Hiển thị các bài đăng có nhãn Ray Eames. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn Ray Eames. Hiển thị tất cả bài đăng

Thứ Năm, 4 tháng 6, 2009


Vitra, Occasional Table LTR
Charles Eames, Ray Eames, 1950

Charles and Ray Eames designed the LTR as a small, variable side table and even had several different versions of them in the Eames House. Even today there are many of these tables standing there, individually or in groups, decorated with objects from the Eames collection or simply acting as side table next to armchairs and sofas.

Download 3D model with texture from Uploading

Thứ Ba, 28 tháng 4, 2009


Vitra, Stool
Charles Eames and Ray Eames, 1960

In 1960 the Eames office was commissioned by Time Inc. to fit out three lobbies in the Rockefeller Center in New York. As well as complete interior fixtures and fittings the project included the comfortable Lobby Chairs and a series of solid walnut stools. These turned stools which (as Ray Eames originally intended) can also be used as occasional tables, have three different design details in their centre sections. 

Download 3D models with texture from Turbobit

Thứ Năm, 23 tháng 4, 2009

Directors at NID: A Time to Reflect

Directors at NID: A Time to Reflect



Design for India: Prof. M P Ranjan

The stainless steel name boards in the picture below as seen outside the Directors office at NID were installed by Dr Darlie O Koshy just before he took premature relief from the post of Director NID in October 2008. This however does not tell the whole story of the Chief Executive positions at the National Institute of Design. The history of NID is yet to be written and the history of design in India too would be intricately intertwined with the actions and roles of the various persons who have played a leadership role at NID, particularly in the position of its CEO, which has had various nomenclatures at different points of time. With the announcement last week of the next incumbent to the post of Director NID, Prof Pradyumna Vyas, we get a chance to reflect on this particular position and to look back at the individuals who have played a role in this particular office at NID over the years.

Image 01: Stainless steel nameplates to celebrate the various persons who had occupied the position of Director NID over the years.
However the inlaid comments show that the actual nomenclature used was that of Executive Director till 2006 when it was changed during Dr Koshy’s second term to that of Director NID for which there has been no real explanation so far from anybody. The names and designations in between the plates are those of individuals who have held charge in the gap between two formally appointed Executive Directors which happened in 1972 and in 2008, both due to an unplanned transition in each case.


However, the NID did not start with its organization being headed by one Executive Director. According to the organization chart that was published in the NID Documentation1964 to 1969 (download the 24 mb pdf file here about the early history of NID) the institute was managed by a Directing Board which was later substituted by an Internal Management Board, both of which were headed by Gira Sarabhai while Gautam Sarabhai held the position of the founding Chairman of the Governing Council of NID. In 1970 they brought in Vice-Admiral Soman as the first Executive Director of NID with the intention of helping the faculty to ease the interface with the Ministry of Industries and the Government of India in order to obtain funds and to manage the general accounts and administration of the Institute. This did not work out as envisaged and there was a falling out of severe proportions and the first Executive Director, a distinguished Ex-Serviceman, was sacked by the Governing Council and all hell broke loose in the media and NID entered its first era of severe crisis of management.

Image 02: Organisation structure of NID before the induction of Vice Admiral Soman to the post of Executive Director at NID and Gira and Gautam Sarabhai with the Eames Office team at NID in 1964. The Directing Board was constituted to include the Heads of Industrial Design, Communication Design, Studios and Workshops, Architecture and the Secretary (Finance and Administration) and Chaired by Gira Sarabhai.


Prof Kumar Vyas and Dashrat Patel were both members of the Directing Board and later on the Internal Management Board, each representing the two major faculties, Industrial Design and Communication Design, respectively. I was a student at NID at that time and we too took sides in the grand battle lines that was drawn up between the ideological design teachers and students on the one side and the then NID Administration on the other trying to control and dictate how design education should be carried out. Vice Admiral Soman was a distinguished public figure but he was also quite unsuitable for the role that he took at NID and his departure from the institute and the controversy that followed left a long period of turmoil at NID after a decade of amazing developments that saw hundreds of great international designers making contributions to the shaping of a unique institution at Ahmedabad.

Image 03: Charles and Ray Eames camped at NID with the Eames Office team in 1964 to work on the Nehru Exhibition and this project was a major training ground for the first faculty at NID.


A list of these international design experts is available at the back pages of the NID Documentation 1964-69. Gautam Sarabhai produced an immaculate document that captured the spirit of NID culture and shared it with all of us students and the faculty in a series of meetings. The document, fondly called the “Structure Culture Document” has returned time and again in the hands of students and faculty whenever administrative problems came to a head at NID. Design was not understood by many and design education was an even bigger mystery for most administrators and Government babus, quite unlike the fairly comprehensible and stable systems that seemed to be present in medicine, technical and management education of the day.

Image 04: Governor of Gujarat, Sriman Narayan being hosted by Gautam Sarabhai at NID studios in 1972 and below Vice Admiral Soman guides distinguished visitors through the NID workshops.


Prof. Kumar Vyas was made the Head of the Internal Executive Committee that managed the affairs of NID from 1972 and 1975 during which time the affairs of the Institute were subjected to much scrutiny by a number of committees appointed by the Government of India to address the acquisitions of the outgoing Executive Director and in this period Gautam and Gira Sarabhai withdrew from the active management of the NID affairs leaving a bit of a power vacuum at the top of the NID management structure. The Wanchoo Commission Report of 1973 and then the Thaper Committee Report of 1974 – 75 gave a clean chit to the Sarabhais while they called for the creation of systems for the management of creative educational activities at NID. Romesh Thaper was instrumental for bringing in Ashoke Chatterjee as the next Executive Director of NID and he joined the Institute in mid 1975. Prof Kumar Vyas returned to being Head of Industrial Design Faculty. In the meantime my own relationship with the Institute was strained since I had joined the Faculty in early 1973 and had signed a bond to serve the Institute for a period of five years in return for the opportunity to travel to Chile, USA and UK as part of the Nehru Exhibition team in January 1973. However in the political turmoil of the era my services were abruptly terminated in May 1974 and I had to return to Madras to work with my father in his factory making wooden toys. Prof Kumar Vyas did not have an easy time at the top due to the constant fire fighting that needed to be done internally and the public reviews that were being conducted by various committees appointed by the Government of India. I was in constant contact with him through my mails from Madras asking NID to take me back as a faculty member and my appeal was forwarded to the then Chairman of Governing Council, Pupul Jayakar. Ashoke Chatterjee eventually invited me to come back to NID in mid 1976 to rejoin the faculty since I had by then made numerous representations to the Institute for a review of my case, and for me this being banished from NID was a blessing in disguise since I had a wonderful opportunity to work full time in a small scale industry and help transform it in a couple of years and in the process build a great deal of self confidence from this deep exposure to the real world of business and design. The story of my explorations with Rockytoys in Madras between 1974 and 1976 which was my period of being away from NID has been on this blog for some time now at these links below:
Rockytoys revisited blog post
Design for Small Scale Inductry: Some Reflections

Image 05: Ashoke Chatterjee with Romesh Thaper and a number of distinguished Governing Council members meeting senior faculty at a display of NID work in the show room and Aquarium area.


Ashoke Chatterjee (AC) came to Madras to meet me soon after he had settled himself in the hot seat at NID as the second Executive Director of an Institute in crisis. My letters for justice to the Chairman Governing Council had landed on his table and this visit besides other tasks was to check out what I had been up to in the year and a half that I had been away from NID. What he saw there at my fathers’ factory and the Rockytoys shop must have comforted him since I soon received a letter from Prof Kumar Vyas offering me a position at NID as a full time faculty, which I accepted and joined back in June 1976. AC was very fair in his dealings with everyone while he was firm in all his dealings and in doing what he thought was right, a stickler for ethics and values, which many feared since it was a new dimension for them in the bazaar values that prevailed in those days. He was interested in and understood Communication Design and in my view had a bias towards this field while the Industrial Design activity languished since there was no sympathy for this fledgling activity and industry in India did not seem to understand it either, need it or want it at all, at least in the form that we were offering it at NID. As a result much investments were made in communications design and designers at NID while the ID chaps bashed on at a lower echelon in the order of things at NID. Ravi Matthai emerged as a major mentor in this period and the Jawaja project.

Image 06: Ashoke Chatterjee and young NID faculty and students welcome Charles Eames on his last visit to NID in 1978.


The Rajasthan Family Welfare & Health project; the Water Mission Projects and the Agri Expo were examples of development action that AC supported and nurtured in his long tenure at NID as its ED from 1975 till 1985. Industrial design being left largely alone discovered other avenues of relevance and many of these were in the development and the crafts sectors in India and with opportunities in rural India, which was not being addressed by the communication design group. Under AC’s leadership NID conducted the remarkable UNIDO-ICSID Conference on Design for Development in 1979 and also won him the Sir Misha Black Award for excellence in Design Education at NID. In this period NID also won recognition at the ICSID-Phillips Award for excellence in Design for Development, a golden period for NID. (download the Ahmedabad Declaration as a pdf file and the Major Recommendations here). During this period NID also got massive financial support from the UNDP to upgrade equipment and send faculty for training as well as afford to invite a large number of international design consultants to review and strengthen its programmes and activities. However much of the UNDP investment went into the Communication Design areas of Video, Photography and Exhibit Design and I was a vocal critic of this imbalance particularly since there was no investment in the area of computers, which I felt was a critical new area to be explored. A huge number of Corporate Identity projects were handled by the NID faculty and students during this period.

Image 07: Vinay Jha and Prof. Yash Pal, Chairman Governing Council with Ray Eames and Kamaladevi Chattopadhyaya at the Eames Award Ceremony in 1988 on the NID Lawns, now called the Eames Plaza.


The strong bias towards Communication Design changed substantially, though briefly, when Vinay Jha, IAS joined NID for a brief tenure from 1985 to 1989 during which time the linkages with Indian Industry were improved through our sustained contacts with the Confederation of Indian Industries (CII) and the CII-NID partnership took hold. On the international front the ICSID contacts took a fresh turn when Vinay Jha joined the Board at ICSID and forged strong linkages with a number of international schools and design professionals through his involvement on the ICSID Board. I was fortunate to be handling the NID Consultancy Division as the Chairman Design Office from 1981 to 1991, in an acting capacity in the early years and in with a full charge when Vinay Jha took office at NID. Vinay Jha brought in administrative reforms and decentralized decision-making and delegated financial authority to faculty heads and activity chairmen for the first time at NID. We made grand plans to reach design to industry and a number of road shows about design were rolled out to take NID designers and design teachers out of the campus to meet corporate leaders and this was organized through the CII connections. However the economic liberalization of the Indian economy was still in the making and much of this investment fell on deaf ears but few projects did materialize through all the legwork that was done in those days. 4000 proposals that I was personally involved in drafting on behalf of the NID faculty teams as head of consultancy led to the actual landing of about 400 professional projects, small and large, at NID and this was a huge body of experience which is still to be fully analysed and appreciated, hopefully to be documented and published some day. In all these projects the NID Executive Director had a large role in both client interface as well as in providing internal resources and supports. In 1986 Vinay Jha supported my suggestion that the book, “Bamboo & Cane Crafts of Northeast India” could be designed and printed at Bombay which we completed and launched in October that year. I had also repeated my plea that NID review its computer policy and Vinay Jha decided with the help of a Governing Council Committee to use the residual funds from the UNDP grants to set up a Mac and PC Lab at NID, which brought in computers for distributed use into NID in a substantial way for the first time.

Image 08: Vikas Satwalekar as a young faculty in 1972 and later after he stepped down as Executive Director, NID in 2003 (picture uploaded by Vikram was taken at the 2003 Convocation exhibition).


Vikas Satwalekar took over in 1988, first as Acting Director and was later given full charge and for the first time an NID trained designer and a faculty member was at the helm of affairs. The bias towards Communication Design however continued at NID and this time the emphasis was on Exhibition Design and many mega multi-disciplinary projects were taken up by the Institute. In other areas the activities got bogged down in many ways and while education took centre stage with a major curriculum review programme the activities with an intention of establishing quality benchmarks in design education. The areas of research and outreach did not flourish much due to an inward looking attitude and in much effort being expended in solving legacy problems with the labour union activities at NID. Ashoke Chatterjee continued to teach and conduct research at NID, first in a special capacity as Advisor during the term of Vinay Jha and later as a Senior Faculty teaching Design Management and then as a Fellow in Communication Design with a focus on Social Communication. The work done at NID was documented in a two-page poster-folder called NID Milestones in 1998 and it lists the major achievements of NID from 1961 to 1998. (download pdf file NID Milestones here as a 2.1 mb file) A major review of education was conducted during this period and I was involved on a committee that undertook this enormous task, which resulted in the production of an eleven-volume document that was placed in the NID Resource Centre. Each course was described and teachers were asked to present their course to the Curriculum Review Committee as it was called along with work examples and the intention was to articulate course objectives, methods and content as well as assignment level details of the various programmes at NID. The quality benchmarks for each course were expressed in the document so that the teachers, coordinators and students would have adequate information about the courses being offered and could be monitored through the various regulatory channels that existed, namely the Consultative Forum, Discipline Meetings, Faculty Forum and the Course Presentations, all of which were dismantled with the arrival of Dr Darlie O Koshy. With education being the focus of Vikas Satwalekar’s term in office, I too was involved in Institution building tasks that took the NID expertise to other centres of design learning and these can be seen in our contributions to the setting up of the Accessory Design Department at NIFT, New Delhi, the setting up of the Indian Institute of Crafts and Design in Jaipur and later in the setting up of the Bamboo and Cane Development Institute at Agartala which is described at this link below.
New Design Institutes for India: Blog post<>
Lecture of Intellectual History of Design: Blog post

Image 09: A quick search of Dr Koshy on Google images came up with these pictures, which are based on his much cultivated media presence over the eight years at NID.


Dr Darlie O Koshy came into NID in June 2000 and immediately went about making mega plans for the expansion of the student base as well as disciplines that were taught at the Institute. Working on a brief provided by the DIPP and NID Governing Council he started profiling the Institute in the media and called for growth in all activities especially education. Hundreds of activities were initiated in setting up NID Satellites at huge costs in as many as 25 cities each being copiously profiled in the National media and all education programmes too were scaled up and the number game was up and running and the Government seemed to love the show and money poured in from all sides. Two new campuses were hastily initiated and set up but this I believe was unfortunately at the cost of both quality and content. He moved at great speed and it can only be compared to the moves of a “Bull in a China Shop” and whatever came in the way was laid waste and new spaces sprung up where workshops and studios existed before, each with a new name and an unclear but significant promise to be delivered down the line. Huge funds were generated from Government and massive expenses were incurred and it seemed that funds were unlimited and the supply was infinite while accountability was a thing of the past. The number game was truly on and the student numbers were constantly quoted as a justification for the critique of loss of quality that faculty and students and later the alumni joined in the chorus that became a crescendo. There was huge media coverage during this period with the NID Executive Director appearing in the media on a regular basis and the message from the Institute was disseminated through the Design Plus and on the web as a continuation of the Milestones list which can be seen at this link on the NID website. However the Milestones list on the NID website is silent on the period between 1997 and 2000 which set the tone for the Corporate Communications from NID as it was renamed like so many other NID activities, disciplines and departments under the new Executive Director in 2000 onwards. History was being rewritten at NID. The Executive Director was given a second extended term of office in 2005 but soon afterwards the designation was suddenly changed to that of Director NID. The final critique came to a head when the new Gandhinagar Campus started creating numerous logistics crises and the last straw was the problems with the buildings and facilities that made both students and faculty react strongly leading to a review of all plans for the immediate use of the new campus. Dr Darlie O Koshy took premature relief and moved to a new assignment in New Delhi. Akhil Succenna was given temporary charge of Officiating as Director in October 2008 and the Governing Council set up a Search Committee to find a new Director for NID. The process took several months and after a process put up three names to the Government for its final decision.

Image 10: Pradyumna Vyas being welcomed by faculty, students and staff of NID in the presence of Salman Haider, Chairman Governing Council of NID and Mahesh Korvvidi, COO of Design Business Incubator at NID at a community function of samosa and tea on the NID lawns.


We now have a new Director in place with the appointment of Prof Pradyumna Vyas as the second in the new series as Director at NID and eighth in the line of all Heads of Institute if we include all Executive Directors, Acting Directors and the Directors who have presided over the affairs of the Institute at Ahmedabad over the years and this excludes Gira Sarabhai who was the defacto Head of NID in her capacity as Chairman of the Internal Management Board in the early years of NID. There is now a new hope amongst students and faculty and they have been vocal in expressing their hope in looking forward to a period when design will once again be given the importance that is due both within the Institute as well as across India in the 230 sectors in which it is needed today. Prof Pradyumna Vyas had a session with the faculty where he talked about consolidation and the need to put together a comprehensive history of NID to make visible the 50 years of efforts at the Institute and I do hope that this will be something that the country can be proud about. We need our alumni and our former faculty to participate in this effort and if we can use this initiative to also map out the contributions of our alumni and graduates it would provide a platform from which design can be brought to the focused attention of Government and Indian Industry in order to bring it on par with science, technology and management after having languished on the back burner for 50 years since the Eames Report. 50 years on it is a good time to reflect and build the seeds for the future of Design for India.

Notes:
Chairman of Governing Councils at NID
1. Gautam Sarabhai - Oct 1961 to Feb 1974
2. Pupul Jayakar – March 1974 to June 1978
3. B G Verghese – July 1978 to June 1981
4. Shrenik K Lalbhai – July 1981 to June 1984
5. Prof. Yash Pal – July 1984 to June 1990
6. H Y Sharada Prasad – July 1991 to July 1994
7. Hasmukh Shah – August 1994 to June 2005
8. Ajai Dua (IAS) – January 2006 to February 2007
9. Salman Haider – March 2007 to date

References:
1. Charles and Ray Eames, The India Report, Government of India, 1958 (download pdf 359 kb)
2. Gautam Sarabhai, “National Institute of Design: Internal Organisation, Structure and Culture, NID, 1972 (download pdf 357 kb)
3. National Institute of Design, “National Institute of Design Documentation 1964-69, NID, 1970 (download pdf 25 MB)
3. Romesh Thapar, “Report of the Review Committee on the National Institute of Design” NID, February 1974
4. National Institute of Design, “Ahmedabad Declaration on Industrial Design for Development: Major Recommendations for Promotion of Industrial Design for Developemnt”, UNIDO-ICSID INDIA 79, NID, 1979 (download pdf file 11.1 mb)
5. National Institute of Design, “25 Years of Design Service: 1961 to 1986 – The Trainers” A poster of 43 faculty profiles from NID, NID, 1986 (download pdf 490 kb)
6. Kamla Choudhury, Report of the Review Committee on Future Directions and Forward Planning for National Institute of Design, August 30, 1989, NID, 1989
7. Ashoke Chatterjee, R K Bannerjee and Neera Seth, “40 Years of NID” (an unpublished draft manuscript), NID Publications, 1998.
8. National Institute of Design, “NID Milestones: 1961 to 1997”, NID, 1998 (download pdf file 2.1mb)
Design for India: Prof. M P Ranjan
9. Milestones on the NID website ; 1961-1970 ; 1971-1980 ; 1981-1990 ; 1991-1997; 2000-2001 ; 2002-2003 ; 2004-2005; 2006-2007 ; Integrated Design Services 2001-2005 Note these links to NID website are now disfunctional since NID has changed the links or dropped the items from their website.

Thứ Sáu, 17 tháng 4, 2009


Vitra, LCW and DCW
Charles Eames, Ray Eames, 1946

Charles and Ray Eames spent many years experimenting with new processes for optimizing the way three-dimensionally moulded plywood fits the contours of the body. The result was the Plywood Group, with its moulded plywood seat, backrest and base. The organic shape and the wood's cosy warmth invite users to sit down and relax.
LCW = Longe Chair Wood
DCW = Dining Chair Wood 

Download 3D models from Hotfile

Thứ Ba, 18 tháng 11, 2008

Charles Eames Centenary: Photo Exhibit at NID

"The Gifted Eye of Charles Eames"
: A Portfolio of 100 images
M P Ranjan

Image: Collage of Eames images from previous posts on this blog and some from the net about the Eames legacy in photography.


Herman Miller, USA and National Institute of Design, Ahmedabad are sponsoring an exhibition of 100 images by Charles and Ray Eames assembled by the Eames Office from their vast archive to celebrate the centenary of Charles Eames. For NID this is a significant time as well soince it is the Golden Jubilee of the writing of the classic Eames India Report based on which the NID was set up in Ahmedabad way back in 1961.

I will come back with details of the making of this exhibition and the story behind the picture after the exhibit opens at NID on the 20th November 2008.

Eames Demetrios, the grandson of Charles and Ray Eames and the chairman of Eames office, will be there to show us the philosophy of the Eameses at a lecture at the NID Auditorium at 10 am on the 20th November 2008.

The exhibition will be open to the public from 10.00 am to 6.00 pm each day from the 20st to 30th November 2008 at the NID Design Gallery.

M P Ranjan

Thứ Hai, 26 tháng 11, 2007

Herman Miller and Vitra bring back the spirit of the Eamses to Bangalore and India

50 years of the Eames Legacy: The spirit of the Eamses in Bangalore and India

Image: Prof Ranjan and Sridhar Harivanam at the Herman Miller office in Bangalore with the Eames Wire Chair
Charles and Ray Eames are back in Bangalore and their spirit and their design presence is palpable at the Herman Miller office in Indra Nagar, Bangalore as well as the Vitra International showroom on Lavelle Road, Bangalore. I was able to visit these places during this Diwali vacation on my brief stay in Bangalore. I had a mission to fulfill and this took me on an Eames tour of Bangalore, which is possible today since the furniture designs of this legendary Eames couple, Charles (1907 – 1978) and Ray (1912 -1988) are now available in Bangalore through the Herman Miller Inc. and the Vitra International offering. I have been requested by my Institute to explore and develop the concept for a major conference on the Eames legacy in India, which will reach a landmark of 50 years after the writing of the Eames India Report in November 2008. This task will give me the occasion to revisit the Eames story from a number of perspectives and I proposed to share the findings periodically on this blog in the days ahead. Look out for the conference announcement and details on the NID website.

Image: Eames Wire Chair at Herman Miler Bangalore
The Herman Miller office is located a few metres short of the flyover to the Airport Road from the Indra Nagar’s famous 100 feet road, this is one of the many multinational offices that are now dotting the Bangalore landscape and a stark reminder of the massive changes taking place in the Indian business environment. Design is taking centre stage through the arrival of the Eamses through their remarkable furniture, which used to be available only as expensive rip-offs but these are now offered as original licensed products with the legendary Herman Miller warranty for the first time in India. These do not come cheap due to the still high customs duty and exclusive pricing policies but the quality is immaculate and the design memorable to guarantee satisfaction.

Image: Prof Ranjan with the Eames Chaise Lounge at the Vitra Show room in Bangalore. designed and prototyped in 1948 for Museum of Modern Art exhibition it was brought to market by Vitra in 1991.
On the other hand the Vitra business model is unique since all offerings from the Bangalore showroom are made to order at their factory in Germany and shipped direct to the customer in exclusive shipments. Vitra had licensed the Eames products originally from Herman Miller for sale in Europe and the Middle East between 1957 and 1984, but in 1984 the rights were transferred to Vitra who have been offering the products directly to their customers.
Image: A wall at Vitra Bangalore showing the exquisitely made miniature classics offered by Vitra Design Museum
I am sure that the Indian audience will gain insights about the Eames legacy and would appreciate the finer aspects of their design offerings if they have a first hand exposure to the design philosophy and product quality that is represented by the furniture designs on offer by these two licensed producers who have been faithfully following the Eames detailing and keeping the product collections in production over the years. The Eames molded plastic chair for instance has seen an amazing production run of over 5 million pieces in the 25 years after it was designed in the 1950s and it is still as fresh as it was when it was first offered.

There is much more to the Eamses than meets the eye and we will need to devote more space and time to explore the variety of design offerings that they brought to the table. Furniture, products, toys, exhibitions, animation and live action films, photography as well as the now famous “History Wall” for many specific exhibitions which was a fore-runner for the hypermedia structure that has emerged on the web, and I would like to explore all these dimensions in the days ahead.

Image: A snapshot of a quote from the Eames India Report as it appeared in the Design Issues from the MIT Press
I close this post with the opening quote from the Eames India Report, a quote from the Bhagavad Gita, that sets the tone and context for the new design Institute that they proposed to the Government of India in 1958, the then proposed National Institute of Design which was eventually set up at Ahmedabad in 1961. More to come.

Thứ Bảy, 8 tháng 9, 2007

Intellectual History of Design: Lecture at IDC, IIT Bombay

Image: The "Big Tree" in the courtyard on the "Design Street" at the "Gautam-Gira Square" outside my office at NID – as it was when I joined as a student in 1969 and on 7 September 2007 before my departure to Mumbai for the lecture at IDC.

The invitation to speak to the students at the IDC Mumbai gave me the opportunity to reflect on the various influences that have shaped design in the last century. Reading the very limited published resources that are available on design history and particularly on the development of the peragogies and inetllectual positions I see a few threads that have had a strong influence on design thinking, especially from the Indian perspective and from our vantage at NID, Ahmedabad. This is a personal view and included a reflection of my own personal experiences since the early 1969 when I joined NID as a student in the Post Graduate programme in Furniture Design. The early years of NID were those of excitement and learning for me and having had the opportunity to meet and work with some of the key players in the history of modern design this personal view may provide some fresh insights into the establishment of design in India and the flow of ideas and influences that shaped NID and the other schools of design in India and other parts of the world in the past century.

In my paper “Lessons from Bauhaus, Ulm and NID: Role of Basic Design in PG Education”, (download pdf 69kb)that was presented at the DETM Conference held at NID in March 2005, I had explored the threads of influences and now I have been able to revisit the space and further expand on the developments. I the meantime I have had access to some new books on the Bauhaus as well as the HfG Ulm and the benefit of visits to HfG Ulm in 2005 and the ID IIT Chicago in 2006 which gave further links to the chain of information and insights that I was actively seeking to further my understanding of design in India. In 2005 I also visited Bremen, Germany for the EAD06 conference and my paper (download 255kb .doc file) presented there too looked at design education at NID and for the first time I made a public international presentation of the Design Concepts and Concerns course that I had developed at NID since I started teaching Design Methods in 1986. My visit in 2004 to the UK and my brief but stimulating meeting with John Chris Jones at The British Library and later a visit to the Royal College of Art in London gave me another occation to reflect on the developments of design thinking and action in the West. I will reflect on some of these occasions and what I learned from these journeys in the days ahead as lecture and talking opportunities come up that call for such sharing.

John Chris Jones and Bruce Archer had both been asociated with the RCA in the 60’s and through to the late 90’s as active researchers and teachers in various capacities during this period. In 2004 they were both honoured by the Design Research Society, London for their Lifetime Achievements in the field. Bruce Archer had also lectured at the HfG Ulm and so had Charles and Ray Eames and R Buckminister Fuller just as the same teachers had been visiting faculty at NID, Ahmedabad and the parallels are interesting and need to be explored fuirther to glean the kind of influences that they have left behind. Frei Otto, Hans Gugelot, Christian Staub, Herbert Lindinger, Herbert Ohl, Gui Bonsiepe, Kohei Sugiura and others who will be identified as my research progresses.

Image: Last slide in my IDC presentation

This post was drafted at the IIT Guest House this morning and uploaded in the presence of Kirti Trivedi and Raja Mohanty who had invited me to IDC this time. Kirti Trivedi had conducted a conference at IDC in 1989, "Design Education: Ulm and After" when he had released an edited volume titled "Readings from Ulm" which were based on a xerox copy of the originial set of the Ulm Journal 1 to 21 which has been a great source of inspiration and is still in the NID Library. I had helped prepare the copy for the IDC Library a few years earlier. This informal Sunday morning meeting was a good occasion to reflect on the experiences at the school and on areas of mutual interest, which is design and design philosophy with an Indian flavour.

Thứ Sáu, 24 tháng 8, 2007

Charles and Ray Eames: A legacy of durable impact on design thinking and action in India

Image: Eames Office Website
Eames Office website is a useful link for Indian design and designers since it holds the Eames Legacy which has had a major impact on the shaping of modern design education and practice in India over the past 50 years. From the establishment of the National Institute of Design in Ahmedabad through the legendary India Report of 1958 (pdf file 359 kb) drafted by the Charles and Ray Eames at the behest of the first Prime Minister of India, Jawaharlal Nehru, to the setting up of the permanent Nehru Exhibits first at New Delhi’s Pragati Maidan and then at Mumbai’s Nehru Centre at Worli in 1998 gave NID and its designers a direct access to the insights of that Eamses had gleaned in their prolific explorations into many dimensions of design. We will soon embark on the celebration of 50 years of Indian Design and this will be in part a celebration of the contribution of the Eamses as well as the dedication and sustained efforts of the pioneers of Indian design from the National Institute of Design in Ahmedabad. Further the philosophic insights captured in the classic diagram of the design process which can be seen here has been a source of inspiration for all those who have had contact with his work.

Image: Nehru Exhibition opens in New York: from the NID Documentation 64-69
My own contact with the Eames philosophy gave me a new world view and later their practical tips on design action which focused on the minutest details in a “nothing-matters-more-than-the-details” point of view came from my association as a team member on the Nehru Exhibition on a number of occasions. As a student of Furniture Design at NID in the Post Graduate Programme that was started in 1969 we already had a head start into the Eames philosophy since we had access to a number of Eames designed furniture originals in our prototype collection which had been gifted by the Museum of Modern Art, New York after the collection of great designs had traveled in India before finding a permanent place at NID, Ahmedabad. Analysing the Eames collection and watching the collection of Eames films from the NID library were a great source of inspiration for many generations of NID students and faculty as well as for me as well. While this was the source of inspiration for me from 1969 to 1972 as a student at NID I got to experience another dimension of the Eames legacy in November 1972 when I had the opportunity to work as a member of the team on the Nehru Exhibition that was being set up in New Delhi in a new building that was being specially designed to house the exhibit permanently.

Image: Nehru Exhibition: from NID Documentation 64-69
I got to know the exhibits of the Nehru exhibition like the back of my hand having spent many nights hanging around the exhibition team in the photography department, the letter press studio and the wood workshop where the various parts of the exhibit were being assembled at the NID campus in Paldi. My task was to help design an auditorium with informal seating for a proposed theatre at the exhibition that would show films about Nehru and in another room create a audio-review system that could be used to listen to the many speeches by Nehru while standing next to a set of panels that had some contextual information about each speech. While these were my specific tasks, I had hung around all the other work groups long enough to be aware of the details of all these exhibits as well in a deeply interested and informed manner, which was encouraged in those heady days of "learning by doing" at NID of the 70's and 80's. The Eames treatment of all the elements of the exhibit that was being re-interpreted by Vikas Satwalekar as the then project head was a wholesome learning experience for me. During this same period I was involved with Dashrat Patel and Sen Kapadia in another project being executed at the Pragati Maidan which was also to open in November 1972, the Our India Pavilion where my specific task was to design the ventilation system and the large circular ports that were stuck outside the building, a concept that was a visual feature of Sen’s architecture for the stark building that still stands today as Hall No 15 in the Exhibition grounds at New Delhi.

Image: Charles Eames on his last visit to NID
These two experiences brought me professionally closer to both Vikas and Dashrat. They had both worked with Eames in 1964 and they headed the respective projects at New Delhi. When the team for the Chile leg of the Nehru Exhibition was being decided through an emergency call from the Ministry of External Affairs in Delhi, I was selected to travel with Dashrat and B V Mistry to Santiago as a team member and a “crisis manager” to help set up the Nehru Exhibit in Santiago that was scheduled to open on the 26th of January 1973. Our team departed hurriedly on the 14th January 1973 along with 100 kg of excess baggage with photo prints, odds and ends, textiles and nails and adhesive, all that would be needed to set up the Nehru Exhibit in Santiago. Our task was to take the version of the exhibition that had arrived in Chile from Australia and make it ship-shape and presentable in an appropriate layout in the National Museum at Santiago. These experiences gave me a deep insight into the Eames sense of fine detailing and of their ability to handle both communication as well as material structures in one smoothly blended offering. The backs of panels were draped in fine Indian textiles as were the side structures on which the knock-down panels with large photographic exhibits were supported.

The structure itself was made stable using textile pouches that could be filled with sand locally so that a heavy base was not required to be transported across the world as the Nehru Exhibit was designed to travel to New York and later to many destinations across the globe. The system for typography and the method of building a history wall were some of the lasting contributions that many generations of NID exhibition and graphic designers perfected while working on the Nehru Exhibition with the Eames’s and their trusted colleagues who came to NID for the first such experience in the mid 60’s. Later the Eames History wall held sway on many NID exhibitions and the hierarchy of typography and the photo style and organization all had the Eames branding strongly embedded in the numerous outings and offerings from NID, be it the Agri-Expo in 1979, the Energy Exhibit in 1983 or the My Land My People in 1994, all mega exhibits handled by the NID teams following the Eames traditions. Quality was in high demand. Sensitivity was demanded from every team member and everyone contributed to the “menial tasks” of cutting and pasting hundreds of photographs and thousands of captions and labels, without a blemish, and here the learning about the finer aspects of design sensitivity were transferred from faculty to student and from carpenter to apprentice. The right-angle was the king, and the plumb-line informed the eye to see the vertical in all its perfection, the results were judged by the same standards that Eames had used for the first exhibition and the traditions of perfection were driven deep into the Indian design community at NID. The re-making of the Eames History Wall was an excellent introduction to information design and expressive visualization.

The other dimension of the Eames contribution was the India Report itself which can be downloaded from this link here. The Lota and the message about the Indian craft and culture of innovation and how it would need to be nurtured in a rapidly changing world order were all but lost to the Indian administration who did not seem to understand the role and purpose of design or NID. However having set up the NID and let it operate away from the harsh glare of daily politics in far away Ahmedabad, Indian Design could grow quietly, mature and take roots and build a whole generation of young practitioners who are the cream of Indian design profession and academia today in almost all fields of design education and action. The Eames contribution continued with their continuing interest in the Institute that they helped create in India and Charles visited NID in 1978, a few months before he passed away, and so did Ray, who came to NID to give away the Eames Award to Kamla Devi Chattopadhya in 1988, again a few months before she too passed away on the very same day and date as Charles, 21 August 1988, exactly 10 years apart. While this is a very personal tribute to the Eames legacy in India there are many of my colleagues who have worked directly with Eames as well as in their office in Los Angles at different times of their association with NID and through the amazing process of osmosis that happens when you are in their presence a great deal of learning about design has got transferred to Indian designers which will be mapped and evaluated in the years to come, I hope. The often repeated Eames quote at NID was – “do not say I will design a chair, rather say I will design something to sit on” – and the idea of broadening ones perception and including an open interpretation of the subject and the context were messages from the Eames that reverberated at NID and informed the education culture at the Institute over the years. The classic diagram that Charles offered when asked about the nature of the design process is another fine example of insight that has shaped the NID way in shaping the individual and their character through the value systems that were cherished in the NID’s education culture through the 70’s through the 90’s.

My most recent contact with the Eames legacy was when their grandson Eames Demetrios visited NID along with representatives of the Herman Miller group to reestablish contact with NID and to distribute his book “An Eames Primer” which I have a signed copy on my bookshelf. Soon after this I got online and obtained for myself a full set of Eames films being offered as a DVD set of six in a box at a very affordable price, much recommended for every design student and school as a source of inspiration and sensitization to be a thinking acting designer with feeling, which for me is the key message from the Eamses, Charles and Ray, thank you.

Image: Eames House: Modular from Industrial materials, much like the NID building system
The Eames connection continues to this day since one of my students, Sagarika Sundaram visited the Eames House this year and brought back the pictures that I use here and I am sure the Eames inspiration will mobilise many generations of young designers to come and the Eames Office on the web will be a much sought after destination for design students in their wanderings across the vast contours of the internet.

Image: NID building as envisaged in 1966 by the team led by Gautam and Gira Sarabhai and published in the NID Documentation 1964-69
NID too has now opened another chapter of the Eames Award and Fellowship set to begin this year which can be seen at this link here.