Unsung Heros of NID: An interview with a carpenter

NID History from the grassroots: Nathalal Vavadia speaks about his journey at NID

Prof M P Ranjan

NID is approaching its 50th year since its inception in 1961 and there are many official events and activities that are being planned to celebrate the arrival of the landmark year. Here on this blog we have started an unofficial but sustained effort to try and look at all kinds of people who had contributed to the making of this great institute at Ahmedabad and from these glimpses we hope to shape a more complete view of the making of NID. Nathalal Vavadia who retired today speaks about his experiences and we will try and bring many more such interviews in the days ahead.

Image01: Nathalal Vavadia in various moods during a brief interview today, the 30th June 2010, the day he retires from NID after serving as a carpenter in the wood workshop for 40 years.

Nathalal Vavadia: Carpenter at NID remembers the good times from Ranjan MP on Vimeo.

Image02: Video interview with Nathalal Vavadia. Duration 12 minutes.

Nathalal Vavadia joined NID in 1970 as a carpenter in the wood workshop. He contributed to the NID building work as well as in producing the furniture designed by George Nakashima which was produced in batches at NID through the 70's to the 90's.

He remembers the people at the workshop and the intense work culture at NID during his tenure at NID. He retires from service today, 30 June 2010 and in an interview here he shares some of his experiences and insights on the history of NID as a centre of excellence. The interview is in Hindi but it provides a glimpse of what NID was in the 70's and 80's and provides some insights into the work culture of the institute in those days.

Prof M P Ranjan

LOOK Back – LOOK Forward: HfG Ulm and Design Education in India

Prof M P Ranjan

Image01: Conference Logo using a basic design assignment as an image for the conference - Design: Rupesh Vyas

Conference Title:

LOOK Back – LOOK Forward: HfG Ulm and Design Education in India

Venue & Schedule:
Hotel Taj West End, Race Cource Road, Bangalore 560 001, India
March 6, 2010 : Full-day Conference-cum-Workshop on Design Education: 9.00 a.m. to 5.00 p.m.

Last date for registration: February 26, 2010

Organisers:
National Institute of Design (NID), Ahmedabad and Bangalore
in collaboration with
Goethe-Institut/Max Mueller Bhavan (GI/MMB) Bangalore,
HfG-Archive Ulm & IfA (Institute for Foreign Cultural Relations, Germany) Stuttgart

Background:
The HfG Ulm, which started as a continuation of the Bauhaus experiments in design education under one of its former students – Max Bill, soon veered from a foundation in art to a science and society focus under the leadership of Tomas Maldonado. The HfG Ulm faculty, all eminent teachers and thought leaders in their field, experimented with design education like never before and documented the results of teaching in a series of 21 journals published between 1958 and 1968. These ten years of intense research and theory building and sharing has had a lasting impact on the world of design education and the availability of these journals being one of the major factors for this durable influence. Selected papers from these volumes located in the NID Library were reproduced for a conference on design education in 1989 by Prof Kirti Trivedi at Industrial Design Centre, IIT, Powai and these have been a further source of inspiration for Indian design teachers over the years.

The school impacted the world of design through its direct professional action with industry, memorably with Braun and its successful range of products that hit the market in 1955 and continued with other product successes that can be called the Ulm style of meticulous detailing and clean functional form. Hans Gugelot was among the lead drivers along this track. Other teachers such as Otl Aicher influenced major corporations such as Herman Miller and Lufthansa with significant contributions in graphic design.

The closing down of the HfG Ulm in 1968 saw the scattering of its faculty and students across the world, each steeped in the Ulm ideology of public good with design theory and action, resulting in significant action on the ground in the form of new design education in Latin America by Gui Bonsiepe, in India by Sudhakar Nadkarni and H Kumar Vyas and in Japan by Kohei Suguira, besides the numerous other influences in Europe and the USA that continue to this day.

The Ulmer Museum/HfG-Archiv has brought together the various threads of the Ulm school in a unique exhibition called ulm: method and design/ulm: school of design 1953-1968 with archival objects, classroom assignments and multimedia exhibits never before seen in India. The exhibition is presented in India by the Goethe-Institut/Max Mueller Bhavan, in collaboration with IfA (Institute for Foreign Cultural Relations, Germany) Stuttgart and offers the opportunity to both “LOOK Back - LOOK Forward: HfG Ulm and Design Education in India”, a title that aptly sums up the objective behind the intensive one-day conference/workshop on March 6, 2010 at Hotel Taj West End in Bangalore, India, as well as to draw inspiration from the path-breaking work at Ulm and reflect on the path forward here in India. An impressive catalogue published by Hatje Cantz (ISBN 3-7757-9142-6) provides rich background research content on the school and the exhibition.

Participants:
Design teachers and teachers from other institutes interested in design pedagogy, including design research, design management and technology & design professionals interested in design education. Limited places available for design student observers sponsored by each participating school.

Registration Fee:
Individual designers and faculty : Rs. 2000/=
Team of 5 faculty per school from India : Rs 5000/=
Design student observer : Rs. 500/= (limited seats)
International Participant : USD 100 or Rs. 5000/=

Exhibition Venue: Karnataka Chitrakala Parishath, Bangalore - opens March 5, 2010
Conference Venue: Hotel Taj West End, Bangalore – March 6, 2010

Organising Institutions
Goethe-Institut/ Max Mueller Bhavan Bangalore
Dr. Evelin Hust, Director
National Institute of Design, Ahmedabad & Bangalore
Prof. Pradyumna Vyas, Director

Keynote Speakers:
Prof. Dr. Wolfgang Jonas, Professor for "system design" at the School of Art and Design, University of Kassel, Germany
Ms. Marcela Quijano, Curator, HfG-Archiv Ulm, Germany
Prof Sudhakar Nadkarni, Dean, Business Design, Welingkar Institute of Management Development and Research, Mumbai
Prof H Kumar Vyas, Distinguished Professor, CEPT University, Ahmedabad

Conference Chair:
Prof M P Ranjan, NID, Ahmedabad
Co-Chair:
Prof Suchitra Sheth, CEPT University, Ahmedabad

Registration:
Registration fees are payable by Cash or Demand Draft drawn in favour of “National Institute of Design” payable at Bangalore.
Payment with Registration Form duly filled to be delivered to NID R & D Campus, Bangalore or at the Goethe- Institut/Max Mueller Bhavan, Bangalore.

Last date for registration without late fees: February 26, 2010
Late fee payable after closing date: additional 50 % of registration fees above.
(Limited participation so please register early)

Address for communication and registration:

1st contact: National Institute of Design, Bangalore

Shashikala Satyamoorthy,
Conference Coordinator
National Institute of Design, R & D Campus,
#12 HMT Link Road, Off Tumkur Road
Bangalore 560 022
Tel: +91-080-23478939 (D) / 23373006
Fax: +91 80 23373086
conference email: hfgulm2010@nid.edu
www.nid.edu

2nd contact: Goethe-Institut/Max Mueller Bhavan, Bangalore

Maureen Gonsalves
Programme Coordinator
Goethe-Institut/Max Mueller Bhavan
716 CMH Road, Indiranagar 1st Stage
Bangalore 560 038
Ph: +91 80 2520 5305/06/07/08-203
Fax: +91 80 2520 5309
arts@bangalore.goethe.org
www.goethe.de/bangalore


see detailed programme and download Registration Form from this link here below:
Download Detailed Conference Programme and Registration Form in pdf 400kb

Prof M P Ranjan

Gajanan Upadhayay: A new monograph and exhibition of furniture designs

Gajanan Upadhayay: Documentation and Peer Critique

Design for India: Prof M P Ranjan

The creative professionals of Ahmedabad have bestowed an honor on the former NID Faculty member and designer Gajanan Upadhayay through a week long exhibition that opened at the Herwitz Gallery on 19th June 2009. The exhibit curated by the HPC Design & Project Management Pvt. Ltd headed by architect Bimal Patel and the TDW Furniture Pvt. Ltd. Headed by Ismet Khambatta and is accompanied by a Monograph titled “Gajanan Upadhyaya: Furniture Designer” which was released by NID Director Pradyumna Vyas at a simple function in front of a very distinguished audience of architects, designers, teachers and students of the Ahmedabad’s creative fraternity.

Image01: Inaugural session at the Herwitz Gallery with the monograph launch by Pradyumna Vyas and the brief lecture by Prof M P Ranjan about Gajanan Upadhayay and his design achievements.

The distinguished audience included architects B V Doshi and Hasmukh Patel, Bimal Patel and Ismet Khambatta and a number of designers and faculty from NID, CEPT and students from these schools.
I was requested to speak at the function to introduce the creator and to provide a backdrop that could place the furniture creations in their proper context, a real tall order, when we look at the prolific contributions of Gajanan Upadhayay over a career that spans five decades and his professional experience coincides with the history of design in India and that of NID. I took a few minutes to ponder the question in the morning before the talk and jotted down a few key thoughts that could guide my comments about my colleague of more than 40 years at NID. Yes, we do go a long way together, in the same department and teaching some courses together and working on many joint projects, but still keeping our own separate identities and in some cases, points of view that differed in many ways. Whichever way I look at GU, as we have fondly called him, both his students and faculty deeply respect him for his work and it was no easy task to summarise a lifetime of work that stands tall in my view comparable with the worlds best in the field of furniture design. This small documentation of GU’s work is I believe the first in a long series of future publications that will unravel the mysteries of the man and his work that is as yet unknown to design circles outside a small band students, faculty and associates at NID and other associated designers and friends from Ahmedabad and other parts of India.

Image02: Inside the Herwitz Gallery a view of furniture designed by Gajanan Upadhayay over his career spanning from the early 60’s till date.

I divided GU’s career into four distinct stages. His first stint at NID as a young designer and architect trainee in 1962 to 1965 when he interacted with Gira and Gautam Sarabhai being introduced to the idea of design that was flowing into NID through the regular movement of great designers from Europe and America in those days. GU worked with some of these designers and drew inspiration from their work to make the first tentative explorations into fine furniture design. Even these pieces were exquisite and he was selected by NID to do a stint of formal training at the Royal Danish Academy of Fine Arts in the Furniture Design department, perhaps the best place in the world in those days for the deep study of furniture design. At NID he had the opportunity to work and be exposed to the concepts of great world designers such as Charles and Ray Eames, George Nakashima, Louis I Kahn and Hans Gugelot from Hfg Ulm which resulted in two very remarkable ranges of furniture that were prototyped and modeled in those days but never saw production like many NID offerings since Indian Industry was blind to the possibility of design being cocooned in the days of “License Permit Raj” where there was no scope for competition through design but industry survived either through ministerial and bureaucratic patronage or just plain corruption. However, the NID documentation of the days credited the works to the visiting consultants and the young Indian designer was denied the credit due to him, but this has been corrected in the new monograph. I admired the “Round Stick Furniture” inspired by Louis I Kahn and the the “24/42 Furniture” inspired by Hans Gugelot when I came to NID as a student and nobody could tell us more about the people and circumstances under which these items were designed although Gajanan Upadhayay was spoken of in whispered tones and he was already a bit of a legend in those days since he had jumped ship and stayed on at the Danish Academy and not returned to NID as he was expected to.

Image03: A fleeting glimpse of the pages of the monograph showing the range of work done by Gajanan Upadhayay shown here as six groups of four pictures each from top left to bottom right: 1. Early work at NID and Denmark, 2. NID Classics from the early 80’s, 3. Library stackable chairs for NID, 4. Metal range for canteen and Board Rooms and Hostels, 5. New range for TWD in the 2000’s, and 6. Institutional furniture for schools, management school and the High Court at Ahmedabad.

He did return briefly to Ahmedabad in 1968-69 before he returned to Denmark to continue to work as a teacher and designer in close proximity with the great Danish Furniture designers of all time for a long stint of eight years before returning to Ahmedabad to settle down if you can even describe him as settled at any time or place. This was his second important phase of work, which is the Danish phase from 1966 to 1974. Working at the Royal Danish Academy of Fine Art in Copenhagen closely with some and influenced greatly by the Danish greats of Poul Koerholm, Hans Wagner, Borge Mogensen and Nils Fagerholt besides others and he imbibed the finest traditions of Danish furniture design and construction and he also worked on drawing and making the design expressions of these designers professionally while working with them in school and in their studios while absorbing the values of the structural logic and design principles that are deeply ingrained in his own work ever since. On his return to India in 1974 he soon realized there was little scope for design as a professional occupation those days since nobody was willing to pay for design, not industry. He joined NID as a faculty in 1976 and I too had returned from Madras in the same time to rejoin NID and we seemed to have many interests in common. We criticized the existing Foundation course of Geometry and were immediately asked to reformulate it and conduct it for the 1976 batch of the NID Foundation programme. This course is still being conducted in the manner that we had planned and evolved keeping all the assignments of drawings, paper models and geometric concepts in much the same way as it was offered then. Geometry and structural logic are the striking features of GU’s furniture design work and this is what he tries to instill in his students as they interact with him.

Image04: Canteen chairs used for a poster at NID in the late 90’s to showcase the Furniture Design Discipline at NID shown alongside thumbnails of the pictures that I had captured towards making of the poster seen on the right.

This period from 1976 to his retirement from formal teaching at National Institute of Design (NID) at the age of 60 in 1994 would be for me the third phase of his prolific design career during which he created the wooden classics that are all over the NID campus and the hostels since they were produced in the NID workshops in the first round and in another round in later years the metal range that includes the canteen range, the board room furniture and the metal classroom range were produced here. In the early 80’s we offered the wooden furniture range to the Indian industry through an exhibition at the Trade Fair in New Delhi and Mini Boga took up the license to produce a number of these items through her Taaru factory and shop in New Delhi. In 1986 I traveled with GU to Agartala to make the presentation of the Tripura Bamboo Collection that we had jointly produced and on this visit we went to Katlamara to see the bamboo plantations of pole vault pole bamboos, as we called it in those days. We traveled by local bus, me inside and GU on top of the bus, all the way to Katlamara and we were excited by the possibilities of the material that we saw but we had to wait many years till 2003 when we managed to get limited funding to go again to do a workshop at the BCDI together. The monograph does not however cover all his offerings since it is a very small selection from his vast range of offerings but it is a great beginning and I am sure more will come as a result of this opening.

Image05: Gajanan Upadhayay stands behing four distinct versions of the Canteen Chair. Left to right: Fixed frame and non-stackable, Non-folding but stackable, Folding and stackable model (NID Canteen), Stainless steel frame and stackable.

Among the last projects that he handled at NID was the design of furniture for the Gujarat High Court that brought him into close contact with Bimal Patel of HCPDPM and Ismet Khambatta of TDW Furniture and soon thereafter he started working as a consultant with Bimal in his office and offering new design ranges to the TDW production and these started appearing in their showrooms as well. This is the fourth phase of GU’s design career and I am sure Design historians will study the impact of Gajanan Upadhayay on Indian design for many years to come and also on his influence on the young Indian furniture design industry which has been impacted by many students from NID setting up their own production facilities, first as small scale ventures which have by now grown into fairly substantial and sought after production houses in Bangalore, Jaipur, New Delhi and other cities in India. All of them have been strongly influenced by the Upadhayay design logic of modernist expression and fine craftsmanship. At the inaugural lecture for the GU furniture exhibit I spoke about the great furniture designers of the world such as Marcel Breuer and Ludwig Mies van der Rohe of the Bauhaus, Alvar Alto of the Finnish design tradition, and Jean Prouve of France, and Hans Gugelot and Gerd Lange of Germany and I do believe that Gajanan Upadhayay too will be one day compared to some of these international masters when the documentation of his work is done in the same depth and with the critical appreciation that it deserves.

References:

1. HCPDPM & TSW, “Gajanan Upadhayay: Furniture Designer”, Ahmedabad, 2009
Monograph available from HCPDPM, Ahmedabad. Pages 88 plus Cover and Dust Jacket.

HCPDPM
http://www.hcp.co.in
email: hcpahd (at) hcp.co.in
Price: Rs.250/=

TDW
http://www.3-dworkshop.com
email: info (at) 3-dworkshop.com

2. Exhibition of Furniture at the Herwitz Gallery with inaguration on 19 June 2009 and exhibit showing from 20 to 25 June 2009 from 4.00 pm to 8.00 pm daily.

Contact Info:

Gajanan Upadhayay’s furniture is available from TDW at their Ahmedabad showroom

T D W Furniture Pvt. Ltd.
Near Iscon Plaza, Satellite Road,
Ahmedabad 380 015 Gujarat India

email: info (at) 3-dworkshop.com

Design for India: Prof M P Ranjan

The Three Orders of Design: Lessons from Northeast India

The Three Orders of Design: Lessons from our study of the baskets from Northeast India

Prof M P Ranjan
Design overview lecture delivered at the “Uttar Purva Utsav” organized by the Crafts Council of India at the “Dilli Haat” on 2nd February 2009 to celebrate and promote the crafts of Northeast India in association with the Development Commissioner of Handicrafts, Government of India.

The lecture was simultaneously translated into Hindi by Ms Asha Bakshi, Dean Fashion Design, National Institute of Fashion Technology (NIFT), New Delhi.

Image01: Speakers at the “Uttar Purva Utsav” organized by the Crafts Council of India at Dilli Haat in early February 2009.

This invitation to speak at the “Uttar Purva Utsav” organized by the Crafts Council of India at the “Dilli Haat” gives me the opportunity to reflect on my three decade old association with the crafts of the Northeastern Region of India and to ponder on the lessons that we have learned about design and bamboo from the craftsmen of the Northeast over the years since our first contact with their work in the field in late 1979. We began our year long fieldwork November 1979 in the Northeast as part of the project sponsored by the All India Handicrafts Board in those days, now the Development Commissioner of Handicrafts [DC (H)], to study the bamboo and cane crafts of the region which resulted in a book which was eventually published in 1986 by the DC (H) and the National Institute of Design (NID), titled “Bamboo & Cane Crafts of Northeast India” by M P Ranjan, Nilam Iyer and Ghanshyam Pandya. (download book here as PDF file 35 mb size) It is also an opportune occasion to connect once again with the resources that were generated by that project particularly in the form of the very large collection of baskets that were collected in the field as part of our study and these are today available at the National Crafts Museum and I am told that these are on special display to celebrate the crafts of Northeast and in conjunction with this particular event at the Dilli Haat. The craftsmen and the crafts promoters are invited to visit the National Crafts Museum at Pragati Maidan and see for themselves the quality of crafts that is still a living tradition of the region as these products are still in active use across the region but times are changing fast and these may not remain that way for very long. Digital pdf copies of my book can be downloaded from my website and in-print copies of the paperback edition (2004) are available from both NID and the DC (H) and the original hard-bound edition (1986) is now out of print.

Image02: The Paikawng from Mizoram, side and top view seen with drawings of the base, sides and rim construction and the detail of the base strengthening detail using cane binding over a bamboo base.

I must share the learning that we were able to glean from our journeys into the Northeast as well as from our interactions with the local craftsmen which was followed by a period of deep study that we could invest into the collection of 400 baskets that we had gathered during our field work in the Northeastern region. Besides giving us numerous insights about bamboo that were invaluable we were also quite surprised to see the deep appreciation of design principles that were both applied by the craftsmen as well as something that we found embedded in the range of products that we had collected in an extremely selective manner during our year long field work in the seven states of the Northeastern region. Now Sikkim has been included in the definition of the Northeastern Region and rightly so, since these states share so many common characteristics with each other while keeping their individual identities intact. Learning from the Northeast’s craftmen was an exhilarating experience and in all very enriching experience. As a designer and a design teacher traveling with two colleagues through a culture that was rich with knowledge about bamboo and design it was a stimulating experience for us and a huge source of new learning from the field. This learning we tried to capture in our book about the Bamboo and Cane Crafts of the Northeastern Region and while the content may look like a normal documentation a look at the back of the book will reveal a meta-structure of information and local knowledge contained in two indexes, one a “Technical index” that captures all the nuances of the local wisdom across many fields and the other a “Subject index” which links and makes accessible word concepts as they appear across the book. Our sense of amazement at each product that we saw and the level of detail to which the thought process had helped evolve that product was always a source of great pleasure, amazement and admiration. From all these products I would like to draw out one specific example, The Paikawng, a Mizo basket used for carrying firewood, not because it stands above the rest but simply because it is one of many products that come to my mind as I stand here and reflect on our deep learning from the field about design itself. I will therefore use the example of the Paikawng to set out the boundaries and contours of the three orders of design as they appear in the fine hand crafted baskets of Northeast India.

Inage03: A general understanding of structure of baskets from Northeast India from our book along with two particular baskets from the Tengnoupal hill district of Manipur State, one closed-weave for grain and the other open-weave for grass and fire-wood.

Let me first give you an overview of the three orders of design that I shall be dwelling on over the next few minutes. What are these and how do they relate to our understanding of design and in particular how these can help us use design to further our objective of building better products and systems for the people of the Northeastern region? The fine detailing in the baskets from the Northeast represent the climax of a bamboo culture and the field study and our book tries to pay homage to that spirit. The three orders of design are listed here and I shall proceed to explain how these were appreciated in the Paikawng and in all the other products that were equally rich and deserving of our attention.

The First Order of Design:

The Order of Design of Material, Form & Structure
This level of design is recognised by all people and is the most commonly discussed attribute. Here material, structure and technology are the key drivers of the design and these help shape the form that we eventually see and appreciate in the product. We can appreciate the product as an honest expression of structure and material used and transformed to realize a particular form that is both unique as well as functional. It is here that skill and understanding of the craftsmen are both used to shape the product through an appropriate transformation of the material with an understanding of its properties and with an appreciation of its limitations and possibilities.

Image04: Description of the open-weave structure and its varients from the Northeast and the Paikawng shown in use for fire-wood carrying from the pages of our book.

Let us take the Paikawng and examine it at the level of material and form – this basket is made of long strands of stout bamboo splits that are first interlaced to form a square base before these are bent up to form the sides of the basket. In forming the sides these very same splits form elongated hexagons that are a result of the three horizontal bands that anchor the inclined verticals between the base and the rim structure. At the rim these splits are each divided laterally into a number of sub-splits which lend themselves to a form of braiding so as to create a wide braided band that is both soft as well as very strong but being flexible. The material of the split is thus transformed at each stage, the base as flat and wide, the sides as thick and stiff and the rim as soft and flexible, while still remaining one single piece of bamboo that is responding to a particular structural need at the point where it is needed. The four corners of the square base are covered by a interlacing knot, each made of a length of cane splits which does not unravel easily if some of the overlapping strands are cut while the basket is in use. Cane, here is used sparingly to conserve costs and to save the critical part of the bamboo basket from friction and were and tear at the corners which are the most vulnerable parts of this basket when in contact with the ground. Further, this additional feature can be renewed or replaced in case of damage in use and the whole basket would therefore have an extended life. This lends the basket a degree of toughness that is essential for the intended function, which is to carry rough cut fire-wood from the field to the home and this brings us to the second order of design.

The Second Order of Design:

The Order of Design for Function & Feeling – Impact & Effect
This level is influenced by utility and feeling and is largely determined by the marketplace as well as by the culture in which it is located. Here aesthetics and utility are informed by the culture and the economics of the land. We can sense and feel the need for the product and the trends are determined by the largely intangible attributes through which we assess the utility and price that we are willing to pay for this particular offering and this is quite independent of its cost.

Image05: Pages from the book “Bamboo & Cane Crafts of Northeast India” showing the construction of the Paikawng in line drawings of base, sides and rim structure with description of its uses at home and at work.

In order to examine this level of design we will need to compare similar products across a number of different social and cultural situations. Firewood baskets are made by many communities of the Northeast and each of these have a distinctive form that is informed by the asthetic preferences of that community. The Paikawng offers the Mizo a particular form and structure and for lighter applications they have a sister product called the Emsin which is lighter and smaller than the Paikawng but with very similar structural and formal characteristics of the latter. The other tribes have distinctly different forms that are arrived at by differences in the size, shape, contours as well as the shape of the hexagon used to form the sides of the baskets in question while addressing the same set of functions that the Paikawng addresses for the Mizos.

The Third Order of Design:

The Order of Design for Value – Meaning and Purpose
This level is shaped by the higher values in our society and by the philosophy, ethics and spirit that we bring to our products and events as well as all the associated services and the stories that we can tell about the relationships between these entities and our lives. At this level value unfolds through the production of meaning in our lives and in providing us with our identities and these products becomes a medium of communication itself, all about ourselves. It is held in the politics and ethics of the society and is at the heart of the spirit in which the products are produced and used in that society. There are deeply held meanings that are integral to the form, structure as well as some of the essential features which may in some cases be the defining aspects of that product, making it recognizable as being from a particular tribe or community. These features define the ownership of the form, motif or character of the product and these are usually supported by the stories and legends about their origin and these give meaning to the lives of the people for whom they are made.

Image06: Views and description of the Emsin, a sister product of the Paikawng which is used for lighter tasks and as a ‘fashion’ product by the Mizo youth for visits to the bazaar and other light chores.

The Paikawng has this distinctive character and can be recognized as a typical Mizo product both by the Mizos themselves as well as by those around them. The braided band at the rim has a unique name in the Mizo language – it is called “vawkpuidang phiar”, meaning “the braided pattern or palete of the pig or sow” which has a similar knitted pattern. These stories bring value to the product that goes far beyond its material and utility value that is usually embedded in such functional products. We need to recognize the characteristics that these three orders of design bring to the contemporary products of our own society and in doing so we can learn to enhance the value that it brings to the market as well as tone the quality standards that are applied to each instance of these products at the various stages of production, marketing and utilization in the society.

All three layers are important and we need to learn to appreciate our creations along all three axis if we are to reach a sustainable offering in the handicrafts sector in the days ahead. Design therefore has a number of layers that are addressed in our traditional artifacts and when we embark on the making of our new and innovative products for new markets we will need to pay a great deal of attention to all three orders of the design spectrum if we are to reach a semblence of sustainability and order in our creative offerings for the future.

Download the book here: 35 MB PDF
M P Ranjan, Nilam Iyer and Ghanshyam Pandya, "Traditional Wisdom: Bamboo and Cane Crafts of Northeast India", Development Commissioner of Handicrafts, Government of India, New Delhi, 1986 (HB) & 2004 (PB)
Prof M P Ranjan

“Somewhat Different”: IFA Exhibition arrives from Germany

Contemporary Design and the Power of Convention: “Somewhat Different”

Prof M P Ranjan’s papers

Image 1: Fence Bench designed by Andreas Bergmann which arrived as part of the “Somewhat Different” exhibit after unloading from trucks at the Design Gallery at NID. Volker Albus, designer and curator of the exhibition is seated in the middle with his colleagues with Dimple Soni, NID Faculty standing besides while the task of unloading and setting up is in progress.

“Somewhat Different”, an exhibition organized by IFA – Institute for Foreign Cultural Relations in Germany opens later this week in NID. The trucks arrived over the weekend and everyone was curious to see a long row of six trucks each with a huge container as its load standing at NID for a couple of days. Yesterday the Germans arrived and the containers wee opened and out came the boxes in very systematic German design and each box was carefully labeled and carefully unpacked and put away in the car park to be used again when the exhibit had to be repacked for further shipment. “Somewhat Different” is the theme of the exhibition and in all the curator, Volker Albus, has selected forty-seven individual designers and design studios from Germany and along with this he has included the work of twenty other designers based in several European cities. These designs have been selected for their being a slight twist away from the conventional and not for their being unnaturally different! A subtle twist brings all the difference, and this he claims is a new trend for good design from Europe today. The exhibit opens in a few days from now and I will make a more detailed post when the exhibit is formally announced and made open to the public. Those interested in knowing more can contact the Corporate Communications at NID by email at pro@nid.edu.

Image 2: Rows of trucks with container load filled with exhibit materials and the unloading and unpacking sequence at NID near the Design Gallery and the BMW (Cafe, Behind the Metal Workshop – BMW – as named by the NID students)

The systematic manner in which the unpacking and handling of the cases was a lesson in logistics for those students and faculty who wished to stay informed. Some were curious and came out with their cameras while others failed to turn up on the BMW side of the campus and may have missed the event altogether. There is always something interesting happening on campus and we have learned to stay curious and learn as we go along. The open electives in now on across the campus and several visiting faculty are also involved in conducting these workshops. I will come back with more about this particular exhibit and the “Swords into Ploughshares - Fences to Sit” by Andreas Bergmann is just one of the numerous designed objects that have arrived to stir up a debate about trends, relevance and sustainability, I hope. With Satyam having shown us yesterday how wrongly a sacred word can be used and abused as a slogan for a company that has now become an antithesis for the concept itself, perhaps cultural and commercial expressions in materials too have an element of honesty that needs to be appreciated and recognized. More, as we examine the exhibit in it’s setting at NID next week.

The “Somewhat Different” exhibition will be open at NID from 16 January 2009 to the 7 February 2009 after which it will travel to the Lalit Kala Akademy, New Delhi and be on display from 10 May 2009 to 30 May 2009. Both these exhibits are being coordinated by the Goethe-Institute in Mumbai and New Delhi respectively.

Prof M P Ranjan’s papers

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

Mission and Vision: Craft Ecology for IICD Jaipur

Mission and Vision: Craft Ecology for IICD Jaipur

Prof M P Ranjan, NID, Ahmedabad (18 October 2008) Based on note prepared for the Governing Council at the IICD, Jaipur.

Image: Models proposed in the IICD Feasibility Report (download pdf file 386 kb) to capture the tasks, objectives and processes through which these would be carried out.

The Indian Institute of Crafts and Design (IICD) was set up in 1993 based on a Feasibility Report written by the NID, Ahmedabad. The Government of Rajasthan had placed its support for the creation of the IICD in Jaipur because of its promise to bring together three core capabilities of Design , Management and Technology for the development of the Crafts sectors of India. This is the first and only Institute that is mandated to develop knowledge resources and the “Agents of Change” who could make this happen in the field. The Institute has taken time to establish its foundations at the new campus in Jaipur and over the past ten years a credible education programme in crafts design has been established and the students of these programmes are showing their impact in various fields across the crafts sector. Now it is time to take stock and review directions as well as the changes in the macro-economic environment in India as well as across the Globe.

Indian crafts is facing its most critical test of survival due to the massive change that is happening in the National infrastructure leading to huge displacements of population and loss of traditional occupations and unrelenting urbanization development. The focus today is still people as it was when the Institute was established and being a small organization in relation to the huge size and reach of the crafts sector in India the appropriate strategy would be to continue to build high quality catalysts who can act as the transformers in a growing circle of influence through research, design and direct field action.

The Institute will need to expand its focus to include integrated services and know how across various areas of need that are faced by the crafts clusters in India and offer a single window of interface enabled through the “agents of change” who are the main products of the Institute. In addition to design and innovation the services that these agents should offer would now need to encompass social empowerment and confidence measures that would come from an understanding of business processes, finance and management literacy and access to real markets that can produce value to selected groups of crafts entrepreneurs who would form the second leg of the tripod offering. The Institute, in partnership with its main products the “change agents” will engage with numerous crafts entrepreneurs in the field to form an ecosystem of people and processes that would bring stability and creative renewal at all the centres that the Institute chooses to engage with, usually at the invitation of the various stakeholders involved.

Therefore rather than looking at the students as completed products at the end of their education at IICD we would need to innovate community building systems using web based networking and rapid research feedback to create a living meta organisation of collaborators and a growing knowledge base. The institute will quickly need to initiate a direct contact programme with the crafts entrepreneurs drawn from numerous crafts clusters and through a formal programme instill in them the confidence and the abilities to work with the trained designers and technical experts who are the growing number of IICD graduates from its major education programmes.

This new programme will have synergies with the main education programmes and the ripple of impact will grow with each batch of crafts entrepreneurs who return to their major clusters along with new ideas and an integrated set of tools to transform his or her landscape in his cluster while generating value for self and the community. They cannot act independently in the initial stages of their return to their clusters and it is here that we need to partner with development agencies such as the DC(Handicrafts) DC (Handlooms) and the Ministry of Rural Development at the State and Central Government level besides a host of NGO’s and Crafts based industries active in that particular region besides National and International philanthropic systems for support and sustanance. This ecosystem development approach should be refined with the building of working prototypes and in this way a small institute in Jaipur can make a huge impact in the transformation of vast sectors of our crafts based economy which is still a living resource across India today.

We would need to review policies of faculty engagement and introduce liberal approaches to attract and hold high quality professionals from a number of fields including design, management and technology. The Institute must encourage individual and team based research and adopt web based methods of dissemination to help support a widely dispersed user base who would be the growing stakeholders of the Institutes offering. This effort would need to be an integrated region development initiative rather than just an effort to help a sustainable development model across diverse crafts activities all of which would require new knowledge and creative resolution to achieve both ecological as well as socio-economic sustainability models in each of these locations in an ever growing circle of influence.
Staying small and flexible on the one hand and with a big reach on the other hand through the use of web based technologies and networks of field based collaborators for communication and research dissemination would be at the core of vision and drive the mission of the Institute going forward, particularly in the next ten years.
~

Prof M P Ranjan,

CFBI-NID: Bamboo for Grassroots Development:

CFBI-NID: Bamboo for Grassroots Development:

CFBI-NID (Centre for Bamboo Initiatives at NID), Tripura Bamboo Mission initiatives: NID IPRITI IL&FS TBM – bamboo craftsman training initiative at Bangalore.

Prof. M P Ranjan

Image 01: Workshop commences at IPRITI, Bangalore with bamboo craftsmen from Tripura and NID designers with technical inputs from IPRITI scientists.

The National Institute of Design (NID) through its Centre for Bamboo Initiatives at NID (CFBI-NID) and the Infrastructure Leasing and Finance Services (IL&FS) entered into an agreement to develop and deliver a bamboo based small craft industry initiative as part of the overall mission objective of the Tripura Bamboo Mission (TBM) that is spearheaded by the Government of Tripura. The IL&FS has extended their technical, financial planning and manpower expertise in furthering the mission objectives of the TBM and they in turn have cooperated with the CFBI-NID to move the bamboo furniture and product design initiative through a project format that includes product design, craftsman training as well as field training that would help seed and incubate the new micro-enterprises in the State of Tripura.

Image 02: Stackable Café tables and benches, a local to local strategy offered by NID to kick-start local entrepreneurship in the Agartala region.

The NID had entered into a MOU with IPRITI, Bangalore earlier this year to cooperate in new initiatives in bamboo product development with a special focus on laminated bamboo and bamboo mat board applications in a number of fields. In mutual agreement with all the partners we decided to bring the project with the IL&FS to Bangalore since the NID Bangalore campus is located just opposite the IPRITi campus in Penea, just next to the large CMTI campus on the very busy Tumkur road. This proximity and an already agreed platform of cooperation opened a new window for bringing the IL&FS – TBM project to Bangalore campus where the faculty and students of the Design for Retail Experiences (DRE) discipline were keen to explore bamboo as a future material for eco-friendly retail environments.

Image 03: Rubber wood gussets and planks used to upgrade bamboo furniture form another leg of the NID design strategy to leverage the availability of this new material from local production facilities in Agartala.

IL&FS has identified nine master craftsmen from the Agartala region to partake in the CFBI-NID design development and training programme and along with these craftsmen an IL&FS supervisor was deputed to manage the day to day programmes with the NID Bangalore coordinator Divya Darshan and Joint Project Head and NID Faculty, C S Susanth from the NID Bangalore Centre. Prof M P Ranjan as Head of the Project stationed himself at Bangalore from 17th September to 30th September 2008 for the design development and training components of the project that is being handled under the management of the NID Outreach Department located in Ahmedabad while NID Bangalore handled all the local logistics and project support systems through Shashikala Satyamurthy and Centre Head S Goshal.

Image 04: The ubiquitous “Alna”, a local clothes rack, offered in new design configurations using rubber wood gussets to support the “Local to Local” design strategy advocated by NID.

Dr C N Pandey and his team were very supportive and provided the space in their well equipped Bamboo Development Centre for the conduct of the workshop as well as provided some key training inputs in bamboo treatment and finishes that was organized as associated demonstrations and lectures. The NID design team of Prof M P Ranjan and C S Susanth was joined by other members from NID Bangalore including Divya Darshan and Niju Dubey who participated in the design and training activities on a regular basis. Further, three NID students from Furniture design discipline joined the team as experimenters and occasional trainers and they too developed their own understanding of the new material through their association with the workshop, the results of which will be seen in the future, I am sure. Of these students, Garima Agrawal has chosen to take the bamboo project as her major diploma project and she will be taking this initiation and travel to the field to commence her research and study at Agartala in the near future.

Image 05: Exhibit of all new bamboo products developed at the design cum training workshop at IPRITI as shown at the NID Bangalore lawns for the closing function on 30 September 2008.

The design strategy outlined by the team this time looked at the building of products and systems that had a “Local to Local” character since the craftsmen while being very skilled at bamboo work were still to learn about being entrepreneurs and learn to manage a business enterprise on their own. The IL&FS and the NID design team are providing handholding and mentoring supports as part of the next stages of this project and in this the making of local products would bring a degree of self confidence to the crafts entrepreneurs since they could learn from direct experience and use their local knowledge to build their business experience. The major product category chosen for this strategy was the local “Alna” an ubiquitous clothes rack usually made in wood and found in every home in the Eastern Region of India as well as all over the Northeast of India. We therefore designed a wide range of “Alna” type products to demonstrate product diversification and the possibility of customization of a basic idea to generate variety. The other products included benches and tables that could be used in domestic situations as well as in local café’s across Agartala region, which by the way is a huge local market that is attracting many furniture makers from New Delhi and Mumbai. These are local opportunities that the Tripura craftsmen can learn to address in their process of learning a trade which they could then sharpen and refine to address more sophisticated markets in other cities in India as well as in the export sector, once their level of confidence has grown to manage these with comfort and quality.

Image 06: The closing function attended by Director IPRITI, Il&FS Managers, Coordinator Tripura Bamboo Mission, Centre Head NID Bangalore and Head, Centre for Bamboo Initiatives at NID and the design and craftsmen teams.

Another major design decision was the use of rubber wood in combination with bamboo for several of the products. In an earlier collection we had designed all bamboo furniture as part of our “Katlamara Chalo” strategy where the joints were made using round holes drilled with a flat-bottomed drill bit and secured with bamboo dowels and bamboo counter pins. This joint was used once again for all the bamboo pole joints and all bamboo components were kept straight without the use of any bending that is commonly associated with bamboo furniture. The rubber wood components were of two types, plates for surfaces and shaped gusset members for particular joints between bamboo frames. This way the bamboo craftsmen could obtain the rubber wood components from the new and growing rubber wood industry in Tripura and offer value to their customers with the added functionality of smooth surfaces and precise gusset joints that are also visually modern. This strategy had us seeking the help of Sandeep Mukherjee for the precise manufacture of the gusset components, drawings for which were prepared on cad software by Niju Dubey. Several ranges of “Alna” were developed using these special gussets and as we go forward we anticipate an enlargement of the range with the addition of new components as dictated by the design scheme and the functionality required. The Tripura craft scene is now sufficiently sophisticated to accommodate this shift to outsourced components as they develop their marketing strategy in the days ahead and this would also help them fetch a better price in the market and provide value to the customer who is being exposed to many imported products of high quality.

Image 07: The new “Alna” and other products at the lawn exhibit at NID Bangalore for the closing function.

The training programme culminated in the production of several new designs that aligned to the product strategy proposed by the NID team and at a concluding function at NID Bangalore on 30 September 2008 we conducted an exhibition of all the products at NID Bangalore which was visited by George Jenner, Chief Coordinator of the Tripura Bamboo Mission, Sharmishta Mohapatra, Senior Manager and Advisor – Trade Facilitation, IL&FS, New Delhi, Dr C N Pande, Director IPRITI, Dr S Goshal, Centre Head, NID, Bangalore and all the crtafts trainees and the NID design team with the students of the NID Bangalore and they were hosted by Prof M P Ranjan, Head, Centre for Bamboo Initiatives at NID. At the concluding function the dignitaries spoke to the audience about bamboo and its role in the future as well as the strategies of the Tripura Bamboo Mission and the plans and activities in the coming years. These provided new opportunities for all partners to use their skills and knowledge for the development of the bamboo sector in Tripura and in the process bring overall development to Tripura State, particularly in the rural areas that have been deprived of industrial development over the years. Plans and now afoot to send our teams to Tripura for the next phase of the project that includes the setting up of micro production units with the use of an appropriate set of hand held power tools and the hand-holding supports from the IL&FS teams in finance and marketing support in the field. NID designers will work closely with these craftsmen to realize the objective of getting these new products to market and in the process establish the confidence levels of the crafts entrepreneur as well as help maintain quality of production with the use of simple manufacturing strategies that are embedded in the design programme.

Prof. M P Ranjan

Design Happenings in Bangalore: Two Weeks at NID Bangalore

Design Happenings in Bangalore: Two Weeks at NID Bangalore
Prof M P Ranjan

Image 1: DCC models about food at NID Bangalore: Climate, Geography and Culture.

I have been in Bangalore, nay Bengaluru now, for over ten days and have been conducting the Design Concepts and Concerns Course (DCC) for students of three disciplines at the NID Bangalore Centre. The theme continues to be food and the assignments have gone through a small transformation. The first assignment had three groups looking at the macro aspects of food and the economy across the broad fields of influence under the heads of Climate, Geography and Culture. The first assignment ended with the three groups having explored the chosen areas through brainstorming and some supporting research ending in the production of a visually rich model that could help in the “visual sensemaking” process as defined by the NextD Leadership Institute.

Image 2: DCC team presentations at NID Bangalore

Each group came up with compelling presentations that revealed a great depth of information carried by the team members and they were all able to produce rich models and make their presentation to the faculty and students at NID Bangalore. The Geography group used a compact model of the continents which revealed both their knowledge as well as their areas of ignorance about the world of food, since the North American and European regions were better represented than the South Americas and the African continent. The climate group divided the world into zones along the longitudes and used one table surface for each zone to capture a picture book of “Poloroid pictures” just as a returning traveler would have shared their vast journeys with their clansmen in the past. The third group had everyone holding their breath with their stunning portrayal of culture using their knowledge of India and the variety of foods and their associations with religious and cultural affiliations. The three dimensional display was well classified and translated into banners each that covered one major category of food and a central display mapped the three major religions that dominate the Indian landscape.

Image: Neelam Chibber with Prof. Ranjan at NID Bangalore and with students of the DCC class.

Neelam Chibber who visited the NID campus briefly to see the bamboo workshop at IPIRTI across the street from the NID campus was quite taken in by the presentation of the culture group and she has commissioned the team to make a refined set of banners about food and culture for her new stores in the now revised Industree Crafts stores that are taking shape in her back office operation of scaling up and diversifying her already successful operation to bring value to Indian crafts at the grassroots level. The Industree Crafts Foundation as well as Industree Crafts Pvt Ltd is being transformed after taking strong roots in Bangalore and I will bring this story to this blog when Neelam is ready with her new and revised offering. Industree Crafts Foundation and the business wing Indistree Crafts Pvt Ltd. works on a Fair Trade principle with over 15,000 village craftsmen across seven states and the Northeastern Region of India and it grew from a small investment of Rs 12 lakhs (1.2 million Rupees) to reach a valuation of over Rs. 15 crores today and growing further by the day. Neelam worked with Gita Ram of the Crafts Council of India and Poonam Bir Kasturi in the early days to nurture a lofty thinking organisation and has shown us that design and social equity can bring good value for all partners. You can download a pdf article about their Fair Play principles from this link as a 688 kb pdf file titled "Fair and Just".

Image 3: Swiss design team conducting a workshop at NID Bangalore

The Swiss design team of industrial designer Frederic Dedelley and design journalist Ariana Pradal conducted a one day sensitizing workshop for all the students at NID Bangalore when they shared the Swiss Design experience through a slide lecture which was followed by a hand-on workshop aimed at creating a designer Letter Opener by direct action on materials and ideas. The evening saw an exciting presentation of over 50 different design offerings which were stimulating and showed the students the dominant design activity of product diversification with the use of micro detailing and form giving that are central to a designers bread and butter operation in their dealings with industry.

Image 4: Guided tour at the Swiss Design exhibit at Bangalore Max Muller Bhavan.

I got to visit the Swiss Design exhibition, Criss+Cross at the Max Muller Bhavan in Indra Nagar and also to take the guided tour offered by Ariana Pradal. I was joined by my daughter, a Bangalore based Graphic Designer, Aparna Ranjan in this very informative tour and later we sat together for a long chat with Frederic Dedelley on various issues and directions in design for India and the world.

Image 5: Bamboo workshop at IPIRTI with Tripura craftsmen for the IL&FS project.

The IPIRITI based bamboo development workshop had nine craftsmen from Tripura along with two of our mastercraftsmen working on my new designs that used a combination of bamboo poles and rubber wood components under the supervision of NID Bangalore faculty and long time bamboo colleague, C S Susanth. The IL&FS team included a supervisor and their senior officer S Matouleibi who manages the field activities of the Tripura Bamboo Mission in Agartala, Tripura. We developed a collection ten new designs with a focus on a “local-to-local strategy”, where we selected products that would have a ready local market in the Tripura region which in turn would facilitate start-up entrepreneurship amongst the bamboo craftsmen who need to develop their self confidence through some mentored development initiatives by the design and finance teams in the field.

Image 6: Visit to Quetzel Design Pvt Ltd

This project and the strategy to use some rubber wood components had me driving all the way across Bangalore from Penea to Sarjapur Road for a visit to Quetzel, a furniture design and manufacturing firm started by two NID graduates, Sandeep Mukherjee and Sarita Fernandes. The company has grown from humble beginnings to be one of the finest furniture manufacturing firms in India that can compete with the international brands that are now entering India across all the parameters of marketing and design. Sandeep and Sarita were both my students in the Furniture Design faculty and NID and I feel quite proud to see their massive and refined industrial venture which has been built at a time when design was ignored by both government and industry alike, which is something that I had called attention to in my paper of 2001 at the first National Design Summit organized by the CII and NID in Bangalore. My paper was titled “Cactus Flowers Bloom on the Dessert” to draw attention to the extremely hostile economic and policy climate in which design was passing through and things have not changed much even today, although we have come a long way as a profession today, but no thanks to either the government and to the established industry, who have steadfastly ignored the design community in India while they have run after international collaborations at a huge cost to our economy and to the tax payer alike. Download paper here 123 kb pdf file and visual presentation here in two parts: Part 1 – 3.6 mb pdf file and Part 2 – 4.6 mb pdf file

Image 7: Visit to Trapeze Design Studio at Koramangala

On our return from our long drive to Quetzel and back I took Matouleibi to visit Trapeze, a graphic design studio at Koramangala which was set up by two NID graduates, Sarita Sunder and Ram Sinam. An exciting small studio with a row of Macs on one side and an impromptu photo studio and a table tennis facility on the other. Trapeze has an impressive range of clients from across several sectors and their work in print and web design has set standards for Indian graphic design industry in spite of their small and cozy studio size and very personalized format of operation.

Image 8: Book launch function at Crosswords for Dr Darlie O Koshy and his book “Indian Design Edge”.

The week closed with another interesting event which I will write about in some detail in a future post since it will need the time and space to read, reflect and comment about, in a balanced manner, if possible. This event was the launch of the new book, “Indian Design Edge” by Dr Darlie O Koshy, Director, National Institute of Design through the Roli Books Publishers at an evening event at Crosswords Bookstore on Residency Road, Bangalore. The event saw the main speaker Dr Sadagopan, Director IIIT, Bangalore (Tripple IT Bangalore) wax and wane about the virtues of design from the aesthetics to the usability of the Apple iPhone and his profuse praise for Dr Koshy’s many achievements in his 8 year long career at NID as its Executive Director for the first five years and later as its Director for the past three years after a terminiology change that has left us all puzzled if it is a move forward for NID or not. I bought three copies of the book for myself, my wife Aditi Ranjan and my daughter Aparna Ranjan so that all of us designers could come up to steam quickly on Dr Koshy’s offering to the design publishing space in India, which by the way is very starved of any kind of serious publishing and this particular offering will be lapped up by the much starved Indian and international design public, I am sure. Dr Koshy is also a Board Member of ICSID, the International Council of Societies Industrial Design, and by the way my blog “Design for India” has been showcased by the ICSID blog in the education section last month particularly for the Tata Nano debate that it had hosted when the product was launched with much fanfare early this year. Ratan Tata has written the Forward for Dr Koshy’s book and the Tata Nano appears on the dust jacket as well as on the contents page of the book as a symbol of Indian design success.

Image 9: Visitors at the book launch function at Crosswords, Bangalore

There was a bash across the street from Crosswords organized by a local fashion group to falicitate Dr Koshy on his publishing achievement but I did not gate-crash this bash at the Taj Gateway but chose to have a quiet dinner with my daughter Aparna along with two very interesting young designers from France and Germany, two girls who have chosen to work in India since it offers them real challenges unlike the well established and stable design climate in Europe today. We sat a Coconut Grove and got a sense of what foreign designers liked in India and how they had coped with the challenges of Indian living, both rode mobikes in Bangalore and have worked for over two years in a umber of very interesting assignments here in Bangalore. I am sure India can accommodate may more such international adventurers in the 230 sectors of our economy that is today starved of design offerings due to policy myopia in government and in industry. The design scene in India is indeed changing rapidly and this si an exciting time to be working in and in writing about design for India. Mireille Arnaud, the girl from France, is working with some stone craftsmen from a village called Shivarapatna in Karnataka and she has helped them build contemporary concepts that can take their skills to new markets in India and overseas. This is the kind of cooperation that we had envisaged when Aditi and I had embarked on the research for the book “Handmade in India” in conversations with Jogi Panghaal one of our prominent collaborators and several of our faculty colleagues at NID. India can offer creative opportunities of Indian and international designers to work closely with Indian craftsmen to build a creative economy which could be the future for many of the Indian crafts if our policy initiatives are managed in the right direction. On the other hand, Christina Hug from Germany, is working as a creative director in a local design firm with her focus on graphics and communication having traveled to India after field experiences with the Greenpeace Foundation in many countries.

This week I get back to NID Ahmedabad with a good feel from Bangalore since so much has happened the past ten days and the stay was useful and productive. I look forward to returning soon to Bangalore, the city of Rain Tree avenues and a still wonderful climate, if we manage to keep it that way, Nano or no Nano!


Prof M P Ranjan