Re-Imagining Traditional Crafts and Techniques, To Create New Interior Design Aesthetics

In today’s times when the world-over people are talking about sustainability, equity and going back to one’s roots - it is crucial to introduce people from all over the globe to the traditional crafts and materials of vernacular, traditional cultures. It is our responsibility as designers to look outside the box and breathe new life into these crafts and artisans, particularly at this time when they are rapidly vanishing. It is challenging to create a luxurious design language using traditional crafts and materials, but doing so will serve as an awareness-raising instrument to inspire more designers and artisans to let their creations stand out above the generally accepted standards of luxurious design around the globe. We as designers, need to investigate various ways to transform these locally produced materials and crafts into an unusually rich environment. Designers should be encouraged to study, understand, document and promote these crafts everywhere in the world, not just in the areas where they originate; it is important to look beyond the boundaries of religions, crafts, and nations - because the ability to create beauty should never be limited to any place or any time. In this context, this study looks at studying a few traditional crafts and hand-finishing techniques used in vernacular built environments of a particular region of India and re-interprets and adapts them in a contemporary interior design scenario to create a luxurious, sustainable, responsible and beautiful design aesthetic. This is represented here in this paper as a research study, documentation and design demonstration.


SELECTION OF TRADITIONAL CRAFTS & TECHNIQUES
For the purpose of this study, one has selected five crafts and techniques involved in making of built spaces that have originated or been extensively used in Southern India (specifically the state of Tamil Nadu); however, one could have easily selected different crafts and techniques from other parts of the country as well. This is just a way to demonstrate an approach. The main idea is that craftsmen from across the country are exposed to designers from other parts of the country as wellso that their craft is not restricted to their region only. It is understood that certain materials are available in certain parts of the country only, and their applications are culture and climate dependenthowever, with modern tools, techniques and materialsit is possible to use them across different regions of the country also. As soon as the stencil is taken out of the frame, a dry sand and cement mixture (3-4mm thick) is applied over the mixture to keep the colours in place.
After that, a layer of cement mortar is added to the tile and compacted using a hand spade.
To create a dry, flat surface, the dry powder is distributed once it has dried. It has a thickness of 10 millimetres.
The tile is then left on the glass plate after the surrounding metal frame has been removed.
After being left to dry for a day, the coloured cement tiles are finished curing by being buried in water for 7-8 days.
Lastly, the cured tiles are sun-dried (24 hours) among husks to soak up excess moisture. The natural oil released from the husks provide a natural sheen to the tiles. The glass plate detaches itself naturally from the tile in this process. The edges are given a smooth finish by gently rubbing a stone across them.

Dimensions and Motifs:
These tiles can be customized according to the design and needs, but they do come in some standard sizes and shapes: Flooring -Square Tiles (0.75 inch thick) 8 x 8 inches, 10 x 10 inches Skirting (0.5 inches thick) 8 x 8 inches, 10 x 10 inches Borders 10 x 5 inches, 8 x 6 inches, 8 x 5 inches The patterns on the tiles have been influenced by the Victorian tiles used from the 19th century. But since they are entirely handmade, they can be customized according to the client's requirements and a designer's designs. The patterns can be exotic floral motifs of geometric checks. The design entirely depends on either the client or the artisan making it. The personal customization in each tile design creates a totally unique set of tiles. Laying the tiles: The Athangudi tiles are handmade hence they are prone to roughened edges and uneven surfaces which makes it difficult to lay the tiles in an even surface and to precisely smoothen the edges with the wall. Therefore, only the masons from Karaikudi have mastered the art of laying the Athangudi tiles and can produce a flawless tile layout with clean, smooth and gapless edges and flat level. Although 100 sq. ft. can be laid out in one day after that these laid out tiles are polished by hand IJFMR23044223 Volume 5, Issue 4, July-August 2023 5 for 2-3 days by using rice husks. These husks make the floor shiny and smooth. These polished tiles can reflect light like a mirror that too without the use of any machinery to polish it. Swamimalai is the last location in Tamil Nadu where traditional bronze casting is still done. Numerous Hindu devotees worship these idols, which are gods. The most wellknown of these intricately decorated idols is that of Nataraja, Lord Shiva's dancing manifestation. The small town of Swamimalai is located near Thanjavur, on the banks of a Kaveri tributary. Sculptors came to Swamimalai in the Middle Ages after learning that the soil was perfect for the process of casting bronze there. Today, the craft is practiced here by about 500 people. The fine-grained rich alluvial sand with a lot of clay can be found in Swamimalai which is said to allow the molds to accurately produce even the most minute features intended by sculptors. The Thanjavur region has been using bronze casting techniques for more than a thousand years. The early Pallava era is when the earliest bronze cast idols were created. The most beautiful bronzes, however, came from the Chola era of medieval India (ca. 850-1070). The craft of bronze casting is the result of interactions between the literary and visual arts, which were encouraged by the Bhakti Movement. The sculptures were conceptualized by masters of the metallurgical sciences who had also studied anatomy and religion. The lost wax casting method was used to catch details like hair, draped clothing, and fine jewellery. Idols spanning twelve centuries have been excavated from the Thanjavur belt and are currently displayed in the Thanjavur Palace Museum. Design:The height of the idols can range from 6 to 12 feet, but they can also be made to the specifications of the purchaser. All deities are seen holding either their vahana or their traditional adornments, including rosaries, conches, and musical instruments. A common portrayal of a god's look or resemblance is an event from their life. Krishna is commonly depicted holding a flute to his lips in the tribhangi stance, but he is also seen dancing over the coils of the deadly Kaaliya serpent or explaining the Geetha to Arjuna while assuming the Kaaliya Mardana pose. Every symbol is set on a pedestal for stability, and all measurements are made according to the one mentioned in the Shilpa Shastra. The distance between the end of the lower mandible and the hairline is known as the "tala," which is the fundamental unit of measurement. The tala is split into twelve equal pieces called "angula," which are then further subdivided into eight "yava," and so on, down to the smallest unit, "paramanu." These measurements are made using a ribbon made from coconut tree leaf that has been cut to the icon's necessary length and folded at different lengths.

Fig.2.3.3 Details and aesthetic proportions of the figurines
Poetry verses are used as inspiration by sthapathis (artists/creators) to create the idol's aesthetics. For example the eye shall be modeled after a swimming small fish, the eyebrow shall be curved like a neem leaf, the head shall mimic a hen's egg, the edges of a lily bloom outline the ear, a sesame flower shall be the nose, a bow on the upper lip, a ripe tinda (apple gourd) on the lower lip, a small mango pit on the chin, and the flutes of a shell on the neck, the thighs, the lower trunk of a banana plant, the torso, a cow's head, the arm, the fall of an elephant's trunk, the knee a crab, and the leg, a big fish.

Iconology:
The study of sacred images and their symbolism is really important in this art, because the Swamimalai bronze icons depict different deities in a variety of stances and locations; understanding the symbolism behind them helps us better understand their history and spiritual message.
• Based on the motivations behind their adoration, icons can be categorised. The Swamimalai bronze icons are often referred to as "panchaloha" (5 metals) icons since they are made of a combination of 5 metals: copper, zinc, tin, silver, and gold. Gold and silver have gradually been removed from this process due to financial restrictions. If they are to be utilised in their personal IJFMR23044223 Volume 5, Issue 4, July-August 2023 10 worship, many people still give their gold and silver jewellery to be melted and used for the casting metal mix.

Making:
Step 1: Wax Modelling -Groundnut oil, resin, and paraffin are combined to create a molten wax concoction. The combination is then heated and cooled until it reaches the right consistency for modelling and shaping. The wax is then used to make the idol. The idol's torso, legs, hands, and seating pedestal are all made individually and then heated and fixed together. A softer wax is then applied to the idol to add jewellery, accessories, and weaponry. The wax model is weighed after drying because the amount of metal needed for casting should be 10 times that of the wax model.
Step 2: Solid and Hollow Casting -A solid cast is a sculpture that is completely made of metal. Temple sculptures are created using the solid casting technique. A hollow cast is created using a top layer of clay fibre and metal covering. This method is used to create decorative components in order to decrease the sculpture's weight.
Step 3: Making a Mould -On top of a bed of sand, the idol is positioned face-up. All around the wax figurine, fine-grained clay is applied. Alluvial soil and river sand are placed in a ratio of one to three on top of the fine-grained clay layer. The side of the face's mud sheath is allowed to dry for three to four days. Following that, conduits, or "runners," which are oriented around the idol, are attached to the wax shape. These runners act as wax outlets and inlets for molten metal. These runners are placed close together.
Step 4: Wax Removal -In this step, the mould is heated and placed with the runners facing down. Negative space is produced inside the mould as the melted wax drips down the runners.
Step 5: Baking the Mould -A mud coat is applied to any cracks found after a mould examination to seal them. Cow dung cakes, coal, and kindling are used to construct an open furnace around the mould. The sthapathis can tell that something is baking by the intensity of the smoke that is released. Prior to pouring metal into the hole for solid casting, it must have finished cooling. To guarantee smooth casting in hollow casting, the mould is heated to the same temperature as the metal. Ash from the procedure is gathered in a nook. In the past, this ash was used as manure and even for cleaning kitchenware.
Step 6: Melting Metal -The metal is heated in a furnace that is shaped like a rectangular pit with a metal grate over it and an air intake on one side. The two stones are set inside the pit using damp mud. Sand is sprinkled over these stones to prevent the pots from sticking when they are set on top. The hole is filled with two pots. Metals are put to the pot after being weighed: copper (82%), brass (15%), and lead (3%). A few dry cakes of bovine dung are ignited, and coal is shovelled around the pots. The fire is stoked with an electric fan. The metal is then permitted to melt while the pots are covered in stone domes. Metal is constantly added in small quantities to reach the required weight. Near the region where the metal is baked and melted, a pit is created. The mould is the same size as this hole. The hole is then filled with mud. When the metal is poured inside, these moulds have a tendency to slightly enlarge. By burying the mould, you can stop the growth, and the dense mud packing will stop fissures and stop leaks.
Step 7: Metal Pouring -After the metal has liquefied, the heating pots are raised, and red-hot metal is poured through one of the channels. Through the other conduit, air is permitted to erupt. Until the cavity inside is full, the metal is continued to be poured. After allowing the cast metal to cool, the mould is ultimately destroyed.
Step 8: Breaking the mould -The brass bindings are clipped and the mould is uncovered. At the location of the idol's head, the baked clay casing splits open. The remaining mould is then broken open after which it is cleansed with a brush. The figure is cleaned and the channels are sawed off.
Step 9: Detailing -The finer elements are reviewed using a chisel. When the idol is chiselled while being supported by the feet, about 10% of the metal bulk is chipped away. These broken pieces are gathered for use in moulds in the future. The face is detailed at the very end to protect it.
Step 10: Polishing -The statues are scrubbed with charcoal and cleaned with tamarind water and soap nut stones. They are then buff with the aid of electrostatic polishing equipment. To add a patina, some items receive chemical treatment. cement slurry at the end. The initial slow-setting cement, when combined with oxides, sets more quickly and is certain to produce a different coloration from the old floors.

Materials, Properties & Use:
The naturally occurring mineral oxide is found in powdered form, similar to the iron oxide that is most frequently thought of as having a red tint (and which itself has 20-25 variations), as well as other metal oxides that come in black, blue, green, and other colors, among others. When texture refinement is understood, oxide mixture lumps can also assume the form of clearly defined tiles.
The most popular reason for choosing oxide flooring is the desire to have continuous (seamless) surfaces in various shades of glossy finishes. Oxide is also used on walls for this harmonious reason to create a clear, simple, and glossy final product. Many architects finish surfaces in oxide as well as ledges, counters, shelves, and the like. It is also used on walls instead of paint in many homes in Tamil Nadu, a choice that was also made due to financial considerations. These oxide flooring are eco-friendly and very cheap compared to other options. Along with this they do not require any maintenance, only mopping the floor regularly (with10-12 drops of coconut oil once a week) will keep on increasing the sheen and shine of these floors.

Process of laying oxide flooring:
Step 1: Laying the PCC -A solid base bed is the first prerequisite for getting a head start on the oxide flooring. The best surface is a concrete floor because it guarantees a strong bond with the oxide coating. A bed of plain cement concrete (PCC), which is a mixture of aggregate, cement, and sand in the proportions 1:2:4 and water in the necessary amount for workability, is placed, with a thickness of 100-150mm. If the flooring is already in place and the oxide is to be applied on top of it, the surface must be scrubbed and cleaned to get rid of any substantial dust or debris and create a plain, clear foundation.
Step 2: Flooring Laying Preparation -After cleaning, the flooring depth is measured by placing cement lumps or fake level dots every one or two meters to level the flooring to the necessary slope. The floor is divided into different panels for laying the mixture if the plan requires it. The primary reason for these divisions is to make it simpler to work in groups of areas. Additionally, these divides aid in preventing the minor shrinkage cracks that can develop on long spans. The glass, aluminium or brass strips are fixed in cement mortar at a depth determined by the grid size for the design layout, with all of their tops levelled in accordance with the slope, and then permitted to set. One receives separate panels to start laying cement mixture in once they are securely embedded.
Step 3: Laying the Cement Mix -Then, using the amount of water necessary to make the slurry easy to pour, a 1:4 mixture of cement and sand is distributed in these panels up to a height of 20mm. After applying and pressing a second coating of the mix that is in thick lump consistency, the surface is levelled with a straight-edge trowel known as a "karni." The thin oxide layer will be placed on top of this layer, providing the ultimate floor level. With the help of an electric rotary cutter, the panel strip margins are cleaned up to create sharp ends and a depth of 1-2 millimeters.
Step 4: Preparing the Oxide Mixture -In order to achieve the required fineness of composition, the dry oxide mixture is now manually prepared by hand. This specific requirement sets most of the oxide floors apart in their quality of precise shade. The mixture is made up of oxide powder, the granules of which are manually crushed to allow for uniform mixing and avoid lump development until very fine powdered form is achieved. Depending on whether a dark or bright shade is required, it is then blended with white or grey cement in a general ratio mentioned above, with some variation up and down by the on-site assessment to achieve the desired shade. By passing it through the sieving tray, one unit of marble powder (or lime, a less expensive alternative), is added to this mixture. A better blend can be achieved without developing cracks due to the heat released during the quick chemical reaction of the components thanks to the addition of lime, which also delays the setting process of the mixture. Water is added to the prepared oxide composition to create a slurry-like mixture, which is then poured on top of the cement foundation.
Step 5: Pouring and Laying the Oxide Mix -Two layers of oxide are applied; the second layer of oxide has water added in proportion to maintain the application thick so that it can be levelled with a flat trowel. While the front portion starts to dry up by spreading out sheets of newspaper to soak up the moisture, this is applied by the mason moving backward. (As locally practiced). The flooring will display any lumps that develop in the mixture. Trowelling is necessary to get rid of them, and hand polishing makes the tiny undulations disappear. After this coating has completely dried, the floor area is filled with water up to one inch by sealing off the area, and curing is carried out over the course of 24 hours to achieve the reactive strength. When the surface has thoroughly dried, any white patches that may have appeared on top are removed with a cloth, and the region is then cured once more to remove any remaining mineral. Oxide floors must be completed in a single, uninterrupted session without breaks, which, based on the area to be covered, can take all day and night.
Step 6: Finishing the Floor -The oxide floor is prepared for polishing to a smooth, acid-stain-resistant sheen. To smooth and level the surface in preparation for polish application, the surface is rubbed with 400 grit sandpaper. One part wax-based polish is combined with two to three droplets of turpentine. This mixture is spread with a soft towel on the floor and scrubbed in two circular motions with rice husk or coconut pith until the wax is removed, the seams are hidden, and any potential pores are blocked. Some practitioners also use rice flour, coconut oil, and egg white when stone-scrubbing the floor. After the entire floor area has been polished, the room is sealed off for two to three days to allow the wax to completely absorb and give the floor a radiant sheen.
Design: This material allows for the creation of any design, though the colour choices are constrained if one chooses to use only naturally occurring materials. However, adding chemical powder colours allows for the creation of a wide range of colours, despite the fact that chemical hues could never match the subtlety of naturally occurring colours.

LATERITE STONE Geology & Composition:
Laterite is a residual ferruginous rock, commonly found in tropical regions and has close genetic association with bauxite. The term 'laterite' was originally used for highly ferruginous deposits first observed in Malabar Region of coastal Kerala and Dakshin Kannad and other parts of Karnataka. It is a highly weathered material, rich in secondary oxides of iron, aluminium or both. It is either hard or capable of hardening on exposure to moisture and drying. Laterites are formed from the leaching of parent sedimentary rocks. They belong to Non-transported sedimentary rock category. They are formed in in-situ conditions. The mechanism of leaching involves acid dissolving the host mineral lattice, followed by hydrolysis and precipitation of insoluble oxides and sulphates of iron, aluminium and silica under the high temperature conditions of a humid subtropical monsoon climate. Laterite is found in the region of mean annual temperature of 23 to 26-degree C and rainfall 1200 to 4000 mm and with the number of rainy months 8 to 10. Laterite can occur at every altitude from sea level to about 2500 m. A considerable area of the former cultivated land is covered by laterite. Laterites vary in colour, but are usually bright. The shades most frequently encountered are pink, ochre, red and brown, but some occurrence mottled and streaked with violet, and others exhibit green marbling.

IJFMR23044223
Volume 5, Issue 4, July-August 2023 15 A single sample may exhibit a whole range of colours merging more or less perceptibly into one another in variety of patterns and forms. Laterites owe their colours to iron oxides in various states of hydration and sometimes also to manganese. Iron compound yields a greyblack colour and manganese compound a velvety black in a reducing medium, while in an oxidizing medium iron yields ochre, red or black, and manganese violet.

Use in Construction:
Lateritic soils have served for a long time as major and sub-base materials for the construction of most highways and walls of residential houses in tropical and sub-tropical countries of the world. Laterite is a building material which can be used in construction from flooring to roof construction. It's name is also derived from the Latin word 'later' which means brick, as this rock can be easily cut into brick shaped blocks. Laterite stone is ground and filtered using a sieve, which is then mixed with 5% cement mixture and a chemical setting agent. This mixture is then machine compressed to form high density interlocking bricks. They are manufactured in two widths of 6 inches and 8 inches; and are also available in varying lengths. Each interlocking brick has grooves and locks on its sides which can be fitted with each other to form a block wall that does not need cement mortar for bonding. They have lower embodied energy due to use of natural locally available materials-stone and wood. The only energy spent is in transportation of materials. The high recyclability factorespecially in case of interlocking blocks which don't use connecting mortar is a bonus. Following are some properties of laterite, when used in construction; The use of laterite is cost effective as compared to concrete blocks.
• Reduces cost of plastering and painting.
• Reduces heat within the house.
• Soft when quarried hardens on exposure.
• Porosity of laterite stones is more than bricks. Thus load bearing structure of laterite masonry cannot be more than double storey.

RE-INTERPRETING THESE CRAFTS TO CREATE A CONTEMPORARY & LUXURIOOUS DESIGN AESTHETIC -A demonstration
Several designers frequently use such art and craft pieces in their projectsbut more often than not they are used as artefacts that enhance the ambience, beauty and meaning of the space. Rarely do we see these traditional techniques, crafts, finishes and elements being actively used as 'space-making' elements that define the very aesthetics of that space. The second part of this study aims to do exactly thatby choosing to design a hospitality project (boutique hotel) in an existing building located in Chennai, Tamil Nadua design that celebrates and re-interprets the use of these finishes, crafts and techniques in a luxurious, contemporary setting.

THE WAY AHEAD
As demonstrated in this study, with a detailed study and understanding of our traditional building techniques and materials, it is possible to not only preserve such dying crafts, but also to reinvigorate them and promote them across the contemporary design and construction scenario. Each country, state, region has its own unique history and built heritageand there should be no reason why we designers should not engage ourselves in exploring it. It is the duty of design professionals to give the necessary attention, effort and time to these traditional crafts and the skilful craftsmen and their families who keep them alive. Through this study and follow up design demonstration, the authors wish to emphasise that such an approach is a win-win for all concerned; The Client will get a design output that is unique and not seen anywhere due to this approach. The Artisans and Craftsmen get dignity and monetary benefits due to such projects and would see a revival of their craftswhich may be a good incentive for their next generations to keep involved in it. The Designers are able to do justice to such beautiful, skilful and old crafts of their own culture and at the same time they can generate a design language that is uniquely their ownderived from a combination of these crafts and the designer's aesthetic sensibilities. One hopes that this approach can be promoted much more and can re-ignite the culture of hand-crafted, sustainable, local and beautiful craftsmanship within our built environments.