Designer
evolving translucency, inviting users into a visual and tactile experience that transcends the conventional boundaries of furniture design.
At the core of the table's interactive allure lies the ingenuity of its adjustable dimming function. Acknowledging the profound impact that lighting can have on human perception and interaction with furniture, this table serves as a testament to the transformative power inherent in simplicity. By providing users with the ability to tailor the light to their preference, it opens the door to a fundamental yet profoundly meaningful interaction with a furniture piece.
Celebrating the Mughal era in India through the charpai
The debut creation within the illustrious "Objects of Change" series, this table stands as an exquisite embodiment of the harmonious marriage between two divergent yet inherently complementary materials: glass and wood. Drawing inspiration from the ever-shifting translucency of water, this extraordinary piece artfully mirrors the dynamic interplay of light, akin to the gentle undulations of ripples traversing the surface of a serene body of water. The intricacy of the table's design mirrors the fluidity and variability inherent in water's translucency, achieved through the meticulous layering of glass and the integration of an adjustable dimming function. Together, these elements conspire to recreate the enchanting sensation of a perpetually
evolving translucency, inviting users into a visual and tactile experience that transcends the conventional boundaries of furniture design.
At the core of the table's interactive allure lies the ingenuity of its adjustable dimming function. Acknowledging the profound impact that lighting can have on human perception and interaction with furniture, this table serves as a testament to the transformative power inherent in simplicity. By providing users with the ability to tailor the light to their preference, it opens the door to a fundamental yet profoundly meaningful interaction with a furniture piece.
The Mughal Era in India saw the country’s artisan industry flourishing like never before, with a distinct style of design. However, the arrival of European colonisers violently transformed this artistic landscape, compelling Indian craftspeople to reflect the aesthetic preferences of their rulers, leading to hybrid styles such as Indo-Dutch and Indo-Portuguese. With ‘Abandoned Artistry’, Gaurav Jhangiani seeks to rediscover and honour the lost treasures of the Mughal era by focusing on a typology of woven bed known as the Charpai, paired with tapestries that narrate the tale of British colonial rule and the subsequent transition away from traditional Indian furniture. Displayed together, Gaurav seeks to reclaim the essence of India’s unique artistic heritage, and celebrate its enduring legacy.
The Mughal Era in India saw the country’s artisan industry flourishing like never before, with a distinct style of design. However, the arrival of European colonisers violently transformed this artistic landscape, compelling Indian craftspeople to reflect the aesthetic preferences of their rulers, leading to hybrid styles such as Indo-Dutch and Indo-Portuguese. With ‘Abandoned Artistry’, Gaurav Jhangiani seeks to rediscover and honour the lost treasures of the Mughal era by focusing on a typology of woven bed known as the Charpai, paired with tapestries that narrate the tale of British colonial rule and the subsequent transition away from traditional Indian furniture. Displayed together, Gaurav seeks to reclaim the essence of India’s unique artistic heritage, and celebrate its enduring legacy.
Abandoned Artistry
The charpai, once a symbol of comfort, also became a poignant symbol of oppression during India's struggle for independence. Due to its lightweight design, British colonisers often forced their Indian servants to carry the charpai for them to rest upon. This act of subjugation turned the charpai into a stark reminder of the exploitation and cruelty endured by Indians under British rule.
The tapestries narrate the story of the British Empire's colonisation of India. The first tapestry captures a royal durbar (courtroom) scene during the reign of King Akbar II, one of the last Mughal emperors. This piece showcases the opulence of Mughal art and architecture, with the central focus on the royal charpai where Akbar II is seated.
The second tapestry illustrates the tightening grip of British control over India. I used a red hue derived from cochineal pigment, the same pigment used for the iconic red coats of British soldiers—a colour synonymous with British colonialism.
The final tapestry depicts the complete domination of India by the British, marking the end of the Mughal Empire. It highlights the transition from the rich, traditional charpai upon which King Akbar II once sat, to the modern chair occupied by a British lord, symbolising the shift in power and cultural erasure.
Abandoned artistry
01.02 - 01.07
Thermowarp
01.02 - 01.07
Interactive bench
01.08 - 20.01
Process
Hand made wooden daybed
Material
Wood
Cotton rope
Abandoned artistry
01.02 - 01.07
Thermowarp
01.02 - 01.07
Interactive bench
01.08 - 20.01
Interactive bench
01.08 - 20.01
Thermochromic table
01.08 - 20.01
Transparency
01.08 - 15.09
Tapestry development
The manufacturing process intricately revolves around the fusion of two distinctive materials. My journey commenced with the creation of the tubular glass lamp, a collaborative effort with a skilled glass craftsman. Employing Rhino3D, I meticulously crafted a detailed 3D model as the foundational blueprint. Collaborating closely with the craftsman, we executed precision water cutting, followed by the meticulous chamfering of the edges. The final touch involved seamlessly bonding individual layers with UV glue. This deliberate choice of separate layers over a single solid glass piece was driven by the desire to create a captivating luminous effect. By allowing the light to refract at each layer, a mesmerizing dispersion emerged, transforming the glass into an illuminating centerpiece.
Transitioning to the wooden components, the tubular leg underwent a transformative process on the lathe, revealing the artistry achievable through this technique. Simultaneously, the table's top materialized through a series of carefully orchestrated steps involving the planar, table saw, and router. Maintaining a sense of visual cohesion, I incorporated the same chamfered edge treatment used for the glass into the wooden elements, creating a harmonious design language.
The culmination of this dual-material masterpiece involved a meticulous joining process. To seamlessly unite the glass and wood, a specialized adhesive designed for the unique bonding requirements of these materials was employed. This adhesive served as the invisible bridge connecting the luminous elegance of the glass lamp with the sturdy warmth of the wooden table, resulting in a singular, cohesive work of art that seamlessly marries craftsmanship and functionality.