of looking at things
for designers can result in such col-
laborations as the practice has cho-
sen to work in inclusion.
Elemental includes experimenting
with a single material to under-
stand the techniques and innovate
on one hand and on the other ma-
terial and techniques are selected
to get a tick mark on the checklist
for green building, here neither the
program demands nor the context
it is set in.
Terracotta tiles and brick jali tech-
niques are used to create patterns
on the facade. While collaboration
of designers with craftsmen can
result in innovation and develop-
ment, stripped down use of craft
elements can eliminate the need
for craftsmanship and the associat-
ed meanings.
Figure 7.Nalkettu - De earth, 8. Bamboo Hostels - Anna Heringer, 9. Thannal Handmade Homes - Biju
Bhasker
1. Preparation of a platform for cre-
ative design development, design
promotion and partnerships across
many sectors, states, and regions
for integrating design with tradi-
tional and technological resources.
2. Creation of original Indian
designs in products and services
drawing upon India’s rich craft tra-
ditions and cultural heritage.
Form important visions of National
Design Policy.
31
 In Practice, multiple intents can be
seen to employ crafts and crafts-
manship in the design process.
Elemental approach of choosing to
employ through standardised units
is prominent, either through deco-
rative elements (furniture, wall art
etc.) or units for facade design. In
certain cases, techniques are stan-
dardised and a template of crafts-
manship needed is known.
Understanding and association
with the employment of crafts in
practice may vary for community,
designer and craftsman in such
scenarios.
Figure 10.PaperTube Office - Sfurna Design Studio, 11. Clay Screen House - Manoj Patel Design Studio
12. Boys Hostel Block - Zero Energy Design Lab
32
Apart from programs which aim to
promote local crafts, there is an in-
clination towards living traditionally
in a contemporary setting which
opens a chance to reflect upon the
culture and heritage of the local
setting or India as a whole.
It is a designers choice to employ
locally available resources an crafts-
manship a response to context.
In such scenarios context is deman-
ding local craftsmanship. New
techniques of building crafts and a
fresh approach of looking at things
for designers can result in such col-
laborations as the practice has cho-
sen to work in inclusion.
10
11
12
Questions raised:
1. Is employing crafts a choice in
interior design practice in today’s
indian scenario?
2. How does urban context play a
role in the demand for craftsman-
ship in contrast to Local/regional
context where crafts and tech-
niques developed are a part of cul-
ture?
3. Does craftsmanship necessarily
be associated with rural and cluster
based contexts, is there a sense of
urban crafts?
4. What role does crafts play in the
immediate and far future, on the
lines of mass production and mass
customization?
5. What role can community partic-
ipation play in the design innova-
tion process ? Or like the sense of
culture which keeps evolving, the
idea of crafts and craftsmanship
also needs to evolve and find a dif-
ferent meaning altogether.
References:
1. Chattopadhyay, K. (1980), India’s Craft Tradition,
New Delhi: Publications Division, Ministry of infor-
mation and Broadcasting Government of India.
Jain, R. (2015), Crafts in interior Architecture India,
1990 onwards, Ahmedabad:SID Research Cell.
2. Jain, R. Thakkar. J (2019). Experiencing Craft
and Culture: An Emerging Cultural Sustainable
Tourism Model in India. 10.1007/978-3-030-10804-
5_3.
3. Lynch, K. (1960), The Image of the City. The MIT
Press.
4. National Design Policy, CII India Design Report,
a2.pdf (cii.in)
33
 Practice/Project reflecting The practice makes way for work-
Incination or Belonging ing with Cultures, Craftsmanship
and Immanent material character-
Project: Bamboo hostels istics.

Built in: 2016 Emphasis on the use of natural

building materials in order to en-
Designer: Studio Anna Heringer able a sustainable and fair develop-
ment.
Location: Baoxi, China
Design and forms are not a direct
outcome of craftsmanship and
their understandings, it is a learn-
ing process on both sides.

“ Creativity is global, but materials,

skills and potential must remain
local. ” - Anna Heringer

Citations/References: https://www.anna-heringer.com/projects/bamboo-hostels-china/

34
Cube Abstract model representing
position of craft in contemporary
practices.

Transition from archeated to tra-

beated has been shown to em-
phasize varying langauages in be-
tween.

Cube Front view - Transition from frame to arch

Cube Isometric view Cube back view - Transition from arch to frame

35
 Ex.5
Accumalizer
Duration: 2 weeks
International Architecture Firm:
STUDIO ENSAMBLE
Integrated systems and problem
solving approach can be well
understood by looking at crafts.
We keep evolving techniques
and technology but a lot of
answers are in the region level
and such techniques need to be
understood and lead the way to
design innovation.
Weaving as a technique has all
the parameters and controls
36
needed from dense to sparse
with varying intensities and
thicknesses. this technique is
explored in the program of
library to modulate light and
form spaces which are light
weight also.
More important is to involve with
the craftsman from where the
craft, material and workmanship
remain relevant and understood
as part of culture.
Captions Captions

Weave - Visualization - Hyperlocal - Design innovation and relevance with culture.

Image reference: Nagaland tourism poster
37
 Weave - Visualization - Speculative future backdrop for weave - cross cultural learning due to migration.

38
PROCESS:

In the project of Musical Studies Centre, Spain, the architect explores the
placement of a stone block of cubic will breaks the flow of garden green
spaces. Similar exploration with the stone but in contrast to “ primitive
techniques “ of laying stone and creating light through play of masses,
more understanding and reduction of material is shown in this montage.

Architect’s - View Montage, Hyperlocal

39
 Weaving as a technique to shell and form envolope surrounding the core.

Context and technique relevant to place is given importance.

Gradation in wall heights to form a backdrop.

Light intensity variations inside the space is all made possible through
weaving.

Weave - Model

40
Process Illustration - weave

Process model

41
 Ex.6
Envisaging the Future
Duration: 1 week
“ While the Industrial Revolution
did a great deal to improve
humanity, it eradicated the
very skill that my grandfather
loved, it atrophied craftsmanship
as we know it. 3D printing
is going to catapult us into
the future, but rather that it’s
actually going to connect us
with our heritage, and it’s going
to usher in a new era of localized,
distributed manufacturing
that is actually based on digital
fabrication. “
- Avi Reichental, Xponential
Works, Ted Conference 2014.
42
“ The employment in the rich
countries will go down from
about 800 to about 700
million of these people. This
would imply a massive leap in
migration. So the concerns, the
xenophobic concerns of today,
of migration, will be turned on
their head “
- Ian Goldin, globalisation and
development, University of
Oxford, TED Global 2009.
Illustration Craft+Future = Hyperlocal, Technolocal,
Axonometric view showing settlemet of Ceramic 3D printing craftsmen.
43
 Hyperlocal - Understanding
The term “hyperlocal” has been first
used in journalistic circles since the
late ‘80s, but with the changing face
of journalism and the development
of online media, has now begun to
filter into more mainstream use.
Hyperlocal is information oriented
around a well-defined community
with its primary focus directed to-
ward the concerns of the popula-
tion in that community. The term
can be used as a noun in isolation
or as a modifier of some other term
(e.g. news). When used in isolation
it refers to the emergent ecology of
data (including textual content), ag-
gregators, publication mechanism
and user interactions and behaviors
which centre on a resident of a loca-
tion and the business of being a resi-
dent. More recently, the term hyper-
local has become synonymous with
the combined use of applications
on mobile devices and GPS technol-
ogy. Use of the term originated in
1991, in reference to local television
news content.
A working definition of hyperlocal
was published in a 2012 Nesta re-
port, describing it as “online news
or content services pertaining to
a town, village, single postcode or
other small, geographically defined
community”.
Hyperlocal content has two major
dimensions: geography and time.
The dimensions are measures of the
44
relevance or value perceived by
the content consumer in time and
space. The higher the content scores
on these dimensions the more rele-
vant the content becomes to the in-
dividual and the less it becomes to
the masses.
Hyperlocal content is targeted at
or consumed by people or entities
that are located within a well de-
fined area, generally on the scale of
a street, neighborhood, community
or city. Hyperlocal content must also
be relevant in time. The nature of
the evolution of hyperlocal content
follows these two dimensions. By
combining the two dimensions we
can identify types of hyperlocal con-
tent throughout history.
In the distant past, hyperlocal con-
tent was low on the geographic di-
mension, meaning that the content
met only broad needs of larger pop-
ulations across bigger areas, and
also low on the time dimension:
relevance was perceived over long
timescales.
Particularly, since the main pivot of
the word is the human centric, also
based on natural and cultural re-
sources within the site, the sense of
‘place’ becomes an important pa-
rameter. this helps to improve the
design assets by evaluating different
or challenging conditions, because
if the existing design is defined as
‘extremely local’, it should adapt to
Process Illustration 01: Density, Urban agglomeration and the need to migrate out from cities in search of
better lifestyle and contempt.
45
 everywhere and to every condition
without disrupting human comfort
and its function. ‘actually, it means
that you have made a correct calcu-
lations (if it is possible technically)
and calculated all the possibilities
that you may encounter in differ-
ent regions,’ adds chatzi chousein,
‘and you got some specific results of
that and finally you have formulated
some cause-effect situations. how-
ever, is it possible? is it possible to
reduce to a single result or formula
for all possible situations for all pos-
sible regions? of course no!’
To be more precise, the notion of
hyper localization of architecture
confronts different environmen-
tal situations and tries to solve its
own contextual tool within its own
boundaries without having to de-
pend on extreme technology. in this
way, it explicitly forms, searches, and
analyzes different contemporary ar-
chetypes by examining or building
specific examples over adjusted de-
sign parameters. for the very same
reason, there is another question
that comes to mind: what is the dif-
ference between contextualism and
hyperlocal architecture?
Contextualism in architecture has
always been discussed and em-
phasized with its role and attitudes
from 1900s until today and we have
encountered different discourses as
related to ‘modernism’, ‘postmod-
ernism’, and ‘deconstructivism’. the
theorist continues by stating, ‘con-
textual architecture is a kind of
46
specific framework between the
product and the background be-
hind it and directly relates to how
it is interpreted by designer. thus,
contextualist architecture sets up a
visual, tactual, and memorable rela-
tionship considering the built envi-
ronment, existing fabric and history
and I think it is still local.
Michler explains that ‘context is fit-
ting in, passive/established, while
hyperlocal is responding to place,
active/progressive,’ and we under-
stand from his statement that hy-
perlocal architecture acts as a more
environmentalist that is driven by
the user/designer and empowered
by the specifications of a place so it
can be improved, re-generated and
be resilient in the long term.’
“ This is all based on human creativ-
ity, and the ability for us to advance
and continuously improve with
freedom from the remote tyranny
of bad design. That’s why the cul-
tural question becomes interesting
because at that point the culture
can express itself in a creative way.
It still has integrity because you’re
expressing yourself creatively within
a context. Your solving for rich, local
problems. All sustainability, like pol-
itics is local. It has to be. ” - William
McDonough.
References:

1. Paul Farhi, “Taking Local Coverage to the Limit: 24-Hour Cable News,” Washington
Post, March 11th, 1991
2. Radcliffe, Damian (March 29, 2012). “Here and Now: UK hyperlocal media today”.
3. Michler. A, Hyperlocalization of architecture, Contemporary Sustainable Architypes
4. https://www.designboom.com/architecture/berrin-chatzi-chousein-andrew-michler-
hyper-localization-architecture-book-02-07-2015/

Process Illustration 02: The influence of aspirations, cultural values while working towards future.

47
 Ex.7
Abstraction
Duration: 1.5 weeks
Process:
The Recessed cube model is
conceptualised by subdividing
cube and recessing the outer
layers an indicative of carving.
Straight lines indicate the
technological influence on crafts.
An attempt to show influence
of technology in the process
and techniques involved in the
making.
48
Material, ideation, skill all
are local in nature, and the
introduction of technology
and exposure can play a major
role in creation of diverse and
interesting outcomes.
Partly Fractal from a four part
square loosing one part of it
in each iteration and then the
influence and the relevance
of step wells has been used in
detailing the model further.
Drawing showing Division and Recess

Front View Top View

Initial Ideation - Isometric view

49
 Model Perspective view - Integrity

50
 Corner detail - A takeaway from Generation of space around
stepwell architecture the cube

Model Front View - Volumes

51
 Ex.8
Elementalism
Duration: 2 Weeks
A Matrix of Element designs to
space type is arrived at to better
understand the manifestation of
proposition.
Elements are designed to
corresponding briefs which do
not incline or direct towards an
archetype.
A total of 35 elements are
designed out of which five are
detailed to model/prototype and
drawings.
52
These elements derive their
inspirations from techniques,
principles in some cases and in
some try to relate the narrative
and take forward to immediate
future scenarios.
This Matrix forms a guide to
crosscheck proposition at
any given stage and leaves a
margin for scope and further
development of elements.
Vertical Linear Elements

Display/ shelving unit

A space for excitement and
enthusiasm
Bidri metal craft, casting and
inlay. Zinc copper alloy, silver

Visual partition in a seamless Lighting design

environment A space for warmth and
A space for dreams calmness
Crystal, Amethyst, Precious/ Metal Beating, etching.
semi-precious stones carving, Brass, Copper Alloy metals

Monolithic element of marking Detail a system for hanging/

presence plants in lawn
A space for offering and belief A space for bliss and fulfilment
Wood/Stone Carving, Beaten Split Bamboo and slats
brass cladding. Metal joinery

53
 Vertical Planar Elements
Element that allows interaction
with exterior in a home
Local stone /Wood carving
A space for warmth and
calmness
Element which acts as an
extension to workstation
A space for Knowledge
Tarkashi, Brass/Silver Inlay in
seesham/hard wood
54
Element for Handloom
exhibittion space.
A space for excitement and
enthusiasm
Weaving, Convex mirror, Metal
Frames, fabric
Tactile Element enclosing
space
A space for warmth and
calmness
Stone Carving, Gold and rose
gold Polished SS Sheets
Visual Barrier/screen inside
lobby/ Pre function Area
A space for Curiosity
Metal pipes as screens, led strip
lighting in the back layer
Horizontal Planar Elements
Ceiling for assembly space of
an institution
A space for trust
Block Printing, Tie-Dye
Fabric, Steel Rope, Metal Frame
Monolithic element of marking
presence
A space for offering and belief
Wood/Stone Carving, Beaten
brass cladding.
Ceiling design for lobby of
vacation home
A space for warmth and
calmness
Achikal brick laying, Madras
roofing, lime plaster
Tactile Flooring element for
the visually impaired in an
exhibition space
A space for reaching
destinations
Ceramics, Glazing
Ceiling design for a semi open
cafeteria
A space for excitement and
enthusiasm
Cane, Bamboo, Hat weaving
55
 Elements Representing
Ergonomic details

Element for pool side lounge or

a cafe for reading
A space for warmth and
calmness
Wicker weaving
Rattan/ Cane, Wood

Elements to shade outdoor Lighting design

seating area of an art gallery A space for warmth and
A space for excitement and calmness
enthusiasm Amethyst/semi-precious stone
Block Printing, Tie-dye, Cloth, carving
Metal Frames

Element for respite Detail a technique to

A space for offering and belief experiment
Beaten brass sheets. A space for Knowledge
Split Bamboo and slats for
loose weaving showing gaps

56
Elements Representing
Architectural details
Gathering space for events/
sports
A space for excitement and
enthusiasm
Bamboo, Knitting/ Weaving,
Steel, (3d printed Joinery)
Detail of a walkway / canopy in
a school
A space for trust
Bamboo construction, Steel,
Concrete
Shading elemet in a
recreational space
A space for excitement and
enthusiasm
Wood construction and steel
joinery
Detail a system which offers
customization in roofing for a
place of prayer
A space for offering and belief
Wooden joinery (Hard wood)
and construction
Facade detail with a historical
relevance
A space for Knowledge
Rammed Earth cladding with
tiled units and lime mortar
57
 Elements Representing
Interior details

Detail for visual transparency

A space for excitement and
enthusiasm
Hollow wooden blocksand
glass blocks

Detail highlighting grooves Deisgn a clay wall detail with

A space for dreams customisable openness ratio
Golden SS sheet pasting in A space for warmth and
carved glass panels calmness
3D printed Ceramic wall

Acoustic panel Detail Design a threshold detail

A space for offering and belief A space for bliss and fulfilment
Walnut wood fruit basket Golden Polished SS sheet
making, telesopic spirals cladding imitating the stone
pillars from temple architecture

58
Elements Representing
Aesthetic details

Garden walkway
A space for excitement and
enthusiasm
Metal and cane weaving

Detail of junction which alters Gathering space in an outdoor

perception of materiality recreational space
A space for Dreams A space for warmth and
Wood carving, Laminated glass calmness
Bamboo, cane, Metal work

Recreation of a memory Element marking entrance

A space for offering and belief A space for knowledge
Metal craft Metal wireframe version of
arches which marked entrance
and exit of fort cities

59
 Illustration - Monolith Pillar Vertical Linear Element Model - Perspective view - Showing
Craft - Stone/Wood Carving Digital Techniques scale and transition

Process Showing Breaks and transition step by step

Linear - Rotated - Twisted Segments - Assembly
60
Illustration - Stone wall Vertical Planar Element Model - Closeup view showing
Craft - Stone Contouring contoured surface

Model - Views Showing enclosure, relief in scale

61
 Illustration - Tesselation Bamboo Structure Model - Top view - Showing Spatial
Architectural Details, Craft - Bamboo construction and bending quality and Joinery

Model - Views showing interior space quality and space achieved through minimum intersections

62
 Bidri casting Member
size-300mm x 75mm

12mm Frosted Black

acrylic/glass

SS Metal Clip to hold

glasses/wine bottles

SS pipe 12mm dia

with stud ends to
hold acrylic/glass

Illustration - Bidri Wine Rack Vertical Linear Element Detail and Materiality
Craft involved- Bidri Metal Casting and Silver inlay

Drawings of Rack - Top View - Front View

63
 unit sizing
100mm x 100mm

12.5 mm
Square pipe

90 degree Self lock-

ing hinge - Coaster
placed on magnets

Illustration - Tarkashi Coaster screen Vertical Planar Element Detail and Materiality
Craft involved- Tarkashi Metal inlay in wood

Drawings of Screen - Top View - Front View

64
Matrix showing element type and space type

65
 Ex.9
Generating Interior Space

Duration: 1 day workshop

A time problem which The modules can now be broken

inquisitively helped in
understanding demands of the
element from the immediate
surroundings.
Here the Monolith Vertical
pillar’s making from the fractal
itself has been used to generate
a spatial quality around.
Negatives areas, areas for
landscaping/softscaping, have
been derived in conjuction to
immediate squares.
to alter or understand the
perception of element.
Simple techniques like an
elongated pathway helps in
giving the user more time to
percieve and absorb the spatial
quality around can help in
adding generative potential and
a possibility to debate around
multiple outcomes.

66
Elongated - Drawdel - Top view Symmetric - Drawdel - Top View

Drawdel - Perspective view showing arrangement of negatives, Dead spaces and Landscaping areas.
Transition in heights of pillars from entrance to the center.
67
 Ex.10
Manifesto
Duration: 1 week
The future is here and as a
society we always have been
striving hard for a better future.
In this process of building future,
techniques, principles, materials,
knowledge accumulated from
the past need to be embedded.
Values respected and
associations reimagined.
Hence the designer plays the
role of bringing culture close to
the society. Time and locale play
an important role in the creation
of diverse content.
68
The future is about generating
iterations, experimenting,
exploring, fast processing and
learning from mistakes. - To
maintain a dialogue between
what has been done and what
needs to be done.
The celebration of ideas,
thoughts in the form of a festival
on a global scale will help in
providing discussions about
future and thereby could help
in finding alternative uses or a
strong position for crafts in the
society.
Captions Captions

69
70
71
72
73
74
75
76
77
78
79
 Ex.11
Design Development
Duration: 5 weeks
Aarav the festival of india is
imagined as travelling exhibition
which communicates of Indian
crafts, regions and possible
outcomes with collaboration of
technology and Craftsmanship.
Entrance and exits are marked
with thresholds. “Pragya” the
central area showcases the
craft, its making and attemt for
future through holographic/3D
projection mapping.
“Deha” the showcase of part
elements and details adds on to
80
pragya and tries to interact with
users on a sensory basis.
The seamless transition of
spaces from outside to inside
is accentuated by the unruly
character of the festival. Once
inside the user has fullcontrol
of how he wants to navigate
through the space.
Outer walls are characterised
with elemts of visual transpa-
rency which create a dialogue
between the elements and
pompidou center.
A. Entrance B. Element C. Meet and D. Know the E. Element F. Breakaway
Display Greet Craft Display
81
 SCHEMATIC SPATIAL PLANNING

82
FORM AND DEVELOPMENT

83
 SECTIONAL PERSPECTIVE - LONGITUDINAL SECTION - AA’

DETAIL AT A DETAIL AT B

84
DETAIL AT C DETAIL AT D

85
 SECTIONAL PERSPECTIVE - LATERAL SECTION - BB’

DETAIL AT A DETAIL AT B

86
DETAIL AT C DETAIL AT D

87
 Bidri Rack
Augmented Reality
Model for Iphone6 and
above/Ipad

1. Scan and download Model from dropbox.

2. Camera opens up, place model in your
screen according to axis of orientation.
3. Visualise and tell me your feedback to
improve for a version 2.0.

Thank you.

88
89
90
 3D Printed Ceramic Wall
Augmented Reality
Model for Iphone6 and
above/Ipad

1. Scan and download Model from dropbox.

2. Camera opens up, place model in your
screen according to axis of orientation.
3. Visualise and tell me your feedback to
improve for a version 2.0.

Thank you.

91
92
93
94
95
96
97
98
99
100