Jan’ 2013

RAJENG/2012/44989 Vol. 01 Issue 08 15/- Arch Design Magazine

T h e W O R L D i s D e s i g n e d CERA GLASS W i t h a P u r p o s e HAAT 2012 Story STUDENTS’ COMMUNION between DESIGNS CRAFT & DESIGN 02 N I hopey Editor inChief Ar though W Design. articles onv c in place f Jaipur hasr the mon back momen Udaipur the c Designer Lipik t chor lik e f da Y Shah theChie w eas under immensew k f Multi t Mee which isg Sales Exhibition,andaF Aw of semes pr simult on thisissue,w Whe 2013! W f e ea or thein or ne alk ov eeping ussuper uv xhibition. W ork t e in e wishourr epar e T y outt erna chana Surana tur ar y er themallinBack a Uns s &w January , thank eogr t. R w o-f er shop c ds mee w Y vit w beginningsandfr e inourne aneously inthethickof

, wha EDITOR’S NOTE or lit a asking isas ence Le ts onthisissue. tional e ounder of'Shik tions f . Soman eports ofsomethesewill ou enjo e y th g o design&or t apher t ear hasalw ork t er Assessmen oing t oppable. W erna ou t s t er eally bec onduct 2013 t amon arious aspectsofArt& one b t, As shop ts oflearningandfunin e alsodancedwiths a o thev f Inspir eader a SudandManishJain or &c tur tional Cer wis, celebr , andw v o writ e ha o beheldduringthe y it! en y pr xt issue. c s fr tuden e, designand ool whenw y orkload hasbec ts. W tr ed b . th. Asw v s av eng onduction ofend ome af ecious backt er a om In e been a e oremaily e w y tion Of s g er y use s beenatime shan tit y MrAmit t Design& aniz e willtr t Juries,Alumni th ofAr er aGlass 2012 e inspir ashion Show ork ch alongwith a esh s t y Happ t erior ed e Cer e w t ful a ed da ar' in ficer of v e ar orit t ork y t ch and arts. ed b aHaa our abh y o e o e t y in ome ed ar y s t T inspiring themtointrospect andget backintouch withtheethics ofcreation &themeaning arriving atour potentialandintheprocess extendthisawarenessto theworldagain, nothing should reallykeepusfrom blessed country universe originatedagesago inthis The awarenessoftheform &designofthe inspirations andachievements indesign. media, tohighlightitsuniqueavailable India needstheur their clients. to presentthemselvesmoreef world wideastheycanusetheexperiences Designers toobenefitfromtheexposure proving exceptionaldesignquality themselves apartfromcompetitorsby important formanufacturerstoset and potentialrequirements.Itisnow products andservicesthatfitnewdemands Good designconceptsenvisionnew competitive marketworldofdesigning. generations toparticipateinthe to provideopportunitiesfornew traditional andmodernartofdesign, us byandrespectingtheancestral, awareness ofthecolorfuldesignsaround educating thepublic,toincreasenational disciplines intheworld. identifies withthebestinvariousdesign Closely relatedtothevastnessofnaturalresources,India'svibrantlydynamiccreativescene disciplines. broad denotation,thereisnouniversallanguageorunifyinginstitutionfordesignersofall governing thecreateddesigns. using asetofprimitivecomponents,satisfyingsetsrequirements&subjecttoconstraints object manifestedbyanagentintendedtoaccomplishagoalinparticularenvironment, also consideredtobedesign.Moreformally economical andenvironmentalsafetyconstraintsinachievingthatobjective. parameters, costs,activities,processesandhowwhattodowithinlegal,political,social, approach forsomeonetoachieveauniqueexpectation.Itdefinesthespecification,plans, dif Design isanimaginativeprocessfortheconstructionofobjectorasystemwhichhas standard formsorlayouts–justmillionsofcreationsfrombrains-endlesscreativedesigns. elements. design. W When layingouttheformpeoplereadfromtoptobottomandleftright.Orrightleft. The formoftheuniverseservesjustasmuchafunctionalpurposeitselements. rivers, highseas,theskyaregrammaticallyandphilosophicallycreatedatrightpoints. beautiful formswhereeverythingisevenlyspacedandsuperblyarranged.Itsmountains, hestructureoftheuniverse,inaway e alsooftenusethe ferent connotationsindif D T e h Y our designshouldreflectthisthroughintuitivelabelingandnaturalplacementof s e And, ofcourse,yourformshouldneverlookscatteredorhaphazard. This allowsformanydif i g W . W n gent attentionofthe ith suchalineage O e T R d ab keytomovearoundtheform. What isneeded L ferent fields.Insomecasesthedirectconstructionofanobjectis W D fectively to Another definitionfordesignisaroadmaporstrategic i i t . s h fering philosophiesandapproachestowardthesubject. , remindsusofwelldesignedandneatlyexecuted a , designhasbeendefinedasaspecificationofan P u r p This iswhathappensintheworldof o s e b y R a d h e s W h There areno ith sucha • y a Arch DesignMagazine m T e w a r i January 2013 03 • Arch Design Magazine

luminaries of the Creative and Cultural Industry at the Arch Campus

Neha Dhupia

Parineeti Chopra Rajat Kapoor Amitabh Shah

Ranveer Singh Anita Dongre

Beena Kak Terence Lewis Sabyasachi with Mrs. Surana, Our Staff & Students

Pattie Sellers & Bibi Russell with Mrs Surana Anushka Sharma Kiran Bedi 04 January 2013 • Arch Design Magazine

The art of pashmina is almost 2000 years old. Kashmiri artisans have perfected the art of hand-spinning fine pashmina –the women of the house painstakingly clean and hand-spin the delicate pashm into yarn. mad about PASHMINA by Subhabrata Sadhu

P ashmina is that are available from , Mongolia and other places are not of a the yarn or fabric superior quality and do not make as fine a yarn as compared to the hand-woven from originating from the region. Also, because of the shortage of hand pashm–the soft downy undercoat spun yarn, authentic pashmina is in short supply and hence cannot be seen that grows primarily on the neck and everywhere. It is more expensive than the other “so called” pashminas and belly of the Himalayan mountain few people buy it. , capra hiracus, commonly known the pashmina goat or Nowadays many cheap imitations of pashmina are available in the market changra. Pashm is a Persian word for “” while mina means which has denigrated the word pashmina. The term pashmina has been “soft”. commercially exploited to refer to any , irrespective of the material or the manufacturing processes involved. This has left the artisans in While these mountain can survive in the lower mountainous regions, working with pashmina with no choice but to shift away from it is only the animals living above 4,500 meters that produce the finest pashmina, and work with other materials. The falling demand for authentic wool. It is believed that the growth of the fine, warm pashm is an adaptive pashmina has led women weavers to stop spinning pashmina yarn, due to response to the harshly wind-swept terrain and winter temperatures falling wage shortage. to -30 degrees in the winter. The yarn has a special luster due to its long, fine , which are as thin as 12-15 microns. In comparison, human hair The traditional weavers of Kashmir are suffering because of unfair is 70 microns and fine merino wool is 23 microns. The finest pashm comes competition from machine-woven cashmere products, woven with from Changthang bordering Western Tibet and Ladakh where nomadic machine-spun cashmere yarn. These are much cheaper and imported herders known as Changpas tend flocks on the high plains. They collect the from China and other countries and these yarns can be used on a power fleece by combing the goats in late spring before they molt. The goats are loom. Since in power loom cashmere can be mass produced the prices of not sheared and combed to avoid fiber breakage and to maintain the fiber these products are substantially lower than pashmina and hence have a length at 5cm. In summer these are bought or bartered by Ladakhi traders huge market penetration. and sent to Leh, where the Kashmiri traders make their purchases and send it to Srinagar. The goats are also referred in Kashmir as Changthangi. Contemporary design can add a new lease to the sector. Designs which are appreciated by alternate markets can be explored which will bring The art of pashmina weaving is almost 2000 years old. Kashmiri artisans appreciation to pashmina. Fake machine-made pashmina is available in a have perfected the art of hand-spinning fine pashmina yarn–the women of wide array of appealing designs–to compete with these, design intervention the house painstakingly clean and hand-spin the delicate pashm into yarn. is much needed in the genuine pashmina. Due to the extremely fragile nature of the hand-spun yarn, weaving pashmina is a time consuming process and a 2mtr long plain takes at I personally love the feel of the material and the way it drapes– the texture least 3 days to weave. All pashmina is cashmere, but all cashmere is not is truly unique. This is the reason why I don't use any pashmina. While the cashmere fiber also comes from the capra hiracus surface ornamentation technique on a pashmina. I feel mountain goat, most of the fibers used for making the cashmere yarn that such a beautiful material should be just left in its comes from goats in Tibet, Mongolia, Kazakhstan, Afghanistan and Nepal. purest form and not to be mixed with other Pashmina yarn is hand-spun from the fiber of goats in Ladakh mostly from materials. Usually pashmina is found either in Changthang plateau. plain “safe” colors, or in tones of natural undyed and some symmetrical well balanced stripes Unlike hand-spun pashmina, mainstream cashmere is made from machine- and checks. I have tried to break away from spun yarn. The machine spinning process calls for strengthening the yarn these traditional moulds. Most of my designs by the addition of chemicals, which in turn alters the intrinsic character of reinterpret traditional pashmina through the fiber. The hand-spinning and other manual processes involved result in use of unusual colours and asymmetry. At pashmina being softer than cashmere. In addition to this, the hand-spun present I design and produce shawls and yarn and skilled, traditional Kashmiri hand-weaving technique impart a in contemporary designs. I unique texture to the pashmina, which sets it apart from cashmere. Even mostly export to high-end fine cashmere cannot match pashmina in terms of fineness and soft hand boutiques in the USA, feel. UK,Germany and Japan. I have a small but up-market It is mandatory that a pashmina is hand-woven from hand spun yarn in domestic clientele as well, Kashmir to qualify for a Geographical Indication certification. A fabric which includes celebrities cannot qualify as a pashmina if it deviates from this standard. and politicians. My future plans include developing a Pashmina's are precious because very few women artisans are involved in clothing range hand spinning of the pashmina yarn, and hence it is scarce. Also, the fiber with pashmina. is in short supply since it comes from high altitude mountain goats. Fibers January 2013 05 • Arch Design Magazine

COMMUNION between the traditions of CRAFT & DESIGN b y S h r u t i D a s

I ndia is a country rich in its cultural and traditional practices. The relationship between crafts and the design sector has played a pivotal role in the survival of many traditional craft forms like Kantha from Bengal, Patachitra from Orissa, Tie and Die from Gujarat and , from Andhra Pradesh, Handloom Weaving from Assam, Phulkari from Punjab, and Zari from Benaras, Bidriware from Karnatka etc. The examples of various craft forms like Madhubani painting, Papier-mâché, Sikki work being practised in Madhubani area of Bihar represents the communion between the traditional craft and design in contemporary times. There is a symbiotic relationship between various craft forms and the designing industry. The best example is that of a self help group called Jiyo, which helped in reviving the traditional craft called Sikki (Sikki is a form of grass used for weaving) and making it fashionable enough to be used as wonderful decorative utility pieces. Professional designers visited villages in Madhubani (Raima village) & Sitamarhi districts of Bihar. They expanded the confined ritualistic usages and added a different dimension to the range of Sikki products altogether. Incorporating many innovative ideas they came up with contemporary and consumers friendly products using Sikki, like room dividers, lamp shades, chandeliers, hats, toys etc. They have also helped form a self help group called Mithila Sikki Sangh (Raima) which extends the opportunity to the craftsperson to participate in big art fairs and exhibitions. Thus this craft form has been revived but it still needs support from government and non- government organizations in marketing the Sikki products, towards making the craftsmen completely self reliant. Collaborative assignments in which both the designers and the local craftsmen are benefited should be promoted. The creative urge of the designers to learn from the folk and traditional elements of the culture has proved beneficial in the continuation, transference and survival of these traditional art forms. 06 January 2013 • Arch Design Magazine on i ct

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STUDENTS cul k l Fo “ S N G I S E D ” on i on ct i e l ct l e l l ” co t cul age co l k l l o C Fo “ “ January 2013 07 • Arch Design Magazine on i on on i i ct e ct ct l e l e l l l l ” co a ” co ” co age shn age l i l l l r o o T C C “ “ “ on on i on i i ct ct e ct e l e l l l l l ” co ” co t ” co t a cul cul k shn k l i l r Fo T Fo “ “ “

“Collage” collection by Aditi Desai “Trishna” collection by Neha Ranjan, Shreya Sujanti, Nimisha Sundriyal and Sonu Chabbra “Folkcult” collection by Aruniva Bhagwati and Anita Bilani 08 January 2013 • Arch Design Magazine

CERA GLASS HAAT 2012 : An Unforgettable Experience b y Q u a i d B a l a

T he CeraGlass Haat exhibition is up every 2 years, and brings together structures was commissioned with the finally over, but it will remain the big players of the Ceramic and Arch Academy of Design. This prime permanently lodged in the hearts of Glass industry under one roof. An area was to be the centrepiece & Focal each and every Arch student, leaving an international B2B trade fair and Point of the entire Exhibition. The indelible mark, an unforgettable foray conference on Ceramics, Glass, and Interior Design department of Arch was into professional delivery in the field of Allied products, this 2nd edition of completely involved in the design & creation. The project, from beginning to CeraGlass 2012 was jointly organised implementation of the project under the end, was dotted with a great number of by the RIICO, CII, ICS with the guidance of our Dean, Mr. Benoy challenges to deal with & solve - a support of Ministry of Commerce, Thoompunkal who also planned and huge learning experience. I sincerely Government of India. designed the main hut space structures thank everyone who contributed in as well as the layout of the towards making it a huge success. Apart from the Ceramics and Glass Haat.. The entire work was presented in product exhibitors kiosks, a special such a magnificent manner that it I, being an interior design student at attraction for the visitors to CeraGlass became the talk of the town and served Arch Academy, enjoyed and learned was the CeraGlass Haat, a space of as the icing on the cake that was the immensely and I am sure everyone who around 1,300 sq.m. of open area. The CeraGlass event. was part of it had the same experience. entire work of visualization, design & CeraGlass is an event planned to be put implementation of this space and its January 2013 09 • Arch Design Magazine

Inaugurated by Shri Rajendra Pareek, Hon'ble Minister for Industries, Rajasthan CeraGlass 2012 had a very grand opening with Kalbelia dancers putting up a mesmerising performance.

The 24x7 schedule that we followed for the couple of weeks given to us, also brought along some light fun and humor filled moments. Chit chatting while sipping our tea at unearthly hours and constructing, building, supervising, transporting tired bodies and material, all towards a wonderful event.

The Client Brief was to make an eye catching centre of interest which would serve to be the Focal Point of attraction for the entire CeraGlass 2012 Fair.

We had decided to explore the rich possibilities of using waste materials in the ceramic & glass spectrum including teracotta, using them to create useful products, and objects to contribute to the spaces in the Haat. Presentations were made to the client (the CII) with plan drawings accompanied by scale model options of the main space structures (to be made of bamboo) visualized for a 'Nomadic encampment' theme. These structures would form the encampment & bind together the environment and ambience with the display cum sale cum demonstration workspace for invited Artists and highly accomplished Craftsmen of ceramics, terracotta & glass from across the country, some of whom were National Awardees.

With only 2 weeks in hand from start of project to the opening, the entire process was handled by teams of students & faculty focused on different functions in design & planning viz. drawing, model making, researching & sourcing of materials, the coordination & supervision of workers for the making prototypes of products & support structures and the building & assembly of modular parts of final structures.

The work was done quite efficiently under the guidance of our Director Ms. Archana Surana and our Interior Design faculty Ms. Karuna Singh and Ms. Shikha Singh. We all enjoyed every single moment of it. Made us really proud to be part of the Arch Academy of Design - so much exposure and that too on such a large scale.

Waste material was collected from the local markets and industries. Vehicle windshields, broken glass, broken ceramics, terracotta pots, etc. Accepting his extremely generous offer of access to any material, visits were made to the Baghru factories of Mr. Dilip Baid, Handicraft Exporter & CII Chairman, Rajasthan, to select useful waste. Ceramic and glass waste products practical aspect of translating creative concepts Sankit from Jaipur a National Awardee in Glass were used for embellishments, & in making into implementable execution. The entire journey Enamelling on copper and Laxmi, a National seating and lighting as well as for some attractive was one of its kind as not only did we learn ways Awardee Terracotta craftsman from Udaipur. and useful landscaping. to overcome hurdles and snags but also learnt the At the site, we also got to interact fruitfully with very essence of teamwork, and most importantly Ms Lipika Sud, renowned interior designer and We were honoured to have with us Mr. Jayesh, the joy and ecstasy of being able to create past Chairperson, IIID Chapter, who later Mr. Sachin & Mr. Vishal who came down to us something amazing. took a comprehensive session with us at ARCH from Shikshantar in Udaipur. They contributed in too. mobilizing the Interior Design students in We all loved interacting with the craftsmen and Arch also put up a display of pertinent examples developing utility products out of Glass & artists from different parts of the country, of some outstanding design work emerging from ceramic waste, & making structural parts to be studying their work and lifestyle. Among others, classroom exercises of students and projects done used in the exhibition. demonstrating their art and techniques were, in the past, along with related information for Mr. Vikram Solanki, designer & visiting faculty Ekteshwar Hatwal a well known artist from raising design awareness among the visitors to at ARCH contributed immensely to the planning, Jaipur using Blue Pottery techniques in the Haat. design & execution of work on site at the Haat as Contemporary style of paintings on pots & plates: well as guiding us students in the work assigned Satpal Singh and Kaushal Singh from Ferozabad In closing I reiterate that it was an honour for us to us. We students got an unparalleled who specialised in making of Hukkas in glass to be a part of this project. Getting successful as a opportunity to understand the dynamism and using the Glass blowing technique; Deepak team was just awesome! 10 January 2013 • Arch Design Magazine

ARCH Nostalgic Moments

A b Annual Fashion Show 2007 I n i t i o celebrating it’s success with Pattie Sellers, Editor at Large, Fortune Magazine

All work and no play make archites dull 2005 convocation with Enjoying the Dandiya Festival , at campus.... the then Governor of Raj.

Celebrating!!! After the 2004 Annual Fashion Show

Arch alumni are invited for the Annual Alumni Meet 2013. For detail log: www.archedu.org January 2013 11 • Arch Design Magazine

SomeSome SNIPPETS SNIPPETS

VASTRA The International and Sweep the Room Apparel Fair VASTRA at the Students of Arch Academy of Design tapped their feet EPIP Fair Grounds in Jaipur, with Choreographer and 'Dance India Dance' judge showcased the best and latest TERENCE LEWIS. He was at the institute to share his in from fiber to fashion, experience with them and to inspire them to from technology to products. excellence in every thing they did. More than three hundred and "If you must sweep the room, then do it like no one fifty buyers from sixty countries else could…so spotless that you leave your mark!"– participated in the B2B fair. All Terence Lewis's attitude towards his work shows it all. garments and home textile items were exhibited under one umbrella and the fair received a good response from the buyers and visitors.

Arch Academy of Design received an inspirational Jaipur Glitz and glamour guest MR AMITABH SHAH, w marked the grand finale of Founder and CIO of Yuva the tenth edition of the ABLE Unstoppable in the month fantastic “best of the best of December. Students and show” recently at the Raj

staff enjoyed learning the y Sho Mahal Lawns. With diamond exercises and tips from him as its theme, the event on how to stay cool and fit

OPP showcased a sumptuous in spite of having workload offering of kundan and polki T

and stress in daily life. At eller sets, emerald trails from the end of the day, chokers, rubalites edged w everybody as fresh as kundan necklaces and the dew in the morning. diamond necklaces with

UNS emerald, rubies, sapphire and amazing pearl based ARTS and jewelries. The total footfall of over 30,000 CRAFTS OF also included inland and

Jaipur Je foreign tourists who turned up to see the RAJASTHAN glittering panorama of unbelievable creations in DELHI Creative Thinking The Sawai Man Singh II Museum Trust organized a two-day Workshop exposition of the arts, crafts as well as Students learnt to think creatively “local but global” with Manish heritage properties, designs, and Jain, the co-founder of Shikshantar - the People's Institute for travel destinations of Rajasthan, Rethinking Education and Development. He conducted a two days' entitled, the 'Treasures of Rajasthan' work shop on Creative Thinking at ARCH. Students participated in at the Egyptian Embassy in New Delhi. various group activities based on trust & learnt how to alleviate In the exposition various traditional fear by hugging strangers on the streets. They also learnt creative and modern products from Rajasthan new use of existing objects, and how to use waste products e.g. marble, furniture, blue pottery, creatively, resulting in the creation of the Jugadu café and Vela's rugs, carpets, gems and jewellery, point inside the campus at Arch. textiles were displayed. 12 January 2013 • Arch Design Magazine All India Entrance Examination for Design - Campus: 9 Go ADMISSIONS OPEN Ph. 4060500/02/03, Mob: 9414070678 SERIES I : CENTRE BASED ONLINE UNDER Results : 1 Dec ‘12 - 30 Jan ‘13 T extile Product Design Craft Product Design Jewellery Design vind Mar Graphic Design Fashion Design Interior Design 15 April ‘13 BA 2013 27 Jan ‘13 TCH g , Malviy ST ARTS a Nag : 6 Life Style Accessory Design SERIES II : CENTRE BASED ONLINE July 1 April ‘13 - 30 May ar Ins Results : Garment Production & Export Mgmt. (GPEM) ‘13 Affiliation & Authorisation Design Management Fashion T titutional Ar Interior Design 19 May ‘13 3 June ‘13 echnology ea, Malviy Email: admission@ar a Nag ar , Jaipur -17, Rajas chedu.or AIEED than, India g Str Je Gr In F specializ AR pr Manag y of a gr B sect univ designed t B c in r E qualific as B E c AR obus oun ollabor ear t de de TE TE ashion Design(L5) t ogr t w erna CH of CH Ac aphic Design(L5) erior Design(L5) a x x C le Cs ar TE or er cel qualific cel, eller tries f t ess t t and fle o c egic Manag s, r sity in multiple c adua C which is one of the mos emen tional r a v a

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