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Thứ Sáu, 28 tháng 8, 2009

Agriculture under Water stress: Design Opportunities in India

Design for Agriculture: Who is addressing these issues today?


Prof M P Ranjan

Image01: One of the first design projects done at NID by the first batch of Product Design students in 1967, a Seed Drill that could be pulled by bullocks in small Indian farms. Images are from the NID Documentation 1964-69 (Download 25 MB pdf here)


The World is facing climate change and India is facing severe draught across 250 districts, almost half the country, out of a total of 604 administrative districts have been declared drought hit this year. The stress will be on the local farmers who have to fend for themselves in such times of monsoon failure and they are at the mercy of the elements and also an uncaring administration that would wait till the media raises a stink before any action is taken and usually all too late. This is perhaps where design imagination should come in and anticipate such situations and have strategies in place to meet the contingencies with imagination and viable offerings well before the event takes over. Are we ready for it? Far from it, as it apparently seems to be, but why?. Our design infrastructure is quite incapable of making any immediate and specific offering since no investments have been done in the past to explore and address such systemic eventualities that seem to revisit us time and again. Agriculture is unglamorous and unlike fashion gets very little attention from the media and from the design community as well. In the 60’s and 70’s Bucky Fuller wrote about an anticipatory design science movement that could and would address many of these glaring eventualities and he went about setting a personal example with path breaking thoughts and conceptual offerings that could be followed by others in the years to come, most of them well documented. The Bucky Fuller Institute now has instituted an annual design competition that is looking for mega solutions that follow the Bucky Fuller spirit and each year one design team is awarded the coveted Bucky Fuller Challenge Award while several others are honored as runners-up and finalists, all showcased at the Challenge website here : Bucky Fuller Idea Index

Image02: A low cost grain thresher designed in 1968 by Product Design students at NID as a response to the challenge from the Eames India Report of 1958. (Download 360 kb pdf file here)


At the Government of India level however, we seem to think and act as if design applies only to the needs of organized industry which may perhaps explain why the National Institute of Design (NID) is located under the administration and budgetary control of the Department of Industrial Policy and Promotion (DIPP) and perhaps this also explains why NID has never had invested in an education programme dealing with design for agriculture all these years. On the other hand media thinks and acts as if design is located in the arena of fashion and huge media space is accorded to this form of design at the sad exclusion of all other kinds and genres of design, the kind that is desperately needed across as many as 230 sectors of our economy today. The National Design Policy too is silent on the needs of this vast sector and it is particularly so on the needs of the public goods and services that are usually the domain of Governments to serve, being mostly ignored by private industry since the consumer base is too diffuse to be of immediate value to them. The economists who advise our Governments and industry tend to overlook the sector as a whole and leave these matters to politics and legislative processes under the broad umbrella of development programmes, but usually to provide lip service just before the elections. There are a few exceptions to this rule however and they include Hazel Henderson who debunks the theories of Nobel Prize winning clan of the Chicago School and Brian Czeck who in his obscure book titled “Shoveling Fuel for a Runaway Train” debunks the “growth at any cost theories” of the Keynesian school and proposes a more humane and ecological form of economics that looks at a steady-state and sustainable models of development.

Image03: A small selection of NID’s Agri-Expo, Rural and Water related projects done over the years.


With much of India facing a severe drought we need to look afresh at the needs of our agricultural sector that are hard hit by the absence of water. Design schools in India have ignored this sector except in fits and starts and that too in some peripheral areas of need. Government too did very little to encourage the design schools to take up the challenges by providing the required funding and the mandate to act in these areas. The NID, did however design a major exhibition for the Department of Agriculture way back in 1977 but this was a trade fair and after much chest thumping about the success of the mega-show which was impact assessed in those days by slick marketing teams from the advertising industry everyone seems to have once again forgotten the sector as a whole. I recall that the early projects undertaken by the students of the first product design programme at NID in the late 60’s included several tools for the agricultural sector but over the years we seem to have distanced ourselves from the needs of this huge sector that provides maximum employment across the country. Perhaps we were still under the influence of the Eames Report and the teachers and studends did look at the grassroots for inspiration and direction for action. Why should not the multiple new NID’s that are proposed under the new National Design Policy look at these different sectors of the economy rather than taking the NID Ahmedabad as a role model and continue to address address only the market driven sectors of lifestyles and automobiles and the traditional sectors of manufacturing and communication sectors. The need is clear from over 230 sectors of our economy and we need to build a market for design graduates who are capable of working in these neglected sectors and the Government has a major role to play if this is to happen. In the late 80’s I do recall that NID had an assignment to design tractors for an Indian manufacturer but like all other product design projects from that period this one too was bound to sit on the shelf due to the lack of any competition in the Indian industry in those days.

Image04: A view from an earlier post on water harvesting system designed by Dinesh Sharma for Furaat Systems in Ahmedabad inspired on the traditional step wells of Gujarat and Rajasthan.


Earlier on this blog I have shared the work of an NID graduate, Dinesh Sharma, who by drawing inspiration from the Gujarat and Rajasthan traditions of step wells made from modular blocks has designed a water harvesting system that is both elegant as well as functional. The Furaat Water Harvesting system is just one of the many possible approaches and we need too make concerted investments into the design and testing of hundreds of approaches to deal with water in our lives to face the realities of our situation in India and to find solutions for all of these, from region to region.

Image05: P Sainath as seen on Google Images search.


Farmer suicides are today a way of life in most drought hit districts since crop failures and the search for local ground water sources leave our farmers with huge debts that they cannot service and the spiral down to suicide is an almost foregone conclusion. P Sainath, an Indian journalist has spent many years studying the phenomenon of rural poverty starting with his seminal book titled. “Everyone Loves a Good Drought: Stories form India’s Poorest Districts”, in a stark commentary on the corruption and lack of care that is symptomatic of the Indian condition, particularly in rural India. According to the review on Amazon.com – “They reveal how poverty is compounded by corruption, incompetence, laziness, greed and stupidity. Instead of improving life, many government schemes/development programs only make the poorest poorer, while making corrupt politicians, land- owners and the complacent new middle class of Mumbai (Bombay) richer.”

A specific Quote from India Together online about the correlation between local borewells and farmer suicides tells us a chilling story. Quote
“Sinking borewells, rising debt 
P Sainath. 

June 2004: NALGONDA, MEDAK & NIZAMABAD (Andhra Pradesh): Musampally has more borewells than people. This village in Nalgonda district has barely 2000 acres under cultivation. But it boasts over 6,000 borewells - two to every human being. Over 85 per cent of these wells have failed. The rest are in decline. The desperate search for water has bankrupted a once prosperous village….” UnQuote Read the full story here.
And another view from Wiki on Farmer Suicide here

Image 06: Stills from an online video offered by Nature Magazine about the water hot spot developing in western India with severe water stress and ground water depletion in the States of Rajasthan, Punjab, Harayana and Delhi which also happen to be the food bowl of India.


The alarming news is that this water stress is being felt across the food bowl of India across the fertile plains of Punjab, Harayana and Western Uttar Pradesh. While the Design Concepts & Concerns (DCC) course has been addressing the various issues of water in our lives across many domains and verticals we have constant news flows about the shortage of water coming from many sources. The latest one is the result of a six year long satellite based study conducted by a consortium of scientific institutions led by NASA. The alarming video can be watched at the Nature Magazine website at this link here. We need to seriously address the issues that this holds for the design community in India and how we can rally to deal with these realities on the ground and how well we are currently prepared to face these realities. That design can address this kind of challenge is not really in question since this is the only discipline that can bring an integrated and focused body of human experience to bear on these really wicked problems with imagination and political will to find lasting solutions that will get us through this impasse.

Image07: One of the short listed projects under the Bucky Fuller Challenge–New Mexico Renewable Energy Strategy Maps for sustainable regional development.


The Bucky Fuller Challenge Award for 2009 went to the sophisticated Urban Transport solution that redefines personal transportation in our cities. But for me the runner-up, titled “Dreaming New Mexico” shows great promise as a way forward with local planning taking the lead and with the use of maps local communities are involved in envisioning desirable and viable futures which is followed by a sustained programme of “Bioneering” involving the use of imagination, innovation, technology as well as political processes to get the task done. Regional design schools could help locate these dialogues with the community and assist decision makers build new and imaginative solutions to address a host of local issues towards resolution of the same.

Image08: Paul Polak and his product offerings for marginal farmers in Asia and Africa through his international entrepreneurial initiatives.


India needs to look seriously at the needs of our agriculture and rural micro-industry sectors and not just the crafts sector that brings in export income by through a huge number of export oriented industries. The benefits of the huge export sector rarely reach the remote rural producers but increasingly the strategy has been to cluster the production in class two towns and cities and real rural producers are left to fend for themselves. Paul Polak–founder of Colorado-based non-profit 
International Development enterprises (IDE)—is 
dedicated to developing practical solutions that attack 
poverty at its roots, who in his book “Out of Poverty” outlines strategies and products and services that he has developed to achieve huge successes using appropriate design at the marginal farmer level with huge success. Design in India needs to look at these models of rural development and not just the “Lifestyle product” category for the export markets with our crafts capabilities. Another example of design at the periphery comes for the “d-school” in Stanford University’s Stanford Institute of Design where their Executive Director, George Kembel has taken their students to Nepal and Thailand to search for real challenges to create entrepreneurial designs for extreme affordability. (download pdf of the d.school offering here)

India needs to take a leaf out of these initiatives and try and integrate design into our Agricultural Universities or focus the attention of the next NID fully on the needs of the agricultural sector as an integrated offering that looks after the design needs across all the sectors of need from water harvesting and management to managing the cold chain for reaching the food to the consumers across the land and all the tasks and services that come in between these two extremes from the point of view of our fragmented farm ecology all over the country. Wikipedia gives a list of 41 Agricultural Universities in India and it is my view that all of them need to integrate design abilities and actions into their many programmes if they are to be successful to prevent farmer suicides in the future.

Prof M P Ranjan

Thứ Bảy, 13 tháng 9, 2008

Exhibition Design at NID: A reflection on Design Education for India

Design for India

Image: Three major exhibition design projects from the NID documentation of 1964 to 69, the Nehru Exhibition (Eames - 1965), the Osaka Theme Pavilion (Frei Otto – 1969) and the Gandhi Darshan Exhibition (Dashrat Patel – 1971) all commissioned by the Government of India to promote the national agenda. Download NID Documentation 64-69 as a 25 mb pdf here


Exhibition Design at NID: A reflection on Design Education for India
Multidisciplinarity is sometimes used as a slogan to show that design is complex and that many different skills and knowledge areas would need to be accessed in order to solve a particular messy issue but this is rarely done in practice since this is politically a very difficult task of negotiation and coordination. However when filmmakers and media designers work to deliver complex messages in the medium of both film and exhibit design this is perhaps the only way that it can be done effectively. An exhibition or a museum is a complex but coherent message that is delivered in space and or time – through the use of many devices – and at NID we have had a huge legacy of experiences that we could draw upon from the numerous projects that were conceived and executed over the long period of over forty five years beginning from 1964. I wrote a paper in 1986 about the lessons from the various exhibit design projects done at NID and this was in the context of a conference on design of crafts museums held at Pragati Maidan in New Delhi. This paper can be downloaded from here as a word file: Exhibit Design at NID

Starting with some early projects for the Space Applications Centre and some Textile Mills at Ahmedabad in the early 60’s the first major exhibit to be assigned to NID was the Nehru Exhibition. Charles and Ray Eames designed this exhibition with their office team working along with the young NID team at Ahmedabad. The Eames Office teams located themselves at NID for a few months while the research and design of the exhibition involved the young NID students who learned on the job from the world masters. These students were the first batch of Graphic Designers being trained at NID who later became the first faculty group of the Institute. The Nehru Exhibition traveled the world and I too was involved in these projects in New Delhi in 1972 and later in Santiago, Chile in January 1973 and much later in the early 90’s when it was set up once again as the much enlarged and permanent “Discovery of India” exhibit at the Nehru Centre in Bombay. All these projects were done by the faculty of the time and students from several disciplines were involved as project associates, each with a specific design assignment from which they could learn by doing. “Learning by doing” was the slogan of the day and frequent project meetings ensured that all members got to learn about the problems and achievements of all the other teams that were handling the diverse tasks to be completed in time and at the highest quality standard, insisted upon and set by the international consultants as well as the faculty teams at NID.

Such projects in those days brought in the money needed to experiment freely with expensive materials and tools within education and the Institute would be buzzing with activity through the day and the night when deadlines got tough and the learning was taking place in a rich soup of activity and dialogue associated with these projects. These experiences also brought in many specialist experts such as copy editors, photographers, typographers, calligraphers, artists, illustrators, lighting, media and structure experts, all masters in their respective field, and their visits to the campus as well as at work locations in many fabrication shops where the various exhibits were being fashioned gave live exposure and experience to the students, and all of this was based on the design schemes proposed by the teams from NID.

Image: NID's heritage campus as seen from the lawns was the scene of all the activity mentioned in this post. Today two new campusses have been set up at Gandhinagar and at Bangalore.


In the late 70’s exhibition design was offered as a discipline for the SLPEP Programme which was then five and a half years duration with a one and half year foundation programme. Dashrat Patel headed and conducted the discipline with Pradeep Choksi as his faculty assistant during the first few years, but whenever major exhibition projects came into the Institute, students from all disciplines were involved as team members and everyone got the multidisciplinary exposure. The landmark projects handled in this period included the Our India Pavilion in the 1972 IITF Trade Fair with huge multi-screen projection systems executed with technical and multimedia experts from Czechoslovakia, the Textiles of India Pavilion for the Ministry of Textiles and the Nehru Exhibition, all of which opened on the same day in New Delhi in November 1972. The first batch of NID’s SLPEP Undergraduate students were all involved in these three projects and the learning was truly through the doing as was professed in those days as the educational philosophy of the Institute. The exhibition design education programme was suspended for a few years and then offered again through popular demand from students wishing to explore several materials as well as media, message, structure and form. The exhibition design programme flourished under the leadership of Vikas Satwalekar who took personal interest in the activity while he was the Executive Director of NID from 1988 to 2000. Included in these is the Rta Rtu exhibit for the IGNCA in New Delhi and the Discovery of India exhibit in Bombay besides a regular education offering at NID and a rich crop of graduates from the discipline, all with great leadership that was revealed by their work in the field since then.

The major projects handled in the early days included the Agri-Expo in 1977 under Ashoke Chatterjee’s leadership, the Manipur Pavilion and the DST Pavilion in 1981, Energy Exhibition in 1983, and the Commonwealth Institute Exhibit in London during the Festival of India in the UK. The other period of major projects included My Land My People for the Festival of India in the Soviet Union under the leadership of Vinay Jha between 1985 and 1988 when he was the Executive Director of NID. Two major museum design projects were already under way when Dr Darlie Koshy took over as the Executive Director of NID in 2000, the major museum project for the Reserve Bank of India and the Khalsa Heritage Museum for the Government of Punjab. While the first museum was completed and delivered in Bombay as a very high quality offering the second ran into political trouble of many kinds. However, the Khalsa project ran into all kinds of delays and the project has now been handed over to a team of NID graduates who are now completing the project since both Vikas and Suranjana Satwalekar moved out of NID after his retirement as a member of the NID faculty. However NID shifted its focus from “hands-on” production of exhibits to outsourced production and student involvement in these projects dwindled to a very small and infrequent involvement due to policy changes in education and professional practice at NID. The “Hand-on Minds-on” slogan that I had coined – for our bamboo based elective using three species, kanakais (affinis), strictus and giganteous, each from Tripura, Madhtya Pradesh and Karnataka respectively – in November 2003, which was later borrowed and adopted wholesale by the institute across many of its publications and external communications. However, in the real actions that followed the slogans, the hands-on seems to have lost out to an intellectual research focus, which saw the workshops at NID shrink in size, and activity and the student population soar in numbers across all the specialized disciplines at NID. Exhibition design once again stuttered from lack of conviction in the multidisciplinarity being at the core of design education and many narrow specialisations were launched in the claim that these would bring greater depth of research to the specific fields. Only time will tell if this will happen and I have my doubts, which I have expressed at many occasions.

We need to review the design history of our exhibition design education and practice and draw the lessons from these experiences since they were not just professional projects being carried out in a pure design office but they were truly rich training grounds for young design students who were exposed to live experiences across a multidisciplinary environment in a climate of high motivation, optimism and a high quality commitment. This kind of learning is unique to NID since professional projects were brought into the classroom and these tested the mettle of both faculty and students alike. It is not surprising that so many of our graduates occupy leadership positions in their careers across many sectors of the Indian economy and we should use these reflections to see how design education can and should be strengthened in a live manner in the days ahead. Unfortunately, as with so many other design schools around the world NID too suffers from a lack of process documentation of its work and experiences. This may be a good moment for us to rally our faculty and students as well as those who have recently retired from service to try and use the web based platform to document and garner all these experiences in a way that will give us insights that would help shape the future of design education when India is finally recognizing the need for this kind of training and the national policy is geared to set up several schools all over India. What models should they follow? Surely not the route followed by the schools of architecture and technology but perhaps that which has been adopted by the schools of medicine where practice is at the heart of education, “Hand-on Minds-on” all the way. Yesterday two students met me in my office to ask me questions about the history of the NID’s exhibition design programme and in my response to their questions many insights and experiences flashed through my mind, which has led to this paper.

Next week NID is organizing a very interesting meeting under the leadership of Gira Sarabhai who from her museum design and management experience coming from the setting up and running of the Calico Museum of Textiles in Ahmedabad has asked NID to explore the need and structure for a proposed new programme on the conservation and management of the textile and museum heritage of India. Aditi Ranjan, Head of Department of Textile and Apparel Design at NID is coordinating the meet on the 18th and 19th September 2008 with international and national experts meeting together with design educators and this I am sure is a great opportunity to reflect on the NID experience in museum and exhibition design. I will unfortunately miss this event since I will be on my way to Bangalore for my two-week course in DCC for the NID Bangalore students as well as our bamboo project for the IL&FS and the Tripura Bamboo mission for whom we are conducting at the IPIRTI campus located across the street from the NID campus. However I do hope that the meeting will sift through the vast NID experience and integrate this into a rich palette of inputs and insights for the future of design education in India.

Design for India