port jon final

It’s a love affair that started from a very young age. I played with my mother’s precious gold jewelry - much to her horror and jealously fought over older kids

bead sets. Mud cakes, and barbie dolls were not my thing., jewelry bead sets and craft kits crowded my room. When school projects came around I would focus on decorating the borders and creating extravagant ‘project report’ covers versus the

content inside.

The early influences on my aesthetic sensibilities were diverse to say the least. Growing up in India overwhelms one’s sensibilities with a combination of ethnic kitsch, and Indian baroque. Added to this was the influence of my parents’ pen-

chant for minimalist scandinavian decor and style. Strangely, I learnt to appreciate all of them.

My aesthetic sense developed a practical feel keeping a close eye on manufactur-ability, due to internships that gave me a strong ‘industrial design’ influence : at India’s leading design house Foley Designs, and at a wearable technology start-up, and of course during my two years of industrial design at Rhode Island Schoole of Design. My jewelry sensibilities got further refined in the subsequent three years at RISD. I remember taking a History of Industrial Design course which got me fascinated by how the design world developed and adapted through the times. I will continue to evolve, but today -- my aesthetic appears minimalistic at first glance but with well thought out details of a creative nature with functional intricacy that makes it all

come together. .

Throughout my years at RISD, I had been attracted to various physical con-nection systems in everyday objects which has influenced the way I problem solved intricate connection methods in my pieces. The movement of hinges, connections and gears had become the starting point of my thesis work which resulted in a

underlying theme of transformative jewelry.

I think of myself as a creator of wearable sculpture rather than a jeweler, always seeking new interpretations of existing works of art and design. Visually striking yet deceptively simple jewelry is what I am inclined to make. At the same time

influenced from my ID background my jewelry results from experiments, material inspiration and traditional shapes.

- Alisha Naru

SKILLSET

RHINO AND FLAMINGO

Sample 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sample 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sample 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sample 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sample 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Out of a Square . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Candle Vase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jigsaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .War and Peace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Skeletal Ear Cuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Galaxy Ring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Back and Forth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disk Holder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zipper Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Duality Bracelet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Invoked Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Cushion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Peek a Boo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Safe Haven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Honeycomb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Compact Bracelet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ring Bracelet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘Onion’ Vase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14 & 151617 1819

20 & 21 & 2223 & 2425 & 26

27 & 28 & 29

AESTHETIC

1 & 23 & 4

56 & 7

89

1011 & 12

13

3031323334

SKILLSET

RISD has given me an all round experience when it comes to jewelry. From metal fabrication, forging, enameling, mold-making, casting to designing and

developing my ideas, to enhancing my work through working with technology. My stint in industrial design has equipped me with woodworking skills and

developed the way I think and solve my ideas. My jewelry professors used to tell me they could see an “ID oriented mind” just by discussing my ideas and

designs with me. I suspect that was a compliment :)

Out of a Square (thesis piece) Walnut ,Cherry, Brass

Configuration I 12” x 12”

Configuration II 10” x 10”

1

When you shift the necklace from one configuration to the next the square shape shifts from the inside to the outside perimeter.

Three layers of wood riveted together in perfect harmony.

2

Working with laser cutter using rhino and riveting

Candle Vase Brass, Copper 7.5” x 3.5”

3

A plate was soldered at the junction. By flipping it over the function changes from a candlestand to vase.

Hand forged from sheet. Hammer marks were varied on the copper versus the brass to add some visual interest.

4

Hammering and Forging skills

JigsawSilver, Amethyst2” x 0.75”

Ring inspired by Le Corbusier’s furniture (especially chairs) which consist of very

geometric metal frames.

5

Can be worn as two seperate pieces. A hook incorprated into the design enables both rings to interlock . The seperation allows for the finger to still bend when both are worn together.

6

Two bezel stone settings were made from sheet metal, scored and soldered by hand.

War and Peace Brass, Copper

Circumference - 16”Pendants - 2.5” x 1.5”

7

Post war both sides are a part of the person, they join together as one in the

necklace.

Earrings are the representation of the human psyche before and during

war (shiny and undisturbed before and tainted during

war).

8

Working with hand fabricated jumprings, ‘S’ hooks and scoring.

Skeletal Ear Cuff Copper, Silver 3.25” x 1.3”

A statement ear cuff reminiscent of an extension of wings made from copper wire and thin copper sheet.

9

Enclosing wire frames with thin copper sheet. Burnished and soldered.

Galaxy Ring White Bronze

1.15” x 2.5”

Wax cast ring.

Inspired by celestial objects in the universe.

10

Hand carving hard wax work and in house casting.

Back and Forth Brass, Nickel Silver

Bracelet Diameter - 2.75”

Bracelet utilizing hinges as the focal point. Lays flat when not

worn.

11

Experimentation with hinges. Making the hinge a focal point of the piece versus just a

functional aspect.

Disk & Holder Walnut & Cherry Disk - 6” x 6” Stand -

12

Disk handmade from walnut block

of wood.

Stand created using bent lamination. Without the disk the stand is incomplete as

it cannot stay upright on it’s own.

Creating curved surfaces with block plane and utilizing bent lamination for stand.

Zipper Table African Mahogony, Ash Wood, Clothing Zippers

18” x 18” X 12”

Group Project with 2 other people. We designed the table together and

made each third individually.

It can be used in 2 different orientations. When unzipped each third works as individual side tables.

13

Hand done box joints, woodworking skills - chiseling, band-saw, planing, sanding, table saw

AESTHETIC

I take inspiration from not only jewelry designers but also various furniture de-signers as well. My identity as a jewelry designer has only been strengthened through my background and knowledge from industrial design. I have an eye

for pieces which can do more than that what is expected at first glance. I like to look beyond just the visual. What can I do to make the piece more than a trinket to wear? Shifting away from a personal or lengthy narratives and

geared more towards details which anyone who interacts with each piece can understand and enjoy.

Duality Bracelet (Thesis Piece)Walnut, Cherry, Brass

Configuration I 5” x 5”

Configuration II 5” x 5.5”

14

A bangle which can be worn in two different configurations through the help of a hinge system.

15

Rising chair by Robert Van EmbricqsThe simple mechanism which allows a flat surface to raise into a 3

dimensional functional object was the starting point for my bracelet. I deconstructed the simple mechanism of the chair using paper strips.

Invoked Memory Brass, Outdated Indian currency 1.15” x 2.5”

Giving new value to something which lost the value it once had.

16

Cushion White & Yellow Bronze

1.6” x 1.6”

Hand carved hard wax cast rings.

17

Peek a Boo White & Yellow Bronze 1.15” x 2.5”

Hand carved hard wax cast rings with a cubic

zirconium.

18

Safe Haven White & Yellow Bronze 1.2” x 2.5”

Hand carved hard wax cast rings.

19

Playful experimentations

Flex - Form

Connection & LinkagesTexture & Pattern Shape & Form

20

Taking design referances from Salima Thakke’s work. Creating pieces using families of repetitive modules intricately combined together.

Honeycomb Vellum Diameter - 14”

Hand cut with a slit

in the middle. Halves were over-

lapped Which creates a raised angle of approx 30

degrees.

Derived From the above experiments,

I developed the raised diamond

shape.

21

22

Inspired by an engagement ring which turns into a small spherical sculpture using specially

placed hinges. Armillary Ring by Kirk Lang. Compact Bracelet Brass, Steel Closed - 2.25” x 1.25” Bracelet Diameter - 3.75”

Working mechanism designed in Rhino.

23

Compact Bracelet Brass, Steel Closed - 2.25” x 1.25” Bracelet Diameter - 3.75”

Bracelet collapses into a more compact orientation making it easier for packaging and travelling.

24

Ring Bracelet Brass, Steel Ring -1.4” x 1” Bracelet Diameter - 2.75”

A ring which expands into a bracelet.

25

26

(Thesis Piece) ‘Onion’ Vase Bass, Silver, Paint

4” x 3.5” x 2”

27

First a simple working sample was made of the locking mechanism, then piece was modelled in 3D

software Rhino.

Cross sections were created for the lasercutting file.

28

Inspired by Jing Yang Pendant: Ich bin keine Vase. A much more simpler visual concept than mine. But this served as a starting point of making a vase necklace more than just being a pendant.

A pendant which gives the illusion of a table object. It houses the chain when closed .

The halves lock into place by interlocking them and turning 90 degrees.

29

Rhino (3D software) was part of my university curriculum but never a compulsory part of the design process. We were taught the software itself ( along with a little

bit of artcam and rendering software Flamingo) and then how to utilize it with CNC mills, 3D printers and laser cutters. After learning the software I felt that it opened up the way I experiment and explore my ideas. It eventually became a compulsory part of my personal design process, working on rhino was my way of sketching out

ideas, it is my sketchbook.

RHINO AND FLAMINGO

SAMPLE 1

30

SAMPLE 2

31

SAMPLE 3

32

Copy of an existing piece of jewelry.

SAMPLE 4

33

SAMPLE 5

34