Royal College of Art (RCA): Linkages with NID & Indian Design: Early Years (Part 1/3)

Royal College of Art, London and its significance to the world of design

Picture: Prof M P Ranjan in his office at NID. Pic by Darrag Murphy and Gisele Raulik

I have written about the strong linkages between the German design schools of the Bauhaus and the HfG Ulm with their education philosophy and teaching methods at the National Institute of Design earlier. I have outlined these influences in some detail in my paper that was presented at the DETM conference at NID in March 2005. The paper and presentation can be downloaded from here. (Paper pdf 69 kb) (Presentation Show pdf 2.5 mb)

While these two German schools have had a huge influence on world design, especially in the educational space, we will need to look at the influences of the Royal College of Art (RCA, London) in the shaping of world design as we know it today and in particular I will use this occasion to look at the influences of the RCA on Indian design education and research.

Picture: The great London Taxi (left) and The Royal College of Art on the web.

According to the RCA communication, I quote:

"The Royal College of Art is a very special kind of ideas factory.

It is the world's only wholly postgraduate university institution of art and design which specialises in teaching and research, offering MA, MPhil and PhD degrees across the disciplines of fine art, applied art, design, communications and humanities.

Over 850 masters and doctoral students drawn from all around the world interact with a teaching staff of over 100 professionals, all being leading art and design practitioners in their own right. It is therefore one of the most concentrated communities of artists and designers to be found anywhere on the planet.

Along with an impressive roll call of visiting professors, lecturers and advisors, students are given first-class opportunities for major collaborations with cultural and industrial partners. It all adds up to a creative environment that's unrivalled elsewhere."

UnQuote.

Historically, the events that led to the construction of the Crystal Palace in 1850 in London and the conduct of the Great Exhibition of 1951 launched the industrial revolution and also set the stage for the entry for design as a major partner with industry of the day. The British Government took cognizance of this influence and decided to invest in design and art education to help the process of assimilation of these new ideas into industry so that British industry continued to hold a leadership position in world trade with the use of these special skill sets.

The Royal College of Art was set up in 1837 as the Government School of Design with the charter of training designers for the industry as a national responsibility. The history of the great school has been captured and made accessible through the book “The Royal College of Art: One Hundred and Fifty Years of Art and Design”, by Christopher Frayling, Barry & Jenkins, London, 1987. I will not repeat what the book does admirably, that of documenting the illustrious students, Professors and administrators of the school but try and explore the connections between this great school and the NID, which was the first design school set up by the Government of India.

In the two following posts I will expand on the major influences during the formative years of Indian design movement and in another post deal with the contemporary influences with exchange and collaborative between the RCA and Indian design schools, particularly the NID. The second post deals with the formative years of Indian design while the third post with the contemporary exchanges and the creation of new generation of international designers from India.

TATA Nano and Design Education Challenges for India

Image: NID students and faculty at the Auto Expo 2008 send back images of TATA Nano.
The TATA Nano is sexy and cheap; a potent combination when taken to market and that is exactly what Ratan Tata has done. Consumers and designers alike are enamored by the offering. Many designers on the DesignIndia list have chosen to praise Ratan Tata for achieving the price sensitive Nano which was unveiled at the Auto Expo 2008 in New Delhi. I too admire the achievement in a qualified sort of way, particularly in automotive design, engineering and marketing and Ratan Tata has taken a step ahead of the Japanese car makers in offering a competitive price point with quality and having met the existing benchmarks for cars of this kind. The will surely be a different place from now on.

However I am afraid that at another level this will contribute to the growing mess that is now our Indian city and I would hold Ratan Tata just as responsible for that since he is among India's business leaders who has the means to make a real difference by working at the systems level and in influencing government to act responsibly as well. In the emerging world of Web 2.0 all of us are responsible and the clear cut separation of responsibilities that have been carved out for each in the era of industrial specialization, the separation of church and administration, and later the separation of industry and governance, have all but blurred to give us an online community that responds in an online democracy in real time responses. The theories of economics from the industrial era all hold that the consumer and market responses will somehow shape the events that flow in the free-market but I have some counter arguments for that and we are at a stage when we need to rethink our macro-economic theories and bring in innovation and design into the equation which is not being done nor has it been done at anytime in the history of man. Innovations were seen as individual pursuits or as business activities of individual companies that would need to be therefore protected by law so that future inventions could be encouraged in society. This may be so in the pre-internet era of poor communication but today we need a new paradigm and the open-source movement and the creative commons are helping rewrite the way innovations happen in our society but business still goes on as usual and countries compete, companies compete and individuals compete as if this is the only way forward for society since we are all victims of the Malthusian beliefs and the theory that he had proposed and we are not able to operate at any other level of imagination. I believe that we are entering an era of massive cooperation where our notions of competition will be challenged and will need to be replaced by new attitudes that foster a dialogue between the players and a whole new way of creating our future.

We need to explore ways in which we can get business leaders and politicians from all parts of India to listen to some of our dreams as well and the design vision can then be a driving force for the shaping of tomorrow’s cities. I have been working in bamboo for many years and we have several break-through innovations that promise to give a good future for our rural folks and we have numerous failures from which we have learned a lot about the material as well as about human behavior. Design for social good is a mission that can be achieved but too little is being invested into that direction because we do not have faith in that direction since it is not yet a measurable offering as science, technology and market offerings are in labs, tests and the market with a look at the bottom-line only. Companies such as Infosys are among the most respected ones in India, in my personal view, since they have exhibited extremely high ethical standards in all their operations but several other large companies in India cannot be included in their league of ethical operation even when the government itself is moving onto a regime of extreme transparency with the new Right to Information Act. Design is an act of faith and a matter of judgment. Faith by itself is not a bad thing if we can support it with insights drawn from experience in the real world and from our imagination of what can be achieved and what needs to be achieved. Blind faith, on the other hand, is to be feared since it fosters fundamentalism and extremism as a reaction. However, design thought comes in the first category, faith based on experiential insights and on informed intentions but it can never be subject of reason unlike science and technology. Therefore design looses out on every engagement that requires proof before it is accepted and in India huge investments are made in Science-Technology schemes while design has been left out and this cannot be the responsibility of the design community alone, especially since design can indeed offer real solutions if only we tried. Design good cannot be proved but it can be sensed and modeled or simulated and tested through that route, if only the necessary investments are made in that direction and when sufficient time is given to create the models that could be appreciated and apprehended first conceptually and then in more rigorous ways.

Image: NID stall at the Auto Expo 2008 in New Delhi.
I have moved some distance in my journey in understanding design and I am now convinced that we need to take our arguments to the business and government without being apologetic in any way. Design is complex and while I can admire the engineering achievement of Ratan Tata and his team I bemoan the huge catastrophe that this will portend for all of our society and us in the days ahead. I have been thinking about the directions that we have chosen to take in our educational ventures and sometimes I feel that we need to stop and think a bit about both direction and speed. While a hyper-fast "mind to market strategy" may be a desirable activity for business success it could also be a sure sign of disaster for society if the direction of movement is wrong for the context in which it is applied. Speed and efficiency need to be tempered with relevance and direction that is desirable if we are to benefit from the speed and efficiency that is on offer by raising the bar and coordinating our efforts. I would have liked to see some imaginative public transport solutions rather than just some more sleek automobiles being exhibited at the Auto Expo 2008 in New Delhi. Perhaps we need to take systems design more seriously and get all our disciplines to work together in the final years to show India just what can be done by a determined young team of designers, all moving in the desirable direction. This direction should come from our analysis of the Eames challenge that he had set in 1958, "what qualities does India and Indians consider to make a good life?"

The TATA Nano has raised many questions which need to be answered in this context and as the premier National Institute of Design we are just as responsible for our actions as is Mr. Ratan Tata as the senior Industrialist and businessman of India in the 21st century. I do hope that these matters are discussed at the Institute and in the design community in India since design at the systems level, which is being ignored by both industry and government for over fifty years now, since the Eames India Report was written and which led to the establishment of the National Institute of Design in Ahmedabad, needs to be reexamined in the light of our current needs and aspirations as well as in the context of global warming and social conflicts of the day, for us to find direction forward from here.

There has been much debate about the Nano in the DesignIndia forum and the note by Sagarmoy Paul that Arun Gupta has so kindly shared with all of us at NID and it is just one such debate that is in progress there which can have a wider participation within design schools across the country.

Image: City Tablet – A concept scenario for socially accessible transportation for our cities by NID student Varsha Mehta in the DCC class.

Image: Water Focus – A concept scenario of water based alternate transport for Indian cities by NID student Vinay Jois.
I would like to share here two design opportunity visualizations that were prepared by two of our students in the last semester as part of their Design Concepts and Concerns course at NID. They were looking at mobility options in the city and came up with scenario visualisations based on the insights that they had garnered in their group brainstorming and research in this very short foundation course in design. I propose that such socially relevant challenges be taken up at the systems level in senior years in our design schools and that these be funded and supported by our industry and government agencies who are looking at the whole area of transport design in India. Such assignments could be conducted in a collaborative space that is carved out from a new partnership between design, engineering and management schools in the same city and there may be other possibilities to get several multi-disciplinary teams together, if there is a will to do so.

Will the design community pursue the government and industry to make this happen? I do hope so for the good of all of us. Perhaps it is also time to explore new theories of economics that is informed by the possible use of disruptive innovation as a way forward not just as a market driven mechanism of competition between nations, companies and individuals in the WTO framework but a new order that is based on open-source ideology of cooperation and community based innovation particularly for innovations of objects, services and infrastructure for public and social good. This can only happen if we are able to take the understanding of design and layer it with a new theory economics and politics of innovation that can be set in motion in a cooperative framework going forward. Design schools have a role to play in shaping these frameworks and much of the initial explorations that are needed by society can happen within the classrooms of the future and these in turn will help us build scenarios that will be moderated by the community to actually build a desirable future for all of us.

GINGER: The Design of a “Smart” Hotel Chain in India

Lessons for the use of design in the arena of public utilities and facilities in India Image: GINGER Reception at Agartala
How do you think of a new hotel chain is created when none exists in the specific category or with the business model that you think will be a good offering in the world today? Of course you would have to Design it from scratch. That is you will need to have a dream and then explore all its dimensions and details and then refine the offering through an iterative process that blends imagination with action in the real world. All this is done before you can build a first prototype and figure out whether the concept that excited you in the first place actually works in the real world. This iteration continues as you build the other elements of the chain with each learning being fed back into the next hotel and then the next till you have a fine tuned chain with a brand and a compelling reputation. So what is proposed is not a one time rational activity, that of building specifications and then using a “cookie cutter approach” as Herbert Simon, the Nobel Prize winning scientist would have us believe, problem first and the solution later. However here we see an example of a caring, feeling and iterative process that consolidates all learning and then adjusts the offering in a sensitive manner to changes in the market and the environment in the real world. This process is best described by the word “Design”.

Image: GINGER hotel in Kejur Baghaan in Agartala. Note the Kejur (Date Palm) trees in the background. This is exactly how GINGER, a new hotel chain set up by the Taj Group of Hotels came into being some four years ago in India. All, hotel chains are built the same way, but this one is special for me because it is designed by a team that is headed by one of my students who had studied product design at the National Institute of Design and interestingly the product is endorsed by the management guru C K Prahalad who by the way never uses the word “Design” in any of his speeches or for that matter his books, but that is another story. This raises another question for us as design educators in India and that is how do we educate our designers who would have the flexibility and the ability sets to be able to offer future requirements in an extremely complex context of the Indian market and this has always excited me as a design teacher. We had at NID chosen in the late 80’s, if not earlier in an implicit manner, to adopt the systems model at the heart of our education offering and this and other such stories are perhaps a vindication of the success of those moves in re-designing design education. This approach is explained in two papers that I have prepared in 2003 (Avalanche Effect…pdf file 55kb) and in 2005 (Creating the Unknowable…pdf file 50kb) and the models and design theory that evolved can be seen at this link to my website. Another important question for me is, how do we make design at this level visible to managers and Governments across the world?

Amit Gulati, an NID graduate in Product Design and founder partner of INCUBIS Pvt Ltd, a New Delhi based design and architecture firm, was asked by the Taj Group to pitch a concept for the proposed budget hotel to be set up in Bangalore. They were successful in their bid which is as yet unpublished or celebrated, but that particular bid led to the creation of the first prototype hotel aimed at the youthful traveling software professionals in Whitefield area in the IT hub of the city. It was named The "Indi-One" and it was a runaway success from the word go and the offering was later re-branded with market expertise from the Landor Group, UK, when the name GINGER was proposed for the expanding chain of budget hotels in India. INCUBIS was contracted on an exclusive design service and supervision basis to help create all the other hotels in the chain and now we have 10 such offerings, in as many cities, with Pondicherry joining the chain as the newest offering which opens to the public later today. Bangalore, Bhubaneswar, Durgapur, Haridwar, Mysore, Pune and Trivandrum are the other links in the chain and the strategy to address latent needs in the tier-two cities in India has created an exciting growth model for the company.

Image: BCDI as it was in January 2002 when we commenced the programmes for the local bamboo craftsmenI am writing this post from the GINGER in Agartala where I have come to sign a “Statement of Intent” between the Centre for Bamboo Initiatives at NID (CFBI-NID) (which I happen to Head at the NID) with the Tripura Bamboo Mission (TMB) and ironically the hotel is located across the street from the BCDI in Kejur Baghaan where we used to have our tea breaks amidst a number of Kejur (Date palm) trees when NID was given the responsibility of creating a new curriculum and in managing the BCDI as part of a contracted project arrangement with the Development Commissioner of Handicrafts, Government of India. Here we were designing a new educational system for training young professional craftspersons for the bamboo sector and our involvement continued from January 2002 to June 2004 before we were rudely evicteded from our base in Tripura by administrative indifference and perhaps a complete lack of understanding at what we were trying to do there.

What actually has been designed at GINGER? Everything is designed – from the business model of the self-help systems to the liquid soap dispenser in each toilet in the hotel. These include all the tangible and visible signs, products and spaces as well as the intangible look and feel of the service as well as the details and location of all features that have been included in the offering. The slogan “Please help yourselves,” explains it all. Arriving at the smart arrival port at a smart looking building that has all the semantics of a hotel, there was no liveried bellhops at the door but a row of baggage carts with a help-yourself sign that was tastefully placed in the hotel’s chosen type-style and colour scheme. The door is automatic and opens across as the cart is rolled in, notice no moustached door keeper in the good Indian palace tradition. ATM style self check in are I am told available at other centres but in Agartala it was a smart young receptionist who handed over my swipe-card that would let me into my room number 106 and the clear black and white plastic stickers with a red border tell me that the card goes into the card slot near the door which sets of the lights, air-conditioner and the TV all part of the energy saving design strategy. Other labels in self-sticking plastic signs tell me that tea and coffee made in the room using the auto-stop electric kettle are compliments of the management and the mineral water in the small refrigerator too comes free but refills are available on each floor in the Guest Pantry where one can iron your clothes as well. Another sign on the telephone socket tells me that I can connect the lead to access the internet but in Agartala this is not yet a reality. A booklet in the room tells me that I can help myself to all the services, the pantry, the vending machines and the gymnasium as well as have access to a cybercafe, breakfast, lunch and dinner buffets, all at a reasonable charge. Interestingly the room tariff and service charges change with each city, keeping in mind the cost of living index and fortunately for me the Agartala offering comes at the lowest price of them all. I have stayed in most major hotels in Agartala over the past many years and it is clear that GINGER will give them all a run for their money. Design being a reflexive activity I am now interested in seeing how these competitors will respond to this new offering.

The rooms and lobby are spotlessly clean and so are the smart bathroom and the linen in the room. A comfortable in one corner with a conveniently located plug point for my laptop tells me that the designers intended to facilitate my use of my laptop and this is close to the telephone socket and all the other switches that I need to manage my room. The flat panel TV occupies no space on the wall and it is located at a convenient height across the bed and next to the full-length mirror. The wardrobe, refrigerator and luggage rack are all rolled into one integrated offering which also provides a platform for the kettle and the complimentary tea bags satchel. The rubber wood trimmed furniture are all fixed to the walls and clear off the ground with stainless steel legs for the table and ceramic tile faced platform for the bed that shows a clear concern for the cleaning crew which is small but effective to keep costs down to the bare minimum without compromising on quality and hygiene. Energy efficient lamps in very smart steel trimmed fittings are strategically located in the access corridor as well as the room and a wall mounted lamp assists reading in bed and at the adjacent table, very well located indeed, or should I say designed?

What is not visible is the CCTV surveillance system in the foyer and the lobby and all floors have a view of the reception through and the back end systems of housekeeping and online bookings all designed with care and concern for the user. A tie-up with Café Coffee Day has a pay and use walk in facility on the ground floor garden and lobby level all day coffee shop for the guests and vending machines for fast food and toiletries. What have they missed? Not much, but no room service and at Agartala no STD phone access to the room but that I am told is a temporary problem from the telecom supplier. An empty room at the entrance proclaims a sign “ATM Room” perhaps a money exchange for the international traveler and a promise of “Smart Basics” a trademarked offering from the Roots Corporation Ltd, the owners of the chain which is in turn a fully owned subsidiary of the listed company Indian Hotels limited (IHCL) which in turn is a part of the TATA Group in India. The booklet in the room proclaims that the concept was developed in association with C K Prahalad but there is no mention of the design minions who have done the fine detailing and translated the offering in the real world with sensitivity and good practical wisdom of an experienced designer. INCUBIS was and is still involved with all the new hotels in the chain and this ensures that each is contemporized to the changing market and the aspirations of the guests and this ahs given us a great but still invisible quality offering from the design in India stable and we hope to see more of these in the days ahead.

Image: A tree in Agartala on the way from the airport which I used as a title screen for a short movie that I had made in 2002 on the BCDI visit.
Can this be a lesson for the creation of new public facilities across the country? Be it public signage or toilets and affordable housing for the poor and facilities for the elderly in our fast moving cities there are a huge range of opportunities for action waiting to be realized as well designed and managed offerings. The National Policy discussions that will take place in Bangalore on the 11th December 2007 needs to garner the wisdom of the design community as Rashmi Korjan, another NID Graduate also from Product Design, has stated in her recent post on the DesignIndia list a few days ago. Yes, we do need to move the focus of the policy from being solely industry driven to get the Government to invest in design for the public facilities as well as design for society where few industries and business would like to tread, even if they have an active Corporate Social Responsibility programme in place. The KaosPilot, about which I have written about earlier has proposed the need for a “Fourth Sector” ..(download pdf file here) approach with the Government, Business and the Not-for-Profit (NGO) sectors forming the first three sectors that are not quite able to deal with the needs of society and the public in an effective manner today. Can we learn from their experiences and bring these lessons to the ground into India. By the way 35 KaosPilot students are planning to spend 3 months in Mumbai starting February 2007 and perhaps students from Indian design and management schools can collaborate with them in a mutually beneficial relationship. There are other ways in which we can act directly if we apply our collective imagination and track all the design opportunities out there and find the partners in the field to make it happen just like the GINGER story that has unfolded over the past three years with the use of Design at the heart of the offering. Yes, GINGER is a truly design driven offering from the house of the TATA’s. Great going, and keep going, and we are all watching and cheering from the ranks.

Fields of Design and Opportunities for India

Design opportunities need to be mapped across all 230 sectors of our economy and in a recent lecture at Hyderabad (see below) I had used a five fold opportunity matrix to set out one possible view of this indicative set. These included, at the macro level five terms that helped capture the field of possibilities in an easily comprehendible model that went from the marco to the micro levels of human activities on the planet and this would be useful for India at the policy level as well.

1. Nature: which would include opportunities dealing with earth, space & environment,
2. Society: opportunities dealing with culture, community, education and communication
3. Work: opportunities dealing with occupations, productivity and employment
4. Life: design activities leading to innovations in food production and processing, health and fitness
5. Play: those dealing with leisure, entertainment, media, sports and games


Model: Fields of Design and Opportunities for India

These design opportunities would need the designer to be empowered with knowledge sets from across a variety of fields as well as imbued with capabilities and sensibilities that can be used at the various stages of the design process, from goal setting and opportunity seeking, exploration and concept formation, scenario building and evaluation, business models and prototyping followed by detailed development, engineering and market delivery, all of which are critical and important if the innovation is to succeed in the particular context that it is to be developed in, particularly for India. These design sensibilities can be transmitted through good education models that can be adopted to reach across many disciplines and fields of expertise and these could be offered in multi-disciplinary frames at the university level as well at the school level so that design thinking and action become a natural capability of our society and not just be left in the hands of specialised designers who are today being trained in several selected specialisations within design schools. This would be a valuable way forward to build a creative society which can support a future economy that competes on innovation and knowledge applied in new and interesting ways that are both sustainable and exciting to generate great value in the near future.

Note: Model was created with Cmap tools developed by IHMC - A University Affiliated Research Institute, USA. More information about Cmap tools can be found from this link

Find out more....: What are Design Opportunities?