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Deepa Kamath pg 26 | Photographed by Melinda Juang Auto Expo 2014 02 Preksha Baid 10 Shweta Jain Chopra 20 Jonas and Liane 40 BODW 2013 46 Aneev Rao 52 Harsh Raman Singh Paul 58 Cagri Cankaya 63
Design Drives Innovation.
A philosophy that nurtures a culture of innovation. For over six decades, Forbes Marshall has been building steam engineering and control instrumentation solutions that work for process industry. Today, we are leaders in process efficiency and energy conservation through technology tie ups and focused investments in manufacturing and research. Constant innovation in our product range is what helps us stay at the fore. We have
consistently brought to the market innovations in technology and design. Several of our designs have won awards, the most recent being the Steamon Vortex Flowmeter which has won the iDesign award for the Best Design in Capital Goods. To know more about what drives innovators at Forbes Marshall, write in to us at response@forbesmarshall.com .
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Editor in Chief | sudhir@indidesign.in
March 2014 | # 45
Sudhir with Tarun, Gaurav, Pradip and Deepak at Auto Expo 2014
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Deepa Kamath pg 26 |
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Photographed by Melinda Juang
Auto Expo 2014 02 Preksha Baid 10 Shweta Jain Chopra 20 Jonas and Liane 40 BODW 2013 46 Aneev Rao 52 Harsh Raman Singh Paul 58 Cagri Cankaya 63
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Designindia was founded in 2002. It was started as a platform for interaction for the design community in India and abroad. Over the years it has grown into a forum spread over many social and professional networking domains, linking design professionals into an active, interactive and thought leading community.
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Experience Leads to Design This was my 10th Auto Expo. One of the biggest auto shows in the world, it is held in Delhi every two years to showcase what’s been happening in the world of automobiles. Elsewhere auto shows give us a peek into the future. In India, the Auto Expo offers a taste of current Indian consumer behavior. The Automobile Industry is one of the prime indicators of the Indian economy and also a mirror of the Indian Design Industry. In fact, I advise my non-auto industry clients to visit the Auto Expo for a hint of what consumers look for, what delights them, how they react to something, what is the language they use and what holds their attention. You can sort of judge if they will really pay for something. They come in groups with families and friends and you can very clearly see how behavior is shaped in groups. A day spent at Auto Expo is like a master’s course in ethnographic studies. I have actively used these observations in my work, even for nonauto client projects. I guess that’s what experience is all about. While this was the 10th consecutive Auto Expo we worked on for Bajaj Auto, it was the first for Triumph Motorcycles. While one was a known Indian brand, with known behaviors, and expected results, the other was a new brand in India, with unknown interactions, and surprising results. The former is coming across more and more as a global brand, while the latter is keen to Indianize itself to merge with customers. There are great times ahead for both. In this issue I write about both in detail.
Sudhir Endorsed by
Supported by
AUTO expo 2014
IN AUTO MODE
Auto majors jostled for visibility at the recently held 12th Auto Expo 2014, organized jointly by the Automotive Component Manufacturers Association (ACMA), Confederation of Indian Industry (CII), and Society of Indian Automobile Manufacturers (SIAM). Sudhir Sharma, who was associated with veterans Bajaj Auto Ltd. and newcomers Triumph Motorcycles, comes away intrigued by the changing focus of such shows in India. products to the buying public in the best possible light.
Across the world, auto shows are used by companies to showcase their capabilities and convince customers of the superiority of their portfolio. Visitors to auto shows in places like Frankfurt, Geneva, and Tokyo are also very focused on products and technologies. One would expect that Asia’s largest, and the world’s second-largest, motor show would be the ideal platform for participants to present their 2 POOL #45
At the 12th Auto Expo 2014 recently held at Pragati Maidan in New Delhi, the focus was a little different. Most companies were more intent on getting maximum media mileage from the event; the focus was more on what should be done to ensure media coverage for the company and its products. This is perhaps because the visitors to this mega event are not always customers. Auto Expo is seen as a big janta mela that draws everyone, even those with no interest in automobiles! It has become a place to socialize with friends. As a result, companies need to pitch themselves at a very loud level and many end up presenting themselves in cosmetic ways. You see a lot of visual noise at Auto Expo. In a way it is an ideal place for designers to be. The show attracts thousands of people from
auto expo 2014 all classes of society and from various age groups. This is a place to see what attracts them, what catches their eye, where do they stop, and what enquiries they make. As expected, Bollywood music and celebrities are a huge attraction for young people. Bajaj Auto Turns To Art The Bajaj Auto Expo pavilion was inspired by the natural art style of a celebrated Australian artist, Christopher Hogan. It featured five cars hand painted by the artist, along with newly launched models of Pulsar, Discover, and a new 4 wheeler concept called ‘U Car’. I had met Christopher and his wife Beres on their first visit to India. Christopher conducted fascinating workshops at Bajaj, encouraging employees to create paintings in his vibrant style. Many of them were painting for the first time! Some of these have been used as backdrops for the pavilion; others are displayed at the Bajaj offices. We were told that Christopher would be hand painting RE60s for display at the Auto Expo; we thought it was a good idea to place them in an ambience of art created by Bajaj employees. The paintings made a stunning environment for those stunning vehicles! The idea behind the simple but colorful pavilion was to bring the joy of art to every person, just the way Bajaj vehicles bring technology to everyday use. Art makes this emotional connect with people that technology rarely does. We had initial meetings about the Auto Expo with the client more than a year back. We went down to NOIDA to decide on a location for the pavilion; based on our approximate area and other requirements, the organizers gave us the
choice of a few halls. We chose one and started conceptualizing on that, based on the client’s brief on the products that would be displayed. Most products were not ready at that time but we had a detailed idea of whether the products would be open for people to touch or not, and what we wanted to highlight. We had an idea of which companies would occupy the neighboring spaces. In a way we sort of knew how the crowd would flow, and what the noise levels would be in that space. Fortunately, Bajaj has had a very consistent and clear brief for such shows. The product focus is not to be taken away by anything...definitely not by ‘Design’. Triumph Motorcycles Revs It Up Triumph Motorcycles made a triumphant entry into the Auto Expo with NDTV Car & Bike Show awarding its pavilion ‘Best Brand Entry: Two Wheeler in India’ for stall concept, POP concept, customer interactions opportunity, customer entertainment and brand visibility. A new entrant in the Indian market, Triumph Motorcycles was keen to launch with the new brand, ‘Triumph: for the ride’. We had seen their huge stall in Milan; we had a much smaller space than that at Auto Expo but the plan was to exhibit all the bikes in more or less same way as in Milan. We improved the design a bit, added a new flooring color, scaled the displays slightly, and decided to use augmented reality visuals. We didn’t have to do much. Triumph bikes attracted a lot of crowd; it was easily the most visited stall there! www.indidesign.in www.poolmagazine.in 3
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| Photographed by Gourab Gang uli Anubha Kakroo 02 Uzma Show kat 04 The Craft Devika Krishnan Development 14 Abeer Gupt Institute 10 a 22 Akshay Kaul 44 Tinni Arora 52 Jenny Pinto 58 dry 18 pe' foun
Devgan Neetika hed by tograp Ty 14 16 'Ek t Fair 20 Ar Deol 58 ia 12 Ind Manreet Basu 50 44 Anais
Indra jit N atto ji
pg 3 Dr. N 4|P au hoto Nashe shad Fo grap rbes et Sha hed 04 by N dani andit 28 G Malti Gae a Nat aura ng Sh kwad 10 toji ah 4 6 Kar Gita Wo lf thi K N Rav 16 Sarah Foth eend ering iran 54 P ham ooja Ajmer 22 a 60
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Bajaj Blue
Pantone RGB CMYK
BRAND BETTER DESIGN FIRM:
Indi Design Pvt Ltd Pune. India
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INDI created this unique Badge which looks modern, edgy and forward moving that fits well with its motorcycles business.
BACKGROUND The company was in the process of revamping its existing showrooms for motorcycles, it was then that a need was felt to clearly differentiate the motorcycles business from its other businesses. It also needed to continue the look of well know Bajaj Identity & add this new dimension to it.
The colour is a darker shade of blue for it to stand out from competition.
CHALLENGE Bajaj needed to position its motorcycles leadership in customers mind in an ambiguous way. The new identity had to be an addition to the corporate identity also designed by Sudhir Sharma in his earlier company.
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SOLUTION
CLIENT:
INDI Pune
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Bajaj Auto required a new identity for its motorcycles business which did not disturb the existing goodwill of the brand.
Bajaj Motorcycles Identity
DESIGN TEAM:
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PROJECT BRIEF
PROJECT:
Bajaj Auto Ltd
282C
The Bajaj in the identity keeps the trust & tradition rooted & with the addition of motorcycles it clearly states the positioning and the change in attitude of the company to a more aggressive one.
10)
7)
2)
3)
1)
8) 6)
4) & 5)
9)
INDI is an international Brand, Design & Innovation consultancy. SERVICES INDI delivered the distinctive retail identity that Bajaj needed to express its transition from a 2 wheeler generalist to a motorcycle specialist - simple, sharp & sophisticated.
INDI develops tangible solutions while aligning strategies to the consumers insights. We bring strategies to life through design. Brand Development & Brand Consulting Brand Positioning & Strategy Brand Architecture Brand Communication Product Design
Rajiv Bajaj Managing Director Bajaj Auto Ltd
CORPORATE OFFICE:
,
Environments design
INDI Design Pvt Ltd C-1, 503 Saudamini Commercial Complex Bhusari Colony, Paud Road, Pune Tarun Thakkar
O
+91 97301 444 55
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installation
SYMBOLS OF INDIA Preksha Baid’s Y-Walls Design recently created a series of installations for the Ministry of External Affairs in New Delhi
How did you land the project? PB: Y-walls Design was invited by the Ministry of External Affairs to present ideas for various spaces for the new MEA office building at Janpath in New Delhi. The brief was to design contemporary art pieces with an Indian identity and representing the rich cultural heritage of our country. We presented concepts with an approach of scaling up everyday objects and forms with a strong Indian identity into an art piece for the government building. After two rounds of presentation, the selection committee awarded the project design, build and install the art installation - to Y-walls. How did you come up with the concept? PB: Since it is a government office building it was important to consider the people who will be using it as a workspace every day, the diplomats who will be visiting the Ministry, and the outdoor spaces that are visible from the main road. Spotting a huge peacock or a diya from the main road will surprise the people traveling on the main road and also excite visitors. In my research I found that it’s very important to put up forms which people will not get bored of seeing in their workspace every day. Buddha as a form is very serene and hence I used it as a focal point in the lobby of the building. What kind of research went into the project? PB: We started our research with understanding the visual keywords that represent India as a country and how the 10 POOL #45
installation
The Buddha Jaali Wall www.poolmagazine.in  11
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The Buddha Jaali Wall
imagery is changing in the present context. After a detailed research and ideation process, we took forms that are symbolic in India. For e.g. peacock, Buddha, diya, and a tree. Spotting a peacock, our national bird, in an urban city in India is rare. Our approach is to transform this outdoor amphitheater into a space where people could spot a peacock from the main road. The stainless steel installation celebrates the peacock as an Indian form. A diya represents prosperity and is used in every Indian home. The design intent is to showcase the craftsmanship and simplicity of the form. For the Alphabet Tree, the design intent is to represent unity in diversity by highlighting the regional languages in one single form. A tree symbolizes growth and we hope that the installations help people to connect 12 POOL #45
with their roots and motivate the younger generations to learn their regional language. The 6.5 meter indoor Buddha Jaali Wall installation is representative of the abundance and spread of the spiritual teachings of Buddha. The placement of this installation in the entrance lobby area is very appropriate. The jaalis depict enlightenment and the intricacy of knowledge. The World Map Jaali has jaalis that are completely handcrafted in sheesham wood with brass inlay. This indoor wall installation depicts India’s relationships in an international context, and is appropriate for the Ministry of External Affairs Building. How much time did it take to complete the project? PB: The installation took a year’s time from conceptualization to final installation on site.
installation
The Alphabet Tree
What challenges did you face? PB: The main challenge was to do brass inlay on such large surfaces. The craftsmen working with us on the project were very experienced but only with small objects. An art installation requires a lot of technical planning and visualization of challenges at every stage, from concept, sampling, structural detailing, to production and installation on site. The other challenge was to do the structural detailing to manage the weight of the jaalis on the wall. How was the overall experience? PB: Designing for the government is very different from designing for a luxury restaurant or a commercial space. It has www.poolmagazine.in  13
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The World Map Jaali Wall www.poolmagazine.in  15
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The Marble Diya
been a great learning experience for the entire team since it was a ‘design, make and install’ project. We have used industrial materials like stainless steel and completely handcrafted it with locally available skilled vendors. We also used advanced CNC technology to craft the Diya; had craftsmen from Orissa to sculpt the Buddha; and worked with craftsmen in Saharanpur to develop intricate brass inlay jaali. Working with new materials and production processes makes us technically very sound and gives insight into the ground level problems of working with vendors, craftsmen and site contractors. It is very encouraging when the government is willing to collaborate and work with artists and designers and create opportunities to explore working on government spaces. info@ywalls.com
The Jewel Peacock
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| Photographed by Gourab Gang uli Anubha Kakroo 02 Uzma Show kat 04 The Craft Devika Krishnan Development 14 Abeer Gupt Institute 10 a 22 Akshay Kaul 44 Tinni Arora 52 Jenny Pinto 58 dry 18 pe' foun
Devgan Neetika hed by tograp Ty 14 16 'Ek t Fair 20 Ar Deol 58 ia 12 Ind Manreet Basu 50 44 Anais
Indra jit N atto ji
pg 3 Dr. N 4|P au hoto Nashe shad Fo grap rbes et Sha hed 04 by N dani andit 28 G Malti Gae a Nat aura ng Sh kwad 10 toji ah 4 6 Kar Gita Wo lf thi K N Rav 16 Sarah Foth eend ering iran 54 P ham ooja Ajmer 22 a 60
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Tanaji Avghade pg 32 | Photographed by Gourab Ganguli
Anubha Kakroo 02 Uzma Showkat 04 The Craft Development Institute 10 Devika Krishnan 14 Abeer Gupta 22 Akshay Kaul 44 Tinni Arora 52 Jenny Pinto 58
Jasleen Bindra pg 32
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Suresh Venkat 04 MIXIN, Srinagar 12 'Ek Type' foundry 18 Anant Nanvare 26 Manish Gulati 44 Anais Basu 50 Manreet Deol 58
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Rit Mishra 04 Stefan Stark 10 Madhura Kulkarni 14 Love@FirstSight 18 Mithun Darji 26 Ram Raheja 42 Dhruv Kapur 52 Deepak & Aparna 58 Cagri Cankaya 63
craft
ADDING COLOR TO LIFE
As Creative Director of SJC Designs, Shweta Jain Chopra gives her imagination free rein to create quirky lifestyle products with a unique personality When all that focus and hard work got me into NID, the college that would launch my career, the path only became clearer. I got a Diploma in Industrial Design, and after understanding my style and language of design, I went through a rigorous six-month training period with Karim Rashid Inc., New York. That’s where I learnt the art of listening to your own unique style of design and making that your brand identity.
How did you get drawn to design? SJC: I was always an artsy-craftsy kid, preferring to draw and cut freehand. I was doodling, cutting and gluing away as a four-year-old! Even in those early formative days when someone asked me what I wanted to be when I grew up, my answer was always clear an artist or a designer. 20 POOL #45
When did you decide to start ‘SJC Designs’? SJC: After getting married in 2010, I moved to Seoul, South Korea, and that’s where my journey with SJC Designs began later that year. My love for all things Oriental caught another dimension in that beautiful country. I LOVE design, and wanted to do something on my own that I could take pride in and truly love. I was always looking for more things that were quirky, odd and colorful, with more personality. So I embarked on this journey, born from daydreams of escaping monotony and constraints, to
craft
‘FISHYTRICKSMODEL’ NECKLACE Collection
bring my imagination and creations to life, and hope to help make this world a more fun and beautiful place to live in. What kind of products does SJC Designs offer? SJC: My label designs and makes delectable circus, fairytales and wanderlust inspired lifestyle goods that are quirky and whimsical, yet usable and wearable. It offers lifestyle and home accessories, such as bags and pouches, jewelry, personal gadget cases, collectible toys, children’s DIY Kits, and seasonal items such as rakhis and Christmas ornaments.
Each and every element in these pieces is created by hand, with no use of machines. We often get customized orders for our products, where we change colors and elements as per the clients’ imagination! We take pride in giving people what they want, how they want. What inspires and influences the designs you create? SJC: SJC Designs is not fashion per se, and we do not follow trends or seasons. It is not created for the masses but catered specially for those who appreciate the exclusivity, effort, and www.poolmagazine.in 21
CIRCUS FACTORY - FUNKY SLINGY Collection
passion that went into imagining and crafting the product. We aim to be a lifestyle embraced by handmade/ craft lovers and connoisseurs from all over the world who appreciate a little dose of fun in their everyday life. I want to design and make only beautiful things that I like, and to like what I make. My design sense is very whimsical. I take inspiration from childlike innocence of themes that resonate with me. The ‘Circus Collection’ is a classic representation of my wild and free imagination. It was inspired from the simplicity and joy of the days when families used to visit the Circus. The collection has a series of fun and delectable necklaces, brooches and bags. I have taken simple characters such as elephants, fish, and birds, along with elements such as clouds, hearts, hot air balloons, and bunting and woven stories with them. My most popular piece is a necklace called ‘Dancing in the Rain’ – it is not only an accessory, but a state of mind, a dream! It showcases a set of colorful clouds with water droplets. 22 POOL #45
Who is a SJC Design customer? SJC: SJC Designs is a label specially catering to the young and colorful at heart, and free-spirited grown-ups with imagination. We believe that adults can and should have fun too! Our customers are women and men who are always looking out for something quirky. They are confident enough to go with products that define their own unique style and character! SJC Designs is the antithesis of big brands, shiny leather bags and all things flashy. I source our fabrics, materials and inspirations from all over the world, and all our goods are produced only in very limited numbers, with many one-of-akind creations. What type of material and techniques do you prefer to use? SJC: As a label that is conscious about the environment, we emphasize the use of natural handmade materials and small production pieces. Our goods are all ethically and honestly produced, and handmade with lots of love, mainly at
craft our office space in Frankfurt, Germany, where I am currently based. Presently I am using a lot of recycled felt in my creations, but I am soon moving on to faux leather and textured fabrics. My endeavor each day is to not be factory-made, mass produced, or commercial; and to craft as many products as I can by myself, ensuring that everything is made with love. Describe the process you go though to turn your ideas into products. SJC: Thanks to the varied cultures and people I have been exposed to in the past few years, inspiration strikes as easily as a conversation with a complete stranger on a train. My time in Korea, and now in Germany, helps me understand the unique culture these countries share, with an underlying lust for fun and fantasy. No matter where we come from, each one of us wants a break into our creative and imaginative worlds. SJC Designs is a label that brings that fantasy to them every day. I love the whole process of design. It usually starts with daydreaming, with the urge to feel and touch a make-believe world. That leads to a few rough doodles in my sketchbook, moving on directly to cutting and hand stitching. My color palette is my vast collection of swatches, and converting a thought directly to a prototype helps me visualize better. From there starts the journey of further detailing, refining, and color variations, leading on to a photo shoot that depicts the product in the right environment. Once the product pictures are touched up, the final products are made in a small quantity and listings put up on online stores. I believe in a slow design process and each piece I make is made one at a time, by hand. That’s what gives me the joy - to share my products.
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BUGA MONSTER Collection
Where can one find SJC products? SJC: All my products can be found at my personal store: www.sjcdesigns. storenvy.com. I also sell them in India, USA and UK through online stores, and they are available at some stores in Korea, India and UAE.
KIMI WRISTLET
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Share with us your experience of working with a veteran designer like Karim Rashid. SJC: Very early in my design school days, I realized that I resonated with a niche kind of design sense. Most of my projects and products had a fun, whimsical yet practical approach. And I related to the kind of work Karim Rashid did - full of fun, experimentation, beautiful and soft forms, with a unique style tag. I knew then that being mentored by a designer like him would give me direction, and help me believe and own my sense and style of design.
craft Every student has to apply for a summer internship. I worked hard and created a portfolio of my work that best represented my unique style. I applied for a position to Karim Rashid, and became the first Indian ever to get the opportunity to work with him. This was the most challenging and formative time of my career. Karim Rashid took special interest in each intern, and taught the basics of design himself. On my first day of internship, he taught me the correct way of cutting paper, using simple tools! Attention to detail was important to him, and he taught me how to inculcate that in my everyday design work. Having worked so close to him, and on some very prestigious projects, helped me form my career path. I got to work on some big names like Duravit, Egizia, Offi, Step, and Magpie. I was entrusted with complete design responsibilities, and was given the opportunity to pitch my designs to the clients. The team at Karim Rashid Inc. New York, was also extremely supportive and helpful. I learnt from each one of the team members, and owe them my success today. What is the scope of handcrafted products in a technically advancing world? SJC: There is a clientele that appreciates the exclusivity, effort, and passion that goes into imagining and crafting a handmade product. There is a wide audience out there that doesn’t find a sense of belonging with products that are simply mass manufactured. The feeling of having a handcrafted product, made especially for you, keeping your needs in mind, is what people of today’s world desire. sjc@sjc-designs.com
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pg 32 Bindra Jasleen
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Shivani Dhar pg 32
| Photographed by Gourab Gang uli Anubha Kakroo 02 Uzma Show kat 04 The Craft Devika Krishnan Development 14 Abeer Gupt Institute 10 a 22 Akshay Kaul 44 Tinni Arora 52 Jenny Pinto 58 dry 18 pe' foun
Devgan Neetika hed by tograp Ty 14 16 'Ek t Fair 20 Ar Deol 58 ia 12 Ind Manreet Basu 50 44 Anais
Indra jit N atto ji
pg 3 Dr. N 4|P au hoto Nashe shad Fo grap rbes et Sha hed 04 by N dani andit 28 G Malti Gae a Nat aura ng Sh kwad 10 toji ah 4 6 Kar Gita Wo lf thi K N Rav 16 Sarah Foth eend ering iran 54 P ham ooja Ajmer 22 a 60
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cover story
Crossing Boundaries Deepa Kamath, graphic design consultant and currently Managing Director, INDI Design, Hong Kong, believes the only way for Indian designers to make an impact on the global scene is to design something the rest of the world wants!
What’s the best part about being a designer? DK: The first few days into a new project are exhilarating; soaking in the contours of a new brief, examining it from every possible angle, and trying to get to the heart of problem. Turning preconceived notions on their head results in new, sometimes startling, connections being made. While working on the coffee table book Voices Within, I had one such epiphany. I had considered Carnatic music to be a traditionally rigid form. While briefing my creative team, the book’s authors - musicians Bombay Jayashree and T M Krishna spoke with great passion about the innovative and inspirational energy of seven legendary Carnatic music maestros. I suddenly realized that tradition is ever expanding, made or broken by individuals in conjunction with their environments. The possibilities of an empty page or a blank screen are tantalizing, and giving shape to a client’s briefs using skills sharpened over the years is immensely satisfying. Leading creative teams so that every member plays to their full strength is another aspect of my profession that I look forward to. 26 POOL #45
Voices Within Carnatic Music, passing on an inheritance The lives and times of seven of the greatest exponents of Carnatic music, its history and memorabilia make up the glossy pages of this black, white and grey 280 mm x 280 mm coffee-table book, the first copy of which was received by President Kalam at Rashtrapati Bhavan. Sections to showcase the period and emphasize individual musicians, contributions to the genre were a result of active dialogue between the authors, the publishers and the design team. Black, the epitome of minimalist elegance elsewhere is a highly inauspicious colour in Tamil Nadu, the home of Carnatic music. Challenging convention, period photographs were juxtaposed against rich toned black and steel grey in ‘Voices Within’. Carnatic music imagery was thus reinvented for a contemporary audience. The distinct typographic identity was used in backdrops and invitations for the launch and other marketing collateral. The ideas in the book also spun off a series of innovation workshops anchored by Mumbai based innovation coach R Sridhar. Creative Director: Deepa Kamath Designers: Saket Kumar, Deepa Elangovan, Linto Cyriac, Madanagopal, Anita Balasubramaniam and Srijith at the Standard Press Design Studio Authors: Bombay Jayashri, T M Krishna and Mythili Chandrasekhar Prepress and printing: Pragati Offset Publisher: Matrka
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Ventilation ducts and other synergestic forms 11.11.11, A Day in the Life of Lower Parel is a series of images, captured by all the employees at DY Works in one hectic day of roaming the narrow, crumbling lanes around their office in the former mill district of Mumbai. Each picture tells a larger story and brings alive a suburb symbolic of modern India where the old and new jostle constantly. Sorting, sifting and organizing the diverse impressions in this book made us look at the city in a totally new way.
The Process
Lead Designer & Mentor: Deepa Kamath Designers: Priya Rajan, Charlotte Hoyes, Teena Jose and Sheetal Sawant
Practicing design illuminates my life in myriad ways, everyday. I cannot think of being in any other profession.
Sound eclecticism
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What kind of challenges did you face in your early years? DK: I graduated from NID in 1984 (Diploma in Visual Communication), when most people had a very foggy idea of the capabilities of designers. In Delhi and Mumbai communication designers worked either in advertising or joined a publication. I moved to Madras, which in the mid ’80s was like a remote outpost
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Found letterforms in Lower Parel
for design. I fled advertising after a few rocky months in an agency and then struck out on my own. Like me, many of the designers who graduated in the mid ’80s and early ’90s were forced to start their own businesses and develop their own business models. By the late ’90s the effects of the liberalization of the Indian economy and the consequent rise of consumerism proved beneficial to the design profession and many design start-ups flourished. The pioneering work done by a group of early NID graduates, and the faith reposed in them by local businessmen and industrialists, resulted in Bengaluru and Pune emerging as design hubs. Meanwhile Madras changed into Chennai and the dotcom boom and bust was followed by the rise of the BPO! A large printing press from South India approached me to set up a design studio that would design children’s books for the UK and US markets. So I worked with a team of 10 designers and illustrators on books that were designed in Chennai,
printed in the South India or in Mainland China and then shipped halfway across the world. Working across time zones and geographies was manageable, but cultural differences were sometimes difficult to transcend! What has been your experience dealing with large Indian corporates on design projects? DK: In the early 2000s I was Chief Designer at a Strategic Business Unit (SBU) set up by a large Indian corporate. Most of the people at the SBU had worked at a printing unit earlier but it was their first experience of recruiting and managing a creative team. It was not the ideal environment to set up an in-house design studio. Design decisions were taken by a committee and mediocre esthetics dominated. Yet I learned some valuable lessons and began to understand the language of business. Many corporates tend to think of designers as creative nerds who work in isolation, have a eureka moment www.poolmagazine.in 29
cover story and then emerge from their studios with the perfect solution. In reality the design process is messy. There are endless client meetings, briefs that change midway, several rejected ideas, and solutions that don’t always work for businesses. The biggest challenge is to build a relationship of trust and the feeling that designers and corporates are in it together and that resulting rewards (or setbacks) that accrue will affect both. It’s like a marriage! In my personal experience corporates seek innovation, yet bottom line concerns predominate and they frequently settle for design solutions that are incremental and unexceptional. Sometimes, products post-design intervention look and feel worse than they did before it. I hope that as more and more companies start viewing design truly as a competitive advantage and experience the benefits of working with designers, heightened design consciousness will permeate corporate India.
cities and villages and a well-designed environment is mistakenly associated with affluence. While living in Mumbai I was horrified to see how out-dated and unsafe the local train network was. Seven million Mumbaikars travel by train everyday and are subjected to acute discomfort and sometimes terrible danger. Surely there are opportunities for major design intervention there? Sadly, working with government agencies involves having to jump through many bureaucratic loops, coupled with financial uncertainty, so most designers prefer to keep away.
For designers, working with companies means having a steady revenue stream and reputed names on their client list. But it also means working with an incredible amount of constraints and final design solutions that don’t look very different from competition.
I was fortunate to see the impact of my design work while doing some projects for Tamil Nadu’s state-level medical services. I designed a pocket-sized Essential Drug List Handbook to be used by the 8,000 plus doctors in the State’s health system. A government doctor I met recently said it was still being used, nearly 15 years after I worked on it! Another project with a wide reach was the design of a set of handbooks on local medicinal plants to be used by Tamil Nadu’s village health nurses, who are based in the state’s village level Primary Health Centers. These projects were possible only because a few enlightened bureaucrats realized what a huge difference these would make to harried medical teams at overcrowded hospitals.
Instead of flocking to a few corporate clients, designers should look at other markets and if they don’t exist, try and create them! There is a growing demand for goods and services in India’s tier 2 cities which are expanding at a robust rate, so in the foreseeable future, there is every possibility that cities like Nagpur and Bikaner will emerge as design centers. A majority of Indians grow up and function in crumbling
How can Indian design solutions be made globally relevant? DK: When we design something that the rest of the world uses or wants! Most global brands have strong geographic and cultural roots that define their identity: Apple was created in the vibrant, multicultural melting pot of California, IKEA had its roots in the Scandinavian philosophy of affordable everyday design, LEGO grew
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A compact 215 mm x 280 mm coffee-table book is an amalgam of essays, snippets and trivia on the Amul hoarding campaign against the backdrop of a changing India. The book design is inspired by the cheerful polkadotted dress of the Amul moppet and reflects the strong ’60s visual esthetic of the Amul hoardings. A film was also created to promote the book online. Book Concept: DY Works Lead Designer: Deepa Kamath Designer: Priya Rajan Amul artworks: daCunha Communications Editor: Roop Gambhir Publisher: Harper Collins
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Before
after
DYWorks is a shorter, smarter version of DMA Yellow Works, a branding and strategy firm headquartered in Mumbai. Except for the letter ‘o’ that telescopes into the ‘w’, the reworked logo is straightforward. Yellow has been used to maintain a link with the former logo.
Ankur Capital is a social venture fund that invests in start-up businesses that impact low income communities in India. The intertwined A and C is representative of the empathetic way in which the new businesses are fostered. The colours used are associated with growth and energy.
from a small family owned, qualityobsessed wooden toy making business in Denmark. Muji and Uniqlo are quintessentially Japanese brands. Historically India exported silk and spices. The idea of the zero originated in India before it was adopted by other civilizations. In the ’60s we exported godmen and their philosophy, today we are known the world over for our software prowess. Our products have to speak a language that the rest of the world understands, only then will our design be globally relevant. We have many centers of excellence in our country, but they function in isolation - we need to work in concerted ways to make any sort of global impact. India’s strength lies in its cultural 32 POOL #45
heterogeneity. This unique quality of ‘Indianness’ has to be confidently enunciated and communicated with élan. Indian cuisine, textiles and handicrafts are woefully under represented at a global level. World over, creative industries are the thrust areas for economies. The design profession is at the center of such endeavors and is vigorously promoted by government agencies. Designers, though brimming with ideas, have poor business sense, and to fill that gap, there are accelerators and incubators that offer space, access to finance, and mentor fledgling businesses. In India, the National Institute of Design is dramatically expanding its reach and involvement in industry through
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Young at Art is an annual art festival at the Nirmal Bhartia School in New Delhi. The festival logo is joyously multi-colored with the word ‘young’ formed on a child’s open palm.
sustained programs. A National Design Policy has been finally articulated. The National Design Business Incubator set up in 2009 is in its early days but is definitely a step in the right direction. For a country our size we probably need more than a hundred design institutes and a thousand incubators! The incubation of a few commercially viable businesses will set the ball rolling for scores of others, so I sincerely wish the NDBI all success. What is your primary focus when it comes to your academic involvement? DK: I have taught courses on basic design, design process and publishing, and been on juries at Srishti School of Art Design and Technology, Bangalore; DJ Academy of Design, Coimbatore; NIFT Chennai; and Symbiosis and MIT in Pune. Along with social anthropologist and Nehru Fellow Dr. Aarti Kawlra and architect Kalpana Karwar, I created a
2 by Design is a Los Angeles based film production design firm, started by two AFI graduates. Design is a messy process and designers use diverse influences to come up with the final solution. The concept visually reflects that ‘put together ‘ feel.
syllabus to introduce design thinking to students of the 11th and 12th standard at The School-KFI in Chennai. The school generously made space for the course in spite of the demands of other subjects. We taught just one batch, but it was heartening to see how design thinking expanded the minds of the students. Even today, nearly a decade after the course concluded, a few consider it a turning point in their choice of career. Being in academics enriches your life in many ways - you teach your students and they in turn teach you! The way students choose their projects and internships is indicative of the larger way in which design as a profession is being viewed and where it is going. At DY Works, a strategy and design firm in Mumbai, I worked closely with interns from design schools in London. I was able to compare their work with that of interns from Indian design schools. At www.poolmagazine.in 33
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NBS Brochure (2010-11)
T-shirts for school houses Nirmal Bhartia School (NBS) in New Delhi is an initiative of the Nirmal Society of Education Promotion and India Glycols Limited. All members of the NBS core team, led by Chairperson Ms Pooja Jhaver, are deeply committed to creating a school environment that fosters all-round excellence yet is sensitive to the needs of individual students. Design work done for NBS includes: • Identity, stationery and website • Brochures •Print and Kiosk ads announcing recruitments and admissions• Uniform design • Flash presentations for open day and admissions • Identity and posters for ‘Young at Art’ an annual children’s art festival promoted by NBS for children of the community • Workshop for the entire school, in Commonwealth Games year where the theme was ‘Games people play’ 34 POOL #45
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NBS quarter page press advertisements in the year 2007-2009
many Indian design schools curriculums are not in consonance with the future of the design profession - skills are given undue emphasis. Tomorrow’s designers will have to work at the intersection of different disciplines and be adept at connecting dots that don’t even exist at this point. So they need to have multiple skills and extreme flexibility - all this needs to be built into their curriculums right now. How can design education be brought on par with other streams like management or engineering? DK: Cross-disciplinary courses that admit design, management and engineering students with Indiaspecific, imaginative syllabuses should be created. In the real world designers have to work collaboratively with people from different fields and if this process starts in their under-grad years they will be adept at it by the time they enter the work force. Design educators need to be treated with the same respect as their peers at engineering and
management schools. Design education requires massive investment and private design schools with capability and know how don’t always have access to adequate funds - it’s the passion and determination of a dedicated few that keeps them going. Where do you see the Indian design industry going in the next five years? DK: In the realm of communication design, print media, which is already fading, will be almost entirely replaced by screens on handy digital devices. Print will survive in pockets - in a luxurious, high-end avatar and also as packaging, an absolute necessity for the transportation of goods in a globalized economy. While keeping up-to-date on advances in technology, designers will have to refine their narrative-making skills and concentrate on developing and communicating unique points of view. Design-preneurship, which is being spoken about tentatively today, will soon be a widely acknowledged term. Designing for sustainability will no www.poolmagazine.in 35
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The coffee-table book Four Score and More: The History of the Music Academy, Madras, was released on the 80th anniversary of this venerable Chennai landmark. Consisting of 303 pages spread over 24 chapters, with archival quality photographs. Four Score and More: The History of the Music Academy, Madras, Authors: V Sriram and Malathi Rangaswami Design: Deepa Kamath and team at the Newgen Design Studio, Chennai 36  POOL #45
cover story longer be an option, it will be enforced. These are some macro trends off course, but if we look closely about us the signs of impending change are already there. I consider visual style to be a paradoxical micro trend - it’s always in flux, yet always repeating itself! What is your advice to the new generation of designers? DK: India is a complex, multilayered country, in the midst of unprecedented socio-economic change. There is simultaneous demand for luxury products as well as basic necessities. In most other countries the milieus are more homogenous. Design students and graduates should experience a variety of global environments and in small as well as large firms before deciding what they would like to focus on - or like me, make serendipitous decisions, go with the flow and enjoy it! What are your plans for INDI Hong Kong? DK: I must be among the very few Indian designers living in China. Long time residents tell me that Hong Kong, which has branded itself ‘Asia’s world city’, is not like the rest of China. I am still in the process of finding out and am doing it with the comfort of knowing that if any project or venture requires support, the INDI team is solidly behind me. Attending the Business of Design Week (BODW), a flagship annual event of the Hong Kong Design Centre, in December 2013 was a revelation. The BODW being inaugurated by Hong Kong Chief Executive Leung Chun-ying and Belgium’s Queen Mathilde was a measure of the importance given to design by Hong Kong’s policy makers. There were BODW associated events across the city, concurrent exhibitions in more than 30 galleries and one event,
DETOUR, featured installations on the city’s double decker trams! The BODW was very well attended and crowds thronged the exhibitions and events at the Hong Kong At the BODW I got a chance to speak with Chinese designers and officials from the Hong Kong Design Centre (HKDC). The Design for Asia Awards had very poor Indian representation, there were only two Indian speakers at the BODW and across all the seven days of the event I spotted only a handful of Indian faces. Dakar Soi, an industrial design graduate of Hong Kong University’s School of Design and now a successful entrepreneur in Shanghai, asked, “What is Indian design? Who are Indian designers? What is their work like?” HKDC officials said that just three or four Indian designers had sent in their work for the Design for Asia Awards. If Indian design needs to have a global presence, designers must start by knowing what goes on in other parts of the world, and neighboring China will be a good place to begin. Both countries are ancient civilizations and are two of the most populous nations on earth. Like Indians, Hong Kongers have a strong entrepreneurial streak, and are extremely value conscious. But unlike in India, Hong Kong is supposedly one of easiest places to set up a business. So we definitely have a lot to learn from each other, and that’s what I intend to do at INDI Design Hong Kong - explore ways in which Chinese and Indian designers can get to know each other and their work. That will be a good place to start! deepa.kudvakamath@gmail.com www.poolmagazine.in 37
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Devgan Neetika hed by tograp Ty 14 16 'Ek t Fair 20 Ar Deol 58 ia 12 Ind Manreet Basu 50 44 Anais
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BRAND BETTER
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accessory design
INDIA CALLING Jonas Grier and Liane de Selys came together to set up New Delhi-based ‘JOLI, Proudly Made in India’. The brand creates striking fashion accessories inspired by the country the two designers now call their second home.
What is the story behind Joli? JOLI: Jonas (Jo) and I (Lili) have been living in New Delhi and working in its textile and fashion industry since 2005. Enamored by India’s culture, art and its people and enticed by the opportunities its burgeoning economy presented, Jonas and I decided to resign from our individual high profile design positions to embark on creating story of our own in the country we now call our second home. Our vision was to create exclusive collections of fashion accessories inspired by modern-day India and designed for the urban global citizen. The desire to work together and to create our own label, started almost as a joke one evening in July 2009. The idea grew over the following year. Constantly sharing ideas of shapes, colors and esthetics, we realized that we did have a common vision of style. The next step seemed natural; in August 2010 we designed our first collection and in October 2010, ‘JOLI, Proudly Made in 40 POOL #45
accessory design India’ was born! We then selected the workshops where we wanted our pieces to be produced and presented the first Joli Collection during two private sales in Europe in December 2010. Tell us a little about yourselves. JOLI: Jonas is French, born and raised in the picturesque southern France region. At the age of 20, while still a student of Textile and Surface Design at the reputed La Martinière-Diderot College in Lyon, he travelled to Delhi to learn first-hand about Indian embroidery techniques. During this time, he spent three months in a small workshop, sitting and working beside master craftsmen who were creating, by hand, extraordinary pieces of jeweled embroidery for luxury Indian fashion labels, including the likes of Tarun Tahiliani. I (Lili) am Belgian but was born and raised in Geneva, Switzerland. I have a degree in Textile and Surface Design with a focus on Printing from the University of the Arts in London. In 2005 I arrived in India, where I worked with several rising young Indian designers before settling in a permanent position with the export house Design 45 where I designed and developed lines of luxury bed linen and home textile collections for international brands.
Galli WE Bag 2013 www.poolmagazine.in 41
Yatra Pati Messenger
Why did you choose to be based in India? JOLI: The fact that we are both in love with textiles played a big part in our decision. Indian textiles, from north to south, are a great source of inspiration; the amazing craftsmanship has endless possibilities, which we can use and re-use to adapt to our own designs. The constant visual stimulations that are Delhi’s/India’s streets, markets, people, houses, villages, trucks, clothes, to name a few, are just for us the most inspiring and infinite resources for our design processes. Why the tagline ‘Proudly made in India’? JOLI: The tagline ‘Proudly made in India’ has been deliberately incorporated in the JOLI brand name to emphasize our objective to promote 21st century Indian craftsmanship. The mission is to contribute to the collective efforts 42 POOL #45
towards modernization of the industry, from upgrading machinery, providing education on cutting edge technologies, and alleviating the working conditions of each individual involved in the creation of a Joli piece. The focus also remains on showcasing time-honored artisan handiwork and the relevance of these ancestral traditions in today’s market. The JOLI team works closely with small, carefully selected workshops where skilled craftsmen take meticulous care in the crafting of each piece, and where we can pay individual attention to them in return. The relationship between craftsman and designer is one of collaboration, rather than a chain of production. We work closely with each artisan and tailor to gain insight into their traditional methods while participating hands-on in the realization of every JOLI piece.
accessory design
(L-R) 1. Indian Truck Thaila 2012, 2. Dari Chowk Bucket Bag
What is the JOLI range of products? JOLI: JOLI offers a range of practical multipurpose bags, from large weekend bags and sleek travel pouches to shopping totes and handbags. We have a collection of oversized scarves that may be worn around the neck, used as a throw, a shawl or even wrapped around the waist as a sarong. Our signature accessory lines of bags and scarves have been inspired by our lives in the frenzied metropolis of Delhi. Our designs have been created with the global citizen in mind, one who has travelled extensively and is drawn to diverse world cultures. JOLI designs are based on the reinterpretation of the archetypal rudiments of the everyday
life of a common Indian citizen. Our designs are created to appeal to both men and women who not only love fashion, but who prefer to make fashion their own; for those who consider style less as a collection of labels, but more as an individualistic play of singular pieces. What’s the story behind the ‘secret pocket’ in JOLI bags? JOLI: We have concealed in a ‘secret pocket’ in many of our signature bags; it contains a lucky one-rupee coin that carries with it a message of good fortune for its recipient, a playful nod to the Indian custom of gifting a one-rupee coin with every auspicious announcement! www.poolmagazine.in 43
accessory design
Bazaar Tote & Ipad Sleeve 2013
What is it about your design esthetic that sets your products apart? JOLI: What we believe really sets our products apart is our unique perspective of being long-term European residents in India, which translates to our collections. Having lived in India for some time now and assimilated the culture, we are able to bring together our passion and acute understanding of India’s rich popular culture with our European standard of quality and esthetics.
is already there: actual lungis for linings and new bag concepts, existing fabric production surplus that fit our collection, leather scraps, old advertising posters for limited edition collections, and traditional textiles collected over the years.
We use existing elements borrowed from the life of a common Indian citizen, then deconstruct and re-construct them, pairing these elements with other exciting finds from Delhi’s old markets, in order to create new original products for a modern urban life. Maybe it is the fact that our products take their roots in real people’s life that, essentially, sets them apart.
Do you believe in following design trends? JOLI: No…but of course we are interested in them! Designing, for us, is not about trying to be ‘in’. It is not about wanting to showcase ‘the’ color of the season, or ‘the’ bag of the season. For JOLI, the first reflex, when conceiving a product, once the designing part is in process, is to comprehend the way it will be produced, and make choices. How will I get this done? Who will be involved? What techniques and knowhow will it require?
We also wanted, from the very genesis of JOLI, to create more sustainable products. We, therefore, try to use what 44 POOL #45
Another important aspect is that we are very strict on quality! We push the tailors/ workers in the factories/workshops we work with, to understand the importance of quality and neat finishing.
Khanda Shirt
Secondly, it should be also about finding your own identity, and understanding how the clientele will respond to it, so that there is no gap between the designs and the people who will make our products actually live. It is when these two aspects, among others, are well mastered that one creates trends! What do you think the Indian design scene lacks? JOLI: Fitting is a problem - most designers’ clothes look really good on a hanger but terrible on real people’s bodies! Coherence is another problem - Indian designers often lack the ability to conceive their collections as a whole. There is also a lack of standardization in many key aspects of production, including sizing, quality and process.
Ganesh Grigri Keyrings
How significant is Indian craft on the global design scene? JOLI: Indian craft, and its textile craftsmanship in particular, are very popular in the western world, and have been for a very long time. Unfortunately many people tend to see the ‘Made in India’ label from a negative angle; however, we believe that things are changing and that the fact that Indian designers are becoming more and more popular will reverse this info@joliindia.com tendency. www.poolmagazine.in 45
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| Photographed by Gourab Gang uli Anubha Kakroo 02 Uzma Show kat 04 The Craft Devika Krishnan Development 14 Abeer Gupt Institute 10 a 22 Akshay Kaul 44 Tinni Arora 52 Jenny Pinto 58 dry 18 pe' foun
Devgan Neetika hed by tograp Ty 14 16 'Ek t Fair 20 Ar Deol 58 ia 12 Ind Manreet Basu 50 44 Anais
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event
SOMETHING FOR EVERYBODY Deepa Kamath, Managing Director INDI Design, Hong Kong, shares her impressions of the Business of Design Week (BODW) 2013
In the process of realizing its vision to become the creative hub of Asia, Hong Kong assimilates ideas from global centers of creative excellence. For the 2013 edition of BODW, Belgium was the partner country. An impressive line up of Belgian designers and brands converged in Hong Kong to present their work, to network and exchange ideas. Sweden is the partner for the 2014 edition of BODW.
With 100,000 attendees, 100 international speakers and six days packed with seminars, conferences, forums and closeddoor events, the recently held Business of Design Week (BODW) 2013 in Hong Kong had something for everybody. There were sessions on technology in design, design education, user experience, Intellectual Property Rights, branding strategy, design start-ups and mentorship, the creation of a global design network, an exhibition of the award winning projects, and an awards night. The cityscape resonated with parallel events including some that took place on Hong Kong’s iconic trams! 46 POOL #45
Belgian Queen Mathilde and Hong Kong Chief Executive C Y Leung inaugurated the BODW, indicating the prominence given to the creative industries by the Hong Kong government. Key people from the Hong Kong Design Centre (HKDC), which has been organizing the event since its inception in 2002, were present throughout to ensure that everything went off smoothly. For local designers it was a time to share work and seek inspiration. For designers from other parts of the world, it was an eye opener to how design is perceived and practiced in the Special Administrative Region of Hong Kong and in the Chinese mainland.
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Vase#44 - Series of 3D printed vases generated by the sound of voices by designer François Brument
(Bottom) KiLight - Series of 3D printed pendant lamps generated by body movements and colors, by designers François Brument and Sonia Laugier
Indian participation at BODW was negligible. If Indian design has to have global reach, for starters, designers have to be aware of what is going on in countries around them. Taking part in international design competitions is another way to figure where Indian design stands in the global context. DAY 1 3D printing dominated the discourse at the Technology and Design seminar. French designer François Brument’s experimental work with 3D printers included vases fabricated by the use of voice commands and pendulum lamps generated by moving one’s arms. He firmly believes that designers need to learn coding to express their creativity seamlessly. Eric Brockmeyer, Research Associate at Disney Research, Pittsburgh, introduced ‘TeslaTouch’, ‘Haptics’, ‘Touche’ and ‘Printed Optics’. He showed how 3D printing and the geometry of the Fibonacci series was used to fabricate characters with spherical eyes that appeared to blink, move around and respond to voice commands.
Her Majesty Queen Mathilde of Belgium at the opening ceremony of BODW 2013 in Hong Kong
Ofer Shochet, Vice President at Stratasys, an industry leader and innovator in 3D printing technology, used the term ‘voxel’, which is nothing but a pixel in 3D, and www.poolmagazine.in 47
event (L-R) 1. The geometry of the Fibonacci series was used to fabricate the spherical eyes of Beep, Boop and Iggy, three characters that appeared to blink, move around and respond to voice commands. | 2. Eric Brockmeyer
works like a lego block to fabricate objects in a 3D printer. He expanded the realm of 3D printing to include creation of new composite materials, and multi-material printing. Different objects printed on 3D printers were passed around so that the audience could feel the material. Roger Ball, Eric Yim endowed Professor of Asian Ergonomics at Hong Kong Polytechnic University, showed the work done by his students on the anthropometrics of Asian faces using 3D technology and later using the measurements obtained to create eyewear. These new measurements, of people of Chinese ethnicity, would ensure that newly designed eyewear would sit accurately on
the bridge of the nose, where its meant to be and not on the cheeks! The potential and future of 3D printing was the theme of a panel discussion that concluded the seminar. Issues discussed were the potential of mass customization by industry and the disruption of traditional manufacturing. It ended with a tantalizing glimpse of 4D printing, where smart materials will be programmed to build themselves. 3D printing in India Interestingly, a reputed industrial designer in India uses 3D printing only to generate the outward form of new products for quick prototyping; for finer working parts he prefers go with more conventional methods. He felt that the quality of 3D printing in India at present is very poor and prefers to get his prototypes done overseas. In his opinion design students need to work with hand-held tools since it gives them a far superior understanding of materials. A younger product designer felt that desktop 3D printing has democratized manufacturing; he is exploring ways to use it in the craft sector. DAY 2 DesignEd Asia kicked off at the Zaha Hadid designed Jockey Club Innovation Tower at Hong Kong Polytechnic University. The theme ‘Delimitation - Creating with
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Constraints’ was explored in parallel sessions that included curriculum development, culture, design process and innovation. The sessions were small, the spaces intimate, encouraging discussion and dialogue between speakers and listeners. The session on Business Constraints was particularly illuminating. Soren Ingomar Petersen and Hokyoung Blake Ryu, Associate Professor at the School of Technology and Innovation, Hanyang University, Seoul coauthored a paper on metrics to evaluate and link design concepts to business objectives in the automotive and consumer products domain. The tricky question of ‘who owns the idea’ and IPR issues in an academic environment was addressed in a paper by faculty of the College of Business and Economics, Boise State University With design increasingly being viewed as a key driver of business success there is an urgent need for such thinking to be integrated into the curriculums of design and business schools in India. Valentina Vezzanni’s paper advocated a systemized and logical approach to Color Design Education by the creation
of an online portal and the use of specially designed cards. Gaia Scagnetti deconstructed the Data, Information, Knowledge and Wisdom (DIKW) model in her work with her students at Chulakorn University, which shed new light on the way infographics are conceived. These type of granular inputs will equip Indian design students to deal with the complexity of professional practice in the future. DAY 3 The Brand Forum was undoubtedly the best attended event of the BODW. ‘Glocal Brand Strategies’ focused on global brands and their strategies in different geographies. The ‘rockstar’ of the event was Yongil An, Vice President, Samsung Electronics Corporate Design Center, South Korea. After dwelling briefly on the early days of Samsung, he traced significant milestones in the company’s growth and their increasing emphasis on design. The Corporate Design Center reports directly to their CEO and Samsung has design and R&D centers in major geographies, enabling them to adapt their products to different cultures and lifestyles.
Yongil An, Vice President, Samsung Electronics Corporate Design Center, South Korea at Glocal Brand Strategies event
Another speaker was Linda Ho, Executive Vice President – Global Marketing for Lee www.poolmagazine.in 49
Bamboo products by Zhang Lei of PINWU
Tim Parker, CEO Samsonite
KumKee, a Hong Kong based food company started in 1888; founder Lee Kum Sheung was a chef who is credited with the invention of Oyster Sauce, a staple ingredient in southern Chinese cuisine. Still family owned and run, the company today produces more than 220 sauces and condiments in its state-of-theart factories in five locations, including Los Angeles. Lee KumKee’s mission to promote Chinese cuisine the world over has succeeded admirably. This is partly due to the fine balance it maintains between traditional Chinese values and contemporary brand and business strategies.
Belgian designer Hubert Verstraeten, in his multi-colored polka dotted jersey, spoke about his brainchild Tamawa. Made with Bakelite balls, Tamawa products are all mono material and mono form – and range from watches and jewelry to lamps and coat holders. In the panel discussion that followed, Hubert Verstraeten held his own with Samsonite’s Tim Parker. It was somehow symbolic of where Tamawa’s singular creative vision has taken it, in spite of an intensely competitive environment populated by mammoth multi-brand corporations.
Tim Parker, CEO of Samsonite emphasized that design was a key source of competitive advantage for the company. At Samsonite, the design process is refined in conjunction with R and D. Different markets have different products -- North Americans prefer sturdy and large bags, Europeans go for style, while Asians like refinement and value. Like Chinese cuisine, Indian food too is much sought after globally and there are many lessons in the Lee KumKee story for India based, family-run food companies. 50 POOL #45
DAY 4 This was a day to walk around the exhibitions and glance at the workshops
Hubert Verstraeten of Tamawa speaking at the Brand Asia Forum
event Tamawa LOCK coat stand
in the cavernous halls of the Hong Kong Exhibition Convention and Exhibition Centre overlooking the city’s harbor channel. Stopping by PINWU’s ‘Handmade in Hanghzou’ stall revealed a wonderland of bamboo products. Zhang Lei of PINWU is a Domus Academy graduate who creates stunning products from natural material using traditional craft skills with a contemporary esthetic. PINWU Studio design partners are product designers Christoph John from Germany and Jovana Bogdanovic from Serbia. DAY 5 Acknowledging that designers are central to any new business, ‘Old Configurations and New Challenges’, the keynote session at the Global Design Network Symposium, was devoted to the art and science of start ups. Functioning out of a historic mansion in the city of Mons in the Wallonia region of Belgium, Maison du Design has been nurturing creativity for nearly a decade. Barbara de Slyvester from Maison du Design said there is a profound change in the way in which contemporary businesses create value. New businesses are hi tech and low cost, start small then grow bigger, yet are global. In this model disruptive technologies lower entry barriers, allow greater customization and reduce consumption, and designers are vital to this process. Kajsa Bengtson of MINC (Malmo INCubator) screens 150 new business ideas every year before taking on 12 to mentor. “It’s amazing how many of these ideas are the same!” MINC guides entrepreneurs to success by coaching, finding seed capital, angel investors, and marketing assistance.
Malmo, once a depressed, post-industrial city with the highest unemployment rate in the country, has a flourishing knowledge economy today. MINC is financed by public money; it does not take shares in the start ups it mentors. MINC success stories include Hovding the revolutionary airbag helmet for cyclists, and AlgoTrim, a data performance start up acquired by Apple. Architectural firm Lifestyle Centre Holdings transformed an abandoned 1950s industrial estate in the Lu Wan district of Shanghai into Bridge 8, now a happening area with coffee shops and smart boutiques housing companies like Ideo and Grey. Industrial designer Daker Tsoi of Bridge 8 described the entire the process. Bridge 8 took its inspiration from the 2003 restoration and repurposingof early 19th century traditional stone houses in Xintiandi to create Shanghai’s trendy bar district, a concept that real estate developers across China seek to imitate. As leading Hong Kong designer and design evangelist Freeman Lau pointed out in a panel discussion later, it helped that the local government made the land available at very attractive rates! Restoration costs twice as much as razing and rebuilding, yet Bridge 8 is into the Phase 3 of its project, so it is obviously reaping dividends. Takeaways for Indian real estate developers India too has depressed urban localities, some with magnificent and unique built heritage. Delhi’s Connaught Place, Mumbai’s Fort and former dockyard areas, and Central Kolkata’s Victorian facades are all crying to be redeveloped imaginatively. The success of Shanghai’s Bridge 8 project shows that it is possible to design creatively, keeping commercial considerations in mind. Tamawa Salt & www.2013.bodw.com
Pepper mills
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LENS ART
The varying moods and facets of people are what move freelance fashion and advertising photographer, Aneev Rao 52 POOL #45
photography
Grazia Magazine ‘The surrealist plots an escape’
What drew you to this medium? AR: I started taking photographs when I was 16. My father gifted me a camera on my birthday. I don’t think he realized it would set me off on a journey - I knew very little about photography or taking pictures then. I discovered that the power of isolating something through the viewfinder was something that attracted me. You could create anything in that space, and people would appreciate it within the parameters of that frame. It could be a window into reality, or an escape from reality, and the possibilities of that blew my mind. How have you progressed as a photographer since then? AR: I think photography has made me more sensitive to things around me. Colors, forms, shapes, personalities…the nuances www.poolmagazine.in 53
of all of them have started becoming more apparent to me. There’s a constant evolution and a constant experimentation that I try to do, and over time I think I have become more open to different ideas of what photography can be. Time has helped fade the line between what’s considered correct, and what is considered wrong. Time has made me less afraid. Now I want to try to be more of an artist…to infuse a little more art into my commercial work. Tell us a little about yourself. AR: I grew up in Bangalore. After my Diploma in Photography from the Light and Life Academy In Ooty, I moved to Mumbai to pursue fashion photography. I realized I had to do a lot of editorial fashion work for magazines, and Mumbai offered many more opportunities to do that. I like Radio Controlled stuff, cats, motorcycles, and Manchester United!
Maxim Magazine ‘As he walked in’
What is your personal choice of subject? AR: People…always people! People speak back to me. Different people use their bodies and differently. Objects sit there, in a predetermined form, not doing anything in particular for me. A bottle will be a bottle for most people who photograph it. A person will react differently each time he or she is photographed by a different person. People are organic. People will react. Do you have a particular photographic style? AR: No. In photography, a ‘style’ is given to your work only by the people who are looking at your photographs. I would be the wrong person to give you an answer to that.
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photography
Verve Magazine ‘I Ponder’
Have you been influenced or inspired by any other photographer? AR: I am heavily inspired by Paolo Roversi and Tim Walker. Theirs is highly artistic work that is oriented greatly on the content of the images. I get very irritated by photographers that are gear heads, and that’s all they can talk about. What has been your most memorable assignment? AR: I’ve had a few, but any assignment that involves traveling to another location and piecing together a story stays with me. www.poolmagazine.in 55
photography
Actress Jaqueline Fernandez for Cosmopolitan Magazine
What is your favorite lens? AR: A 50mm. What goes through your head right before you take a photograph? AR: My pictures are usually a collective effort involving models, stylists, and hair and make-up artists. So, just before taking a photograph, the thought in my head usually is ‘I hope everything is in place’. What is most challenging about being a photographer? AR: Getting good work. How has photography helped you evolve as a human being? AR: I love what I do, I love making pictures, and I think when you love anything that much, you evolve. Maybe not in the most tangible manner, but evolution is happening. It would be hard for me to put a finger on it, but I can feel it happening. aneevrao@gmail.com www.poolmagazine.in  57
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| Photographed by Gourab Gang uli Anubha Kakroo 02 Uzma Show kat 04 The Craft Devika Krishnan Development 14 Abeer Gupt Institute 10 a 22 Akshay Kaul 44 Tinni Arora 52 Jenny Pinto 58 dry 18 pe' foun
Devgan Neetika hed by tograp Ty 14 16 'Ek t Fair 20 Ar Deol 58 ia 12 Ind Manreet Basu 50 44 Anais
Indra jit N atto ji
pg 3 Dr. N 4|P au hoto Nashe shad Fo grap rbes et Sha hed 04 by N dani andit 28 G Malti Gae a Nat aura ng Sh kwad 10 toji ah 4 6 Kar Gita Wo lf thi K N Rav 16 Sarah Foth eend ering iran 54 P ham ooja Ajmer 22 a 60
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THE DEMOCRATIC ARTIST Street artist Harsh Raman Singh Paul wants to create art that can be viewed by everyone and is owned by no one!
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artist
What do you want to address through your art? HRP: I want to give the power back to the individual. We are not mere products of our surroundings; our surroundings are products of our actions. We all have the power to change the society/world we live in. Whether the change is a constructive one or a destructive one is up to us.
Metamorphosis, latest wall in Shapur Jat, Delhi for the St.ART Delhi festival
How did you generate interest in street art? HRP: For me art should be for everyone. It is not something that should be restricted to galleries and enjoyed by the privileged few. You don’t need to be an art intellectual and well educated to be inspired or shocked by art. Man has been engaging in public art since his caveman days. And in today’s volatile and, at times, oppressive society, it is more important than ever to exercise one’s freedom of expression. Street art in that sense is the rawest form of art, free from all commercial angles; it is about the power of an individual to make a strong impact on his surroundings and make a difference. www.poolmagazine.in 59
Quijote Wallah project - movable street art wall - collaborated with theater director Sukhesh Arora, Yellowcat theater company - supported by the Instituto Carvantes, New Delhi
It’s liberating. I’ve been doing street art for very long but for the last three years or so I’ve taken it up seriously as a profession. What art forms have you worked on? HRP: I’ve worked with various art forms – from motion films to digital art, from painting on canvas to using the streets as my canvas. It is impossible to limit yourself when there are so many mediums and forms available around you. For me it is the concept that defines the techniques, materials and mediums. The goal is to be able to communicate in the best way possible. These days I’m working more and more on urban art, with the primary focus on street art. Have you actually studied art? HRP: I’m an artist, illustrator, designer, and film maker. And I have a degree in Fashion Design from the National Institute of Fashion Technology! How do you sell your work? HRP: I don’t create with an intention to sell. I don’t like the idea of looking at art as an investment. It is a profound and honest reflection of the times we live in and should stay that way. At times you get funded by government institutions and embassies, and at times you have to pay from your own pocket. The goal is to never compromise or bend, and keep your expression free and honest. I’m not into 60 POOL #45
artist marketing myself; for me it is more about the art than the artist. My artworks are there on the streets for everyone to view. I also work as a consultant to various brands such as Playboy and Prakash Jha Productions. This allows me to be financially secure and keep my art real. Which has been your favorite work of art so far? HRP: It is impossible to pick a favorite, but one project that is very close to my heart is the Quijote Wallah project. Supported by the Instituto Cervantes (New Delhi), it is a multi disciplinary collaboration between me and theater director Sukhesh Arora. It is a one of its kind performance art that fuses together street art and street theater. Based on the 16th century classic novel Don Quijote by Miguel Cervantes, Quijote Wallah walks the line between perception and reality, belief and doubt,
the apparent and the unreal. The story is about an old gentleman who thinks he is destined to bring back the Golden Age and restore peace and justice to the world. The rest of the world believes that he has gone quite mad, but isn’t too much sanity also a madness? And the maddest of all is to see life as it is, and not as it should be. We had an extremely well known and interesting material to work with. But the real challenge was to translate the content into a form that makes more sense in the Indian context. We created a unique moving graffiti wall, which serves not only as a backdrop and props but also creates a surreal blend of storytelling that is not quite theater and not quite street art. We are currently performing across the country in various festivals and also under privileged settlements, and will be soon taking the performance to Spain.
Imagine - Heart+Brain - Independence Day wall, Haul Khaz Apartments
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artist What are your main influences? HRP: It is impossible to put down the things that inspire and influence me. As a creative person you are constantly bombarded with new material every day. I am extremely captivated by the art of telling stories. Most of my pieces are a visual representation of my experiences and thoughts regarding society and human nature. All of my works usually have a personal story behind them. What are you currently working on? HRP: Lots of things are running simultaneously. I’m currently working on a series of murals for the St.ART Delhi festival which will be Vandalnation - part of a series of canvases created which use a live spread across New human model to complete the painting. These were aired/showcased Delhi. My next project on ndtv Good Times Show Kingfisher Super Models is tentatively titled ‘We Are Art’; it explores the quintessential question ‘What is art?’ but also triggers the imagination of the and its relation to the human existence. common man. I’m also working on interactive public Any advice for budding artists? art installations. It’s all very exciting and challenging at the same time. HRP: Just do it and be honest with yourself. Don’t worry about the results; Do you think street art can be an keep your focus on executing the task at effective agent of change, especially in hand to the best of your abilities. our country? What would you say are your HRP: Street art is going to be biggest professional goals? sub culture movement in our country in the next five years. It is one of the HRP: To work, work, work! And to rawest, purest forms of free expression, constantly learn, evolve, be inspired and and its visual colorful nature not only inspire others. harshondesign@gmail.com adds life to our concrete neighborhoods 62 POOL #45
zagreb
designer on the road
ildhood in the
recalls his ch Cagri Cankaya roatia Republic of C capital of the ad.com ronthero
www.designe
From Berlin I flew to Zagreb, the capital of the Republic of Croatia, to work with Bruketa & Žinic, one of the most famous advertising agencies in this region. The office was one of the best looking ones I have ever seen, and the people were very welcoming and nice. I worked with Brlog, the digital part of the company, on an ongoing pitch for the biggest juice brand in Croatia. After that I started work on the corporate identity for an online meat shop. It was an interesting project because they sell game meat such as deer and boar. I have worked on many weird projects and for clients in many different fields as well – I think an online game meat shop was the only one missing! Croatia has many beautiful islands and beaches where everybody would like to live but they need to be in Zagreb to pursue their careers. Zagreb is a peaceful, romantic and easy going city, with a population of around a million. There is no subway but trams are enough for the city. Almost everybody knows English and there are no communication issues. The company rented a house for me.
I was staying with a guy and his dog but I had my own big room. Zagreb reminds me my childhood in Bursa somehow. It is not even a quarter as challenging as Istanbul, if you ask me. Tap water is drinkable and tastes very good. Every street has a pastry shop! People love them - I do too! The food is very nice, closer to Turkish taste. They have a strong alcoholic drink called Rakia, which is quite different from Turkish Raki. Rakia is had in small shots and is quite strong. There are many versions with different aromas - the one with honey is my favorite. I would recommend the Broken Relationships Museum, Zagreb Cathedral, Main Square, Flower Square, and the bar named ‘Cica’ (meaning ‘boob’). You should also taste Rakia with honey, and Pelinkovac, which is a herbal alcoholic drink people drink as a medicine. Watch out because it’s quite strong – it reminded me a little of the German Jagermaister but this one is much harder to drink. In the two weeks I was there, I also made a presentation at the Art & Design Academy of Zagreb, and I was covered by the Jutarnji List, the top selling newspaper of the country. I certainly had good times in Zagreb, partying with friends and seeing the city. Now it’s time to experience the Balkan winds in Sarajevo. See you next month! www.poolmagazine.in 63
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