Hiển thị các bài đăng có nhãn Vikas Satwalekar. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn Vikas Satwalekar. Hiển thị tất cả bài đăng

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 Bảy, 13 tháng 9, 2008

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

Design for India

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


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

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

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

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


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

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

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

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

Design for India

Thứ Tư, 11 tháng 6, 2008

Communication Design: 50 years of Contribution to the Indian visual landscape

Communication Design: The Early Years at NID


Image: Wall of tiles at the end of the Design Street at NID with a sampling of symbols and logos designed for various public and private Indian organizations.



Visual Identity is the visible face of an organization and its services through which we recall and recognize the products and essence of the various offerings from a particular organization. This extends to both public service organizations such as the air, rail and road transport services as well as corporate organizations in manufacturing, finance and other services. At NID, the Communications Design faculty and students have been offering the services of designing such identities to corporate and government bodies almost from the very inception of the Institute and the setting up of its graphic design education programmes in the early 60’s. However very little is written about this work and therefore little is known about the contributions made by the NID designers to the Indian economy and its brand portfolio which most Indians are familiar with. The wall of tiles can be seen at the far end of the Design Street as a visitor passes through the NID building past the Fountain Plaza, the Gautam Gira Square and the Big Tree, all familiar landmarks to NID students and faculty. I do wish that some committed graphic design research is done to first document this legacy and then assess the worth of these contributions to the Indian people. The Communications Design activities have been at the centre of the NID education and professional offerings over the past 50 years and it is high time to look back at these offerings and explore the various dimensions and disciplines through which these have journeyed across the decades of sustained contribution. Over 800 public and private sector identities have been designed by the NID community and numerous other areas of design exploration include advertising, social communication, film making, animation, text book designing, typography, photography and illustration, to name only a few of the areas that form the body of communication design work from the Institute.

If I step back in time, the first programme in Graphic Design and the other Communication Design disciplines was offered at NID in 1963 when a number of fine and applied artists were inducted into the first programme at NID under the stewardship of Dashrat G. Patel, Design Director, Visual Communication and several international design teachers who came to NID as consultants in the discipline. In those days the dominant disciplines were Graphic Design, Typography, Photography, Exhibition, Illustration, Animation, Sound and Film Making. Many of these were offered as specializations to the joining students after a period of basic design education at NID. The first programme in Communication Design commenced in 1963 with the induction of eight post graduate students.

Image: Some examples of graphic design work done in the classroom in the early sixties from the NID Documentation 1964-69 (download pdf 25 MB here)



This programme was preceded and overlapped by a six month course in Basic Design that started in March 1963 with six students from a variety of backgrounds. While I do have a list of these six students we do not have any information about them after they left NID in September 1963. The Basic Design course was prepared and conducted by Prof. Jesse Reichek and Richard Berteaux from UCLA, Berkeley, California. These six students are listed below:
1. Arvind Desai
2. S Patel
3. N Chauhan
4. Gothankar
5. B K Ralput
6. B Das

This batch was followed soon thereafter by the first batch in Communication Design with the entry of the eight students from varied backgrounds in fine and applied arts, cinematography and literature. This first batch joined NID at various dates from June 1963 to December 1964 and many of them went on to join NID as full time faculty before or after a period of training in their area of specialization at a school or office of a chosen design consultant of international repute. The major consultants who provided the expertise and teaching inputs over varying periods of time were as follows, but this is not a complete list however:
Graphics: Armin Hofmann, Allgemeine Gewerbeschule, Basel
Communication: Bob Gill, Royal College of Art, London
Typography: Adrian Frutiger, Ecole Estienne, Paris
Documentation: Eberhert Fischer, Musee Ethnographique, Basel
Exhibition: Charles & Ray Eames, Consultants, California
Photography: Christian Staub, Hochschule fur Gestaltung, Ulm
Photography: Henri Cartier-Bresson, Paris & New York
Animation: Leo Leoni, Consultant, Italy
Sound: David Tudor, Music Composition, USA
Printing: Manfred Merz, Switzerland
Block Making: Eduard Schmid, Switzerland
…….and there were many more, all listed in the NID Documentation 1964-69 (download pdf 25 MB here)

Image: Looking at the Design Street from the Fountain Plaza (right) and from the top of the Big Tree (left)



The first batch of students in Communication Design at NID are listed below;
1. Ishu B. Patel
2. Rohit Modi
3. P M Dalwadi
4. A P Gajjar
5. Manu Gajjar
6. Vikas Satwalekar
7. I S Mathur
8. Mahendra C Patel

The second batch that joined the NID Communication Design in May and June of 1965 included four students, all of whom left the institute after varying periods of study from three months to 15 months duration. The four students are listed below:
1. H K Patel
2. V M Patel
3. M M Patel
4. H A Vora


Image: Some garphic design assignments from the early sixties at NID.



The third batch of nine students joined NID between May and September 1967 and four of them went on to join the institute as full time faculty after a period of study at Basel and two others were appointed as faculty immediately after they completed their programme of study at NID. These students are listed below:
1. N N Patel
2. R L Mistry
3. C N Shah
4. P M Choksi
5. S M Shah
6. Girish R Patel
7. M O Vaghela
8. N A Patel
9. V H Varia

Image: The NID Main Gate and Prof M P Ranjan in his office at NID.



The first programme for school leavers commenced in 1970 and the faculty here was drawn from the first three batches of Post Graduate students in Communications Design and Industrial Design, an all Indian faculty. Of the 24 students who joined the programme in the Foundation, 10 chose to join the Communications Design discipline. Eight students went to Industrial Design and six joined the Textile Design area. The Communications Design programme has grown from strength to strength over the years and some of the most respected design professionals in India in the fields of Graphics, Advertising, Animation, Film Making, Photography, Packaging, Branding, Social Communication, Book Design, and several other areas of specialization have come from these programmes at NID. While the numbers have always been rather small, I believe the impact has been quite significant and I am sure that time and the ongoing public reflections will show this to be so.

I hope that the Golden Jubilee of the Eames Report will be an occasion to reflect on these contributions and to take stock of what has been done so far and to set the tone for the way forward. I also hope that some of these young designers will share their work in the days ahead in a substantial manner and from this we will be able to garner the shape of Indian communication design as a composite whole.