September POOL 2012

ISSUE 27 september 2012

Siddhartha Das Photographed by Avani Rai

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HANSIBA MUSEUM 04 / PUNARNAWA 8 / ACCIDENTAL TYPOGRAPHY 14 / PRANAV 36 / RATHNA 44 / KARISHMA 52 / AMEETA 58 / CAGRI 63

Editor in Chief | sudhir@indidesign.in

September 2012 | # 27

Sudhir at Pinchuk Art Gallery, Kiev

80 / 20 The 80/20 rule asserts that approximately 80% of the effects generated by any large system are caused by 20% of the variables in that system.

In other words, the Pareto Principle states that for many events, roughly 80% of the effects come from 20% of the causes.

In any work, the 80/20 rule tells us that 20% of the functionality and features in any one experience will be responsible for 80% of the results.

In most cases, figuring out what constitutes the 20% that has such a large impact is easy; it is in your face and right there for you to improve.

I feel this reverses sometimes. See the attention we give to Skills vs.

Ideas/Concepts, or Esthetic vs. Functionality, or Need vs. Desire.

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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.

http://in.groups.yahoo.com/group/designindia International Design Media Network Participant

When you are a student you focus 80% of your time on skills and perhaps 20% on concepts. This reverses when you become a professional and skills become a given…you need to spend 80% time on ideas and detailing and 20% on creating a presentation.

Most design competitions give you a straight insight into how the designer has spent his time.

Management today is focusing on finding ‘that 20%’ and then doing quick fixes for them. Marketing is doing the same. Design is paying more and more attention to the selling features and perhaps just 20% on making things better. A sensitive designer will not ignore the 80%.

Basically you just need to figure out what is effective and pay attention to that and cut out the inefficient. We designers are known to spend time and attention on things that others think are a waste...perhaps that’s the 80% which makes the world go around.

Sudhir Endorsed by

Supported by

art-story

PRESERVING CULTURAL STORIES The Hansiba Museum in Gujarat does a laudable job of showcasing the lifestyle of native communities of the state

Constraints and passion bring out the best in design and the Hansiba Museum at Radhanpur in Gujarat is an excellent example of this. Put together in just four days, using natural and locally available materials like bamboo and jute ropes for display, the Museum houses 241 artifacts from a collection of 1,700 products from across the Banaskantha region of Gujarat. “To set up a museum, big paraphernalia is not required,” says Subrata Bhowmick, the renowned designer from Ahmedabad, who planned the exhibition at the Hansiba Museum. He was assisted by Shweta Dhariwal (Text); Payal Nanavati (Design Assistant); Prabhubhai Mistry, Abhishek Dwivedi, Ashokbhai and Bhalabhai (Execution Team); and Sairabanu Baluch and Rashidabanu Baluch (CoOrdination Team).

www.hansiba.in www.sewatfc.org www.sewa.org 4 4 POOL #27 POOL #27

“As textile designers we have explored Patan and Kutch textiles, but Radhanpur was unknown. Everything is intricate, right from their embroidered clothing, to the toran framing their doorways, and the dharaniyo draping their luggage,” he adds. These textiles were part of the wedding gifts of the women of this region and the embroidery skills were passed from mother to daughter. However, it was SEWA (Self Employed Women’s Association) that saw these skills as a

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means of economic empowerment of the women of Radhanpur. Acclaiming SEWA’s efforts, Bhowmick says,

“If something is keeping our culture alive, it is the arts and crafts.”

The Museum showcases embroidered textiles including ghaghras, kamkhas, cholis, phulakiya ludki, appliqué, pothu, kothlo, and saris from different communities such as the Ahir, Rabari, Chaudhari Patel, Darbar, Harijan, and others. “Each of these communities has a specific style and sensibility, and has trademark motifs which distinguish one from the other. Apart from the textiles, the Museum also showcases lifestyle products of these communities like utensils and furniture. Means of transportation in bronze, brass, wood www.poolmagazine.in www.poolmagazine.in 5 5

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and mud are also part of the display,” says Reema Nanavaty, Director of SEWA. Her efforts to collect these articles are laudable, and it was her encouragement and understanding that allowed this Museum to be put up so quickly.

In the face of growing industrialization in the region and changing aspirations of the new generation, these crafts are in danger of becoming lost along with the people.

The purpose of setting up a community based museum was to ensure preservation of the visual repertoire and traditional embroidery techniques. Ilaben Bhatt, the founder of SEWA says, “The Museum will inspire the new generation of artisans and inculcate community values in them.” Hansiba Museum also hopes to serve as a resource center for researchers and designers.

The museum is named after SEWA’s first and eldest artisan, Hansiba, who although more than 90 years old, still practices her craft.

Inaugurated earlier this year

by Ilaben as part of 40 years of SEWA’s work towards women empowerment, it is the first museum in Gujarat owned and maintained exclusively by women artisans.

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socio-craft

NEW BEGINNINGS Shaswat Mohanty and Subrata Pandey of Punarnawa Crafts have combined their unique talents to create the concept of Designgineering™

Give us a little background to begin with...

SS: We met on a social networking site!

Shaswat has a Bachelor’s in Technology (Electronics & Electrical Engineering) from Biju Patnaik University of Technology, Odisha. Bhubaneswar-based, he is the Managing Director & CEO of Punarnawa Crafts Pvt. Ltd. Subrata Pandey has an Under Graduate Professional Diploma in Craft Design (Hard Material Application) from Indian Institute of Crafts & Design, Jaipur. Based in Rourkela, she is the Executive Director and Chief Designer of Punarnawa Crafts Pvt. Ltd. What’s the story behind ‘Punarnawa’?

SS: Throughout his engineering studies, Shaswat always had the ambition to start an enterprise. Subrata, through her studies and internship with an NGO, knew the exact things that needed to be done in order to prepare a handicraft cluster.

Subrata sent Shaswat her portfolio to give him a brief idea of what handicraft is all about. Impressed, he called her to fix a meeting and discuss how their common interest could manifest in a business.

www.punarnawacrafts.org 8 POOL #27

During his stay in Odisha, Shaswat was a very active volunteer of the Art of Living, and he came up with the idea of roping

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in a few villages, and imparting skill based training to the villagers as an experiment. We sent samples from the three week training to some highly placed people in handicraft organizations. To our pleasant surprise all of the samples were highly praised and we were advised to start manufacturing in real life models. That’s when Shaswat put down his papers and Subrata decided to start her own studio with him…and Punarnawa Crafts Pvt. Ltd. was born!

Metal Craft - Dokra ‘Paisley & Heart Diyas’

What came next?

SS: We realized that Designing and Engineering are two important aspects of any creation - designing takes care of the creativity part, while engineering gives a practical touch to the vision, in a more tangible way. We put the two together and came up with what we call Designgineering™ - to devise and design a perfect balance between youthful exuberance and ethnic heritage.

After doing a SWOT analysis, we arrived at some dos and don’ts. Odisha has always been very rich in its handicraft heritage. The only thing lacking was the way it was manufactured and marketed. Most of the existing products were either obsolete or bore no use in daily life. We decided to create customized products that could be used in day to day life rather than just being showpieces.

Once we finalized ‘what’ to make, the next step was ‘where’ to make. That’s when we decided on Rourkela as the place to start. We gathered people from a nearby village for the initial training with the help of the Art of Living, Rourkela Centre.

There were some who were holding needles for the first time in their life! Slowly but gradually artisans were born out of daily wage earners, and a cluster was born out of a remote village.

However, we soon realized that since the work was carried out in their locality, and the village didn’t have a history of handcrafting, people started taking things for granted.

Professionalism and answerability was absent. So, we decided to bring these artisans to a neutral place where they could have working hours, half days, casual leave, and sick leave; in short they would have their own office/workshop. www.poolmagazine.in 9

socio-craft

What was the main inspiration behind this initiative?

SS: The rich and varied heritage and handicrafts of Odisha were our main sources of inspiration. It’s said that long ago the handicraft business used to flourish in this part of India. Hand crafted items was shipped from Cuttack to Bali Sumatra. The erstwhile voyage is celebrated to this date in the name of Bali Jatra at Cuttack, Odisha. We believe through this avenue, one can actually develop the grassroots level of our country in a skill based manner, where the artisans have to depend on just their own skill sets.

What business model do you follow?

SS: We basically follow a Creator Business Model where we purchase all the component parts and raw materials and transform these parts and materials into a saleable finished product. We deal with everything, from start to finish.

We normally use the phrase ‘Concept to Content’ in our business model.

(Clockwise) 1. Coir product ‘Hen Basket 2. Coir product - ‘Pink flower Chime Bunch’ 3. ‘Sabai Grass Lattice Bag’ 4. Applique product ‘Pattern Laptop Sleeve’ 5. ‘Sabai Bag, Prakriti Pattern’ 10 POOL #27

What were the challenges you faced while undertaking this initiative?

SS: Handicraft is a time consuming and exhaustive process that requires immense patience and creativity. In this era of quick results, this line of approach finds few takers. The main challenge was dealing with the prejudices against caste, creed or culture that are present in any village. This is where the Art of Living programs like the Youth Leadership Training Programs (YLTP) helped us immensely.

Can you relate some rewarding experiences?

SS: If women empowerment was ever needed then it has to be in the villages of India where the women face maximum hardship. Through our Appliqué project we have given them a much needed platform to work, be self-sustaining, and take important decisions for their family, village and life. We have

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(Top) Metal Craft - Dokra, Raw products

(Right) Metal Craft Dokra, Artisan Team

facilitated education for employees who want to finish their matriculation or graduation after 10+2.

So far we have achieved some success in reversing the brain drain the males from craft families who used to earlier leave the state for months and years in search of daily labor work now stay back and are producing crafts for us.

What range of products does Punarnawa offer?

SS: We have a variety of home dĂŠcor and lifestyle products made from different material like cloth, metal (dokra work), coir, bamboo and palm leaf and terracotta. We make bed spreads, cushions, wall hangings, t-light holders, chimes, table mats, baskets and boxes, umbrellas, lap top sleeves, baskets, bags, toys and other artifacts.

How do you sell your products?

SS: We sell through e-commerce and existing retail outlets. Currently we network through the Internet and other references. Networking is important until the product has the potential to create a customer base of its own.

What lies in the future for Punarnawa Crafts Pvt. Ltd.?

SS: The first and foremost aim is to make this venture a self-sustaining one.

We also have plans for expansion and diversification into branches. We hope to orient and structure the craft industry at par with any other industry in the market. It is our dream to develop a craft village that will be a one-stop place for handicrafts as well as traditional, ethnic and spiritual needs. Eventually we hope to foray into other socio-economic avenues like eco-tourism, ayurveda, organic farming, etc. www.poolmagazine.in  11

socio-craft

What would be your advice to people who want to start a similar social initiative?

SS: Immense patience, endurance and non-dying commitment are needed to make any enterprise a successful one. During tough times always remind yourself of the bigger cause for which ‘we’ are working - which is beyond ‘I’ and ‘you’. It will help regain strength and reenergize the spirit.

(Top to bottom) 1. ‘Coir cluster’ Costal District Group 2. ‘Applique cluster’ Hand Unit Team

We always cite the example of a pea plant and mango tree. A pea grows into a plant in some days and fructifies in some weeks, but a mango tree takes about 5-7 years to fructify. Although the mango tree gives late results, the results are sustaining. It needs at least two years of care and supervision. The tree benefits people, birds and animals. So the choice whether to sow a pea plant or a mango tree is yours; both of them are equally important. Choose wisely and mentally prepare accordingly.

There will be crises and success about which we really can’t do anything, but what we can do is keep up the perseverance and passion. From our experience we have seen that whenever there has been a crisis, it has taken the best out of us in some way or the other.

Perhaps crisis is the mother of creativity after all! www.poolmagazine.in 13

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typography

LETTERS from Kiev Distinguished artists from Kiev, such as Vasyl Krychevsky and Heorhiy Narbut, laid the foundation for graphic art education in Ukraine in 1917. Today, professional training in the country combines old Ukrainian art tradition with modern achievements and the practice of European art schools.

Professor Vitaly Shostya is Head of the Graphic Design Studio in the National Academy of Art and Architecture, Ukraine. A graduate from the graphic department of Kyiv State Art Institute, and Member of the National Academy of Art in Ukraine, he works in the fields of graphic design, graphic art, and painting. He has taken part in several international graphic design exhibitions, and his works are displayed in museums in Ukraine and other countries.

Under his guidance, students of the Academy recently interpreted the subjects ‘Accidental Typeface’ and ‘Typography’ through these striking posters… www.naoma.edu.ua 14 POOL #27

Professor Vitaly Shostya

typography

Theater poster - Shakespeare Hamlet, 2011 by Vitaly Shostya www.poolmagazine.in  15

typography

Haymaking Time, 2004

by Svitlana Koshkina

(Top) Paper World, 2002 by Olesya Drashkaba

Intersections, 2010 by Olena Nikulina 16 POOL #27

typography On-All-Sides, 2010 by Anna Lyubchenko

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typography Famous Type Designers, Time and Form, Jenson, 2008 by Dmytro Stadnychenko

Stairs, 2011 by Anna Lyubchenko 18 POOL #27

typography City-Gradient, 2010 by Iryna Tarasova

Dachshund, 2004 by Svitlana Koshkina

Avantgarde, 2009 by Emine Fitaeva

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Architecture Alphabet, 2001 by Olena Batenko www.poolmagazine.in  21

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THE ART OF COLLABORATION

Head of his eponymously named studio in New Delhi, Siddhartha Das is a Design Consultant, Curator and Design Strategist. He graduated as an Exhibition Designer from the National Institute of Design, Ahmedabad and plunged straight into a world that encompasses everything from scenography to exhibition design, and installations and craft, to publication and photography. He tells POOL about his journey from studying history to using design to bring culture alive. www.siddharthadas.com 22  POOL #27

cover story Heritage Space - Scenography: Painted Pleasures at Jal Mahal, Jaipur, India.

What kind of projects does Siddhartha Das Studio undertake?

SD: I established Siddhartha Das Studio in 2002, as soon as I graduated, which is rather foolish in retrospect. I wish I had worked and learnt the ropes rather than burn my fingers many times. Over 10 years my Studio has led or collaborated on roughly 100 cultural projects in seven countries across four continents, on different aspects of planning, strategies and design for heritage, public, museum and other cultural spaces.

The Studio maintains a lean core team that has built a vast network of professionals from across the country and around the world to innovatively conceive and design projects. It blends national with international, rural with urban, and youth with experience. The approach is to collaborate rather than compete. The projects strive to work with culture as a driver of economy and socio-cultural change within the geographical and other contexts within which they are located. I began to gravitate towards these projects that www.poolmagazine.in  23

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The delicately carved Jaali/lattice work stone lights, made by two talented stone artisans were initially produced at one of the workshops I conducted. The lattice work is combined with a turned hardwood base housing a LED light.

were thematically in the realm of culture, rather than any particular sphere of design.

Currently the Studio is working on a series of art installations for an international airport, private space and a few hotels across the country; the concept plan for a heritage complex; curation and concept design for a museum complex; set design for a play; curation and design of thematic exhibitions; establishing a visual arts residency; a range of projects with craft communities, which have resulted in a product range sold at a hotels across the country and the world over; and curating and conceiving a cultural festival.

How do you cope with such a variety of work?

SD: I began with a sense of wanting to work in a way that would impact people’s lives and coalescing that with all that interested me. Initially this appeared as directionless to many, though with time I built up an exciting repertoire of projects that benefited from my varied experiences - from a background in history, the arts and an early teaching career.

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Bamboo Salad Servers

Pots made out of Lacquered Wood

Siddhartha with artisans at a workshop in Karnataka.

These workshops have been conducted with over 100 craftspeople who work with bamboo, central to their existence, in this remote and much ignored part of India.

It addresses the issue of sustainable livelihoods by creating a socially responsible enterprise, led by strategy and design.

I studied history before I studied design, and took two years off after my Bachelor’s, travelling around the country, teaching at Rishi Valley School, Andhra Pradesh, and rural schools in Rajasthan and Ladakh; and working with traditional craft and art communities in Rajasthan, Orissa, Ladakh and Punjab. The latter led me to study design.

However these myriad experiences as a young adult living largely on Rs. 800 a month for over two years, had a deep impact on me. It exposed me to the cultural legacy we’ve inherited and squandered and simultaneously to the crosssection of society. This led me to work in the cultural realm in a way that strived to impact society at large.

What was your first major design project?

SD: My initial years were spectacularly uneventful. I was done in by my own arrogance of thinking that I was a fairly good designer and would be discovered magically by the people I hoped to work with. Having seen at close quarters how schmoozing in the social circles gets one work, I abhorred the idea and masochistically decided to live a cocooned existence. www.poolmagazine.in 25

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The scenography of the Jal Mahal (Water Palace) interiors is titled Painted Pleasures and illustrates the notion of pleasure pavilions. The space celebrates the Rajput courtly arts of the 18th century. The curators selected the main exhibits and the text around which the space was visualized and curated and conceived about 40 artworks while collaborating with about 30 traditional miniature painters and craftspeople.

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The watershed was probably getting a six-month placement at Victoria & Albert Museum, and the British Museum in 2004. I chose the former and was greatly aided by a Charles Wallace & Nehru Foundation Fellowship. Being at the V&A, one of the great museums of Europe, was exciting to say the least. It exposed me to the throbbing culture of London and the work ethic that typified the V&A. I couldn’t wait to return to India and work on projects.

You recently worked on the scenography for Jal Mahal in Jaipur - tell us something about that.

SD: With a vision and enviable resources, an exciting array of consultants were brought together to work on the dilapidated historic pavilion of Jal Mahal. I was given the task of creating the scenography of the interior spaces, titled ‘Painted Pleasures’, and illustrate the notion of pleasure pavilions. The space celebrates the Rajput courtly arts of the 18th century.

The curators selected the main exhibits and the text around which I visualized the space and conceived about 40 artworks while collaborating with about 30 traditional miniature painters and craftspeople. Over a period of about 14 months I painstakingly conceived art that was reminiscent of historic

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‘Threads & Voices’, edited by Laila Tyabji Published by Marg (India) The art book consists of 11 articles by 11 women who set up vibrant grass root organizations comprising craft communities working with textiles. The visually rich book was designed and largely comprised Siddhartha’s photographs of travels to the villages and cities where the authors worked.

Jaipur, creating miniature paintings, murals, brass work, glass melon-shaped lamps, mirror-work, all handmade and bespoke. Having largely worked on rather a somber sphere of work that dealt with public spaces, it was a delight to work on an indulgent project as an aberration. This has led me to a whole spate of projects that blend design with art, craft and architecture.

What do you focus on when designing/ curating such spaces?

SD: Each of the heritage and cultural projects that we’ve undertaken has had a separate trajectory, dictated by the project, contextual to the region, and communities involved. We’ve come up with methodologies that guide our approach and areas of work.

For instance, I was invited with eight 28 POOL #27

others from around the world to redesign the Red Cross Museum in Geneva - the work for an organization that functions at a time of war is very different than that required for a Plaza in Mexico, or a public space in Japan, or a Cultural Complex in South India.

What are the main determinants in the design process?

SD: Need, target audience, resources, and how a project can achieve a lot more than has been set out for it What has been your experience working with international clients?

SD: It’s always been thrilling to find like-minded people around the country or the world with whom one shares concerns and can work with.

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(Top) Chokelao Bagh, Mehrangarh Fort Mehrangarh Museum Trust Jodhpur, Rajasthan, ongoing project The project looked at a layered approach to interpreting the garden for the cross-section of visitors to the fort museum of Mehrangarh.

On the left - Leaflet design; On the right - Stone sign with an engraved hand glazed ceramic tile.

Indian Triennale British entry Catalogue

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Martand Singh (INTACH) New Delhi, 2002 Co-designed the travelling exhibition: Khadi (handwoven Indian fabrics): The exhibition showcased Khadi, handspunhandloom Indian fabric that Gandhi made emblematic of India’s struggle for freedom.

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cover story (Left) Victoria & Albert Museum London, UK Co-Concept designer for the exhibition: Encounters The Meeting of Asia & Europe 1500 to 1800.

The design links the concept of interaction between Asia and Europe through evoking a sense of the exotic & mystery.

Exhibits appeared in dark layered spaces like magical jewels.

(Bottom) Museum Rietberg, Zurich, Switzerland, 2005-2006 Design and curation of Indian Fans/Pankhas from the Collection of Jatin Das. The exhibition showcased a unique collection of Indian hand-fans, playing with the idea of lightness and breeze in the Indian summer.

Each experience has been exciting in different ways and has made me realize that we often share the same issues everywhere in the world.

I have often worked as an international consultant, be it to advise on heritage issues in Penang, Malaysia; or as a designer for Museum Rietberg, in Zurich; or as a visual artist in Newfoundland, Canada; or as a design strategist and consultant in Japan, UK or Belgium. It has always been to bring a perspective and background that is very different.

What is the most exciting part of the kind of work you do?

SD: My early adult experiences of teaching in schools and working with craftspeople have always made me feel fortunate that I have the luxury of choosing to do what I love; that I was born into a middle class family and not one that lived on the streets; and that I could have access to the education that has got me where I am today. I am also fortunate that I get the opportunity to work with a whole variety of people, from rural and urban, to international settings.

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‘Outdoor benches’ for Gateway of India, Mumbai

What has been your inspiration?

SD: The inspirations are always diverse and it would be difficult to single out any one experience or person. I think the fact that I feel as Indian as I feel like elsewhere; as rooted as nomadic; and these have come in unintentionally in my work. I have been fortunate to meet some incredible people, who are all a blur and they appear out of a distant past through some visual or mental bridge and always inspire.

Are there any designers you particularly relate with?

SD: Rajeev Sethi, though I can’t compare my nascent career to his full life!

What are your plans for the near future?

SD: My aspiration is not to expand but to consolidate. When I look back, where I am now is quite close to where I would

have wanted to be. I would like to take roots and cement the direction I have taken in my work over the last few years. At the Studio we are currently working on curating, conceiving and designing cultural complexes, thematic exhibitions and cross-cultural collaborations and festivals with varied individuals and institutions from across the country and the world. I am currently consolidating the work we do with cultural projects nationally and internationally. Projects undertaken are increasingly from conception to design by creating a network of professionals.

Any closing thoughts?

SD: Sharing my work in any forum is always humbling and exciting.

Hopefully there are a few potential collaborators who will read this and strike up a conversation or walk into my Studio bursting with ideas…! www.poolmagazine.in 33

special environments

user & digital experience

retail space design

Br and Be t ter

publication

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brand brand development development

product product && packaging packaging

INDI helps distinguish your brand in an increasingly cluttered business environment www.indidesign.in

ILLUSTRATOR

TAPPING INTO CREATIVITY Mumbai-based Art Director Pranav Bhide is not sure he wants to be known as a graphic designer… but loves being a part of the advertising world anyway!

Did you always want to be a graphic designer?

PB: I had never thought of becoming a graphic designer, but since my childhood I always knew I would be somewhere around a color, a type and a form. I usually stumble at the term ‘graphic designer’. I don’t know how and why people come up with all sorts of complicated explanations for it. I’m purely a designer. The kind of graphic design the majority of people relate to is not only about brochures, catalogs, logos and all of that…it’s about a process. It’s how it works.

Any design is a part of our mental image, and the mood we want to communicate for that particular subject. To make it look interesting we should know how to alter it. It needs a lot of experience. Forget advertising, one birth also might not be enough for it. But I’ve chosen this path.

www.behance.net/ pranavbhide 36 POOL #27

Tell us a little about yourself...

PB: I have a Diploma in Applied Art from L .S. Raheja School of Art in Mumbai. I started my career in advertising at McCann Erickson as a trainee, worked at O&M for almost a year, and have been working at Taproot India as an Art Director since then. I am also a freelance illustrator.

‘A Day in the Life of

India’ - Mood Board www.poolmagazine.in 37

graphic design

Are you enjoying the advertising experience?

PB: It’s been three years in advertising, and I’m lovin’ it!

I started off with a huge agency or rather an industry called O&M with 1,000 employees and then switched to an independent agency called Taproot India with eight employees. In just three years Taproot India has become a mid-size agency. So the whole journey has been really exciting and has taught me a lot.

A few of my favorite projects are ‘Times Visual Classifieds’, and ‘A Day in the Life of India’. Not because of the pay-off 38 POOL #27

ILLUSTRATOR they received in awards but the process I went through. In both cases, there was a lot of experimentation and I was never sure about where I was going with this or how the campaign was eventually going to look in the newspaper. It’s only the deadline that helped me stop.

Otherwise it could’ve been much better or a disaster.

Tell us more about the ‘A Day in the Life of India’ project, which won recognition at the Cannes Lions 2012 as well as Goafest 2012.

PB: The brief was to capture the unusual, the irreverent, the bizarre, the inspiring, the sense-boggling side of this crazy contrast in cultures, religion, food, language and more that goes by the name of India. It targeted every single Indian from across the length and breadth of the second most populated country in the world. The strategy was to start the largest crowd-sourcing initiative this country has ever seen.

‘A Day in the Life of India’ - Photo Contest

No one understands the crazy side of India better than we, the principal actors in the cast, do. What’s normal to us is weird to an outside onlooker.

So we began a nationwide call to action - through a launch film. The film captured the dramatic impact on social, political, moral, religious and civic life wreaked by an escaped circus elephant.

Simultaneously a launch ad for a print campaign was released followed by the print ads for different contests like photography, cartooning, funny videos, etc.

Another really interesting part of these contests was the ‘Ad in the life of India’ contest held only for ad agencies. The message was ‘we’re legitimizing scam’, or ‘here’s your chance to pull out that brilliant idea the stupid client wouldn’t buy’! www.poolmagazine.in 39

ILLUSTRATOR

‘Nirma Salt Bitter’ Campaign

Initially the client was also not sure about the look and feel of the campaign, so they just asked for a logo and few mood boards capturing the essence of India. They were so happy to see the boards that they actually released those in Times of India, Bombay Times and even Economic Times just to drive the traffic in.

The main campaign website received over 150,000 video, audio and audio-visual entries at the time of going to press.

Naturally, the contests had to result in the world’s longest shortlist - over 5,000 nominations.

How was it working with major clients like Fox History, Times of India, and Reebok?

PB: Fox History was the client that opened the doors of Taproot for me. Working on Times of India is a treat. As a newspaper they are very serious yet modernized, and the content we get in their briefs is always interesting. When I was in the middle of my third year in college I got a freelance job

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ILLUSTRATOR

‘Reebok’

for Reebok and those illustrations bagged a bronze at the Clio Awards…so I joined McCann as a trainee cum illustrator.

How do you go about conceptualizing a brief given by the client?

PB: My boss once said going three steps ahead and three steps back on the brief is still being on the brief. Clients can’t do that, hence creative people get paid. I’m still following that and it works every single time.

Have there been any major influences on your work? What has been your inspiration and motivation?

PB: No one in particular, but different people have played different roles at various phases in my life and I’ve been inspired by their styles of working. I mostly try not to forget things I’ve observed for a while and inspiration usually comes from that itself. Being in advertising or especially being an art director, I always want or try to be versatile. But most of my art so far is a bit whimsical. www.poolmagazine.in 41

ILLUSTRATOR

Inspiration comes from observation.

I like to observe things in detail. In art every now and then, when you are experimenting you will have accidental results.

Sometimes they’re for the best, sometimes they’re not. But when they’re for the best I try to remember and memorize how I got that result. So the next time I want it I won’t need an accident!

‘HelpAge India’

What kind of graphics appeal to you?

PB: The folk art, wall signs and illegal street posters we see every day that best capture the chaotic reality of modern day India! No one knows who designs those posters, no one knows about their art schools. There is so much to explore in these art forms. Even a face of a man and a woman painted on a wall to show directions in a public loo is an interesting graphic.

I would tell all young designers to try and explore Indian art forms instead of aping the West. www.poolmagazine.in 43

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Graphic design

REFUSING TO BE TYPECAST Multifaceted Rathna Ramanathan runs a studio called Minus 9 Design when she is not teaching and writing about typography and graphic design

Why the name Minus 9 Design?

RR: Minus 9 Design (or M9 Design for short) is so named because I am short-sighted (myopic) and the power of my lenses is ‘-9’. I chose the name because it suggests a link with vision (seeing) and designing.

I get asked a lot about the name so I guess the curiosity factor works in my favor! However, on the downside, I am terrified every time I go to the optician for an eye check. I am worried about what I might have to do if my power increases as having to rename my studio Minus 10 wouldn’t be a good thing!

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Tell us a bit about yourself.

RR: My practice is situated around and inspired by the contexts of culture, language and typography.

I am based in London, UK and in Chennai, India and I create, teach and write about graphic design and typography. My work has a strong print focus though I have been known to dabble in the creation of projects such as road shows and exhibitions when unique and interesting opportunities offer themselves. Amongst my clients are BBC, World Bank, Harvard University Press. I have been designing for Tara Books for over 16 years.

graphic design

Spread from ‘In the Land of Punctuation’, a book translation of Christian Morgenstern’s poem with illustrations by Rathna Ramanathan. The book uses typographic illustrations in one single typeface - Futura.

I have a PhD in the History and Theory of Typography and Graphic Communication from the University of Reading, and head the Design and Interaction department on the Graphic Communication Design program at Central Saint Martins College of Arts and Design in the UK. I am the ATypI Delegate for India and advise on the design of Indic typefaces, in particular, South Indian scripts. I also run my own studio called Minus 9 Design.

How did your voyage into design begin?

RR: It’s been a very personal, unconscious journey into a profession that I love! Since I can remember I have loved drawing letters. As a young child,

I would make handmade birthday cards, posters and gifts for friends and family.

At school in Chennai, my English teacher pointed out my strengths in this area and suggested I study graphic design. I will be forever grateful to her for steering me in a direction where work = play = love = work.

What kind of graphics appeal to you?

RR: I do know what does not appeal to me. I hate ‘style’ or form that has no relationship with content. There is far too much graphic design that focuses on the ‘look’ rather than on the actual content or the intention. The graphic design that really appeals to me is everyday graphic design that is designed www.poolmagazine.in 45

Graphic design

Spread from ‘In the Land of Punctuation’

with purpose and for communication.

For example, signs, bills, forms, labels, books, etc. This kind of graphic design (which is so essential and integral to life) usually never gets written about or featured in design awards.

What was the first typeface you fell in love with?

RR: This is a difficult question for any graphic designer to answer. If I had to choose a Latin typeface, it would have to be Dolly by Underware. It is a book typeface. I bought it a long while ago and since then have used it in quite a few of the books I have designed at Tara Books and for other projects. If it is an Indic typeface, it is one that doesn’t exist in use. It is a Tamil typeface from the 1950s called ‘Ganapathi New Tamil Bold’ which is a Tamil metal type from the Swadeshi Type Foundry.

What is a major influence in your work?

RR: Research is a major influence in my work. As a designer, I look a lot at history but also at context. I think it is important 46 POOL #27

to understand reasons for why things exist and look the way they do, and to understand the purpose of things. As a designer, it is important to understand and know why you are making certain decisions and also how the decisions you make translate to the audience you are communicating to. Often, when asked about things like type choices, designers say the choice was made because ‘I like it’ or ‘It looks good’. For me, there has to be reasoning beyond just the personal likes or dislikes of the designer.

One way around this dilemma is to involve the people you are designing for as much as you possibly can. I enjoy involving the final audience in my work so my work ends up being a collaboration between the person(s) it is intended for and myself. I also draw inspiration from less mainstream approaches to visual communication such as sign painting, silkscreen printing and the design of graphic ephemera.

I am drawn to this because of the imperfections and mistakes that come

graphic design

Spread from ‘Metamorphosis’, a book with illustrations by Emanuele Scanziani with text by Jennifer Abel and published by Tara Books. The typography aims to reflect both the elegance and discipline of yogic poses.

Spread from ‘I Love Cats’, a book by Anushka Ravishankar and various artists, published by Tara Books. The aim of the typography was to be minimal yet at the same time reflect the personality of the cats using a single typeface with multiple weights.

about in the process which tell the story of the human beings behind it.

What are some of the projects that make you proud?

RR: The project I am the most proud of is the work I did with BBC in the Hindi heartland in rural India. Graphic design tends to pay attention mainly to paying customers. A lot of the work we originate in our profession is for people who can afford to buy it. Think about it - whether it is a book, magazine, packaging or advertisement - we are mainly working to ‘sell’ something. Very little graphic design is for people who genuinely need it but can’t afford it. The project with BBC Hindi was for a road show

in Jharkhand which brought masses of poor people in direct dialogue with policy makers and local politicians. I designed the communications for the road show and collaborated with the hugely talented Gond artist Bhajju Shyam for the project.

Tell us something about ATypI, and your association with it.

RR: ATypI or Association Typographique Internationale is an international organization dedicated to type and typography. It was founded in 1957 and is a community of type designers, typographers and people engaged in the use or making of typefaces. As the Delegate for India, my job is to carry www.poolmagazine.in 47

A hoarding created for a BBC Hindi radio roadshow in the Hindi heartland. The hoarding features key BBC Hindi radio presenters rendered in the style of a Bollywood painting. The usually unseen presenters were considered to be heroes in the heartland.

news of type-based activities in India to ATypI. This is published annually in the form of an international ‘Delegates Report’. I used to share this role with the eminent Professor Joshi till he passed away. We hope to hold an ATypI conference in India in 2015. This is something that came out of a dialogue on twitter with Satya Rajapurohit of ITF and a lot of people were enthusiastic and supportive. It will bring the communities of type and typography in India some well-deserved international exposure.

What challenges have you faced in your chosen field so far?

RR: This is an interesting question. The toughest thing to deal with was people not understanding the work and drawing judgments. For example, with the children’s book Anything but a Grabooberry for Tara Books, adults would decide that the book was too sophisticated for children. I just wished they had bothered to ask the children they were buying for what they thought and based their decision on–because Grabooberry was designed by me in collaboration with children aged 6-8.

What one thing would you like every designer to know about type?

RR: I think I am going to use the words of other people to express my two thoughts on this. As designer and author Ellen Lupton notes, ‘Typography is what language looks like’.

This is core to understanding how type should work. In his recent book, Inside Paragraphs, typographer and typeface designer Cyrus Highsmith beautifully summarizes that ‘composing type [is] a collaboration between [typographers] and their chosen typeface’. We expect that our job ends with choosing the typeface so we often set everything

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graphic design

(Top) A hoarding featuring the an illustration by Gond artist Bhajju Shyam which represents the ‘Circle of Life’ that occurs in a village around the radio and the news it provides.

(Left) A postcard, banner and T-shirt showing the road map of the BBC Hindi roadshow. The card features a ‘radio bird’ illustration by well-know Gond artist Bhajju Shyam with whom Rathna worked in close collaboration.

to ‘default’ but type choice is only scratching the surface of the in-depth task that follows.

What is fascinating about Indian Typography and Design?

RR: The story of typography in India is so rich and multifaceted that it is impossible to answer this in brief. We have an amazing cultural heritage that we take for granted. India has one of the largest, most varied manuscript collections in the world. We are a nation which has more scripts and languages than any other nation in the world. The history of typography and design in India has three stages: from orality to writing - the movement from texts being conveyed by memory and

speech to texts being written down; from writing to manuscripts - scribes writing texts in manuscript form; and finally from manuscript to mass printing by letterpress or lithography from around the 16th century to 19th century onwards. We are entering an interesting fourth stage now which is the presentation of texts in digital form.

We are at a strategic point to assess our heritage and decide what we want to take forward.

What role does culture and history play in type and graphic design?

RR: It’s absolutely crucial for a designer to know about culture and history.

Where we are from defines who we are, what we have done, and also where www.poolmagazine.in 49

graphic design

Cover for ‘Following my Paintbrush’ by Dulari Devi, with text by Gita Wolf, published by Tara Books. The hot pink and yellow on the cover is inspired by the vibrant tones of Mithlia art.

we are going. To use a car analogy, if you are on a road trip, it makes sense to check a map of the terrain (culture and context), to look in your rear-view mirror (history), and also to focus on the road ahead.

What in your opinion should be the focus when educating designers?

RR: At Central Saint Martins where I teach, we speak a lot about design as ‘thinking through making’. It is integral to consider both intellect and craft in the teaching of design.

I would tell budding graphic designers in India to follow their heart, find what they love and make it their work. But, in all of this remember, that one of the true joys of being Indian is that in our philosophy, ‘community’ is always more important than the ‘individual’. So if you remember that design has a purpose that will always be bigger and better than you, you’ll be good at anything you put your mind and heart to.

What are you currently working on?

RR: I’m working on a project called the ‘Murty Classical Library of India’ with Harvard University Press. I can’t say too much about the project yet as the launch date is still some time away. I can however say that it is an ambitious and worthwhile project which aims ‘to make available the great literary works of India from the past two millennia in scholarly yet accessible translations’. As an Indian designer, I am proud to be a part of it.

I am also working on a publication about the pavement booksellers in Chennai which will be the first publication via my publishing outlet M9 Editions. I am designing three very different books for Tara Books right now: an illustrated book by artist Amrita Das called ‘Hope is a Girl Selling Fruit’; a book of fiction

by Sri Lankan author Mike Masalamani called ‘The Boy who Spoke in Numbers’; and an exciting book documenting various forms of folk art called ‘Museum and Memory’. It is an exciting time. www.poolmagazine.in 51

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jewelry design

Founder and Designer at Kolkata-based KSR, Karishma Siddique Roy creates eye-catching statement jewelry for the woman who likes to be noticed!

What inspired you to become a fashion and accessory designer?

KSR: I love being a woman and adornments and accessories have always excited me. They are the smartest and quickest way to proclaim one’s personality. And the possibilities are just endless! My pieces are an ode to femininity and art, and through my designs I try to unite the two in imaginative and thoughtprovoking ways, thereby positioning my brand of jewelry as an adornment not just for the body but also for the mind.

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What led you to your current path?

KSR: I spent my childhood in Mumbai and had a very cosmopolitan upbringing, exposed to varied cultures, styles, cuisines and languages from a very early age. I got hooked onto fashion when I first set eyes on Naomi Campbell walking the ramp! This was when the Star network had first come to India and I was in the fifth standard. I have dabbled in sketching and painting from the time I was about two-three years old. I get a special thrill out of drawing female figures and faces, and thus it was natural that with this spectacular

jewelry design line of jewelry that was unlike any other.

I started KSR in 2010, and it grew out of a vision to create one-of-a-kind statement pieces for the modern woman. Soon after, I launched my line of statement jewelry with garments in the pipeline.

What kind of statements are you trying to make through your jewelry?

KSR: I love dressing up and my personal style influences my take on design. I am anti-fashion in that sense as I am a firm upholder of individual style. Through colors, prints, materials or textures, I seek to achieve that elusive X-factor that is the essence of any strong statement.

I tend towards feminine, old-world designs with an Indian ethos. I aim for classy, chic and elegant designs with an emphasis on color. I like to create pieces that are well-crafted and beautiful to behold and touch and which make for interesting conversational pieces.

Collection 2011 ‘Antique Cuff’ with assorted beads

introduction into the beautiful world of women in colorful swirls and drapes, I was hooked. I would constantly doodle clothes and fashionable women.

While determined to become a fashion designer, I have also always been academically inclined and I chose to pursue a Master’s in English (my favorite subject). Later I joined The National Institute of Fashion Technology, Kolkata for a four-year course in Fashion Design.

At NIFT I learned to work with all kinds of materials and designs. The accessories I had designed for my graduation collection were a big hit and I had great fun making them, using materials and techniques that were unusual. While actually trained as a fashion designer, I had this germ of an idea regarding a

My jewelry speaks to and for different women. It is for the woman who is unafraid to experiment and who likes to incorporate at least one striking piece into her ensemble. I believe that in this hectic age of instant gratification and individualistic expression, statement jewelry is the heady shortcut to stylish success for a woman who is high on fashion but low on time. Like the LBD, or the red lipstick, it is an instant pick-me-up that defines a woman’s personality just as quickly and effectively as the cut of her hair.

KSR combines exquisite traditional craftsmanship with an international estheticism, projecting a modernity that bows to old-world glamour.

What materials do you use?

KSR: I am very intrigued by the notion of incongruity, especially as it pertains to our preconceived notions of art and www.poolmagazine.in 53

jewelry design

Collection 2011 Bib neckpiece with Coral and assorted beads in metal, wire mesh, resin and glass

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jewelry design beauty. Hence I am open to the use of any kind of material in my designs.

By using unusual, colloquial materials, I want to show that perfection is just a state of mind. Through KSR I aim at strikingly different, dramatic and eclectic jewelry using beads and baubles and unusual and diverse materials like semi-precious stones, acrylic, glass, ceramic, metal, terracotta, wood, seeds, wire mesh, handmade fabric and other interesting loose ends and knick knacks.

Describe the process of creation.

KSR: Usually I have a general idea of the final product but most times it is instinctive. Sometimes I just let my mind wander and patterns start to emerge: at other times, I try to replicate designs from observation.

Mostly, it is instinctive. It is a sensory reaction to the media I have before me which is simultaneously regulated by a mental commentary. For every piece that I create, about 60% of the time involved is spent on the design. Before the actual assembling of the media, I have an instinctive snapshot of the final design. But when the actual technical process begins, I allow the snapshot to be tampered with according to the individual characteristics of the media involved.

Are you inspired by other cultures?

KSR: Oh, absolutely! The indigenous crafts and techniques of places like Africa and South America are always a major source of inspiration.

Within India itself, there is such an abundance of inspiration. I love to incorporate patterns and motifs from Naga and North Eastern weaves, and architectural patterns are a major influence. I have used beads from places like Australia, Thailand and Jaipur and I love picking up interesting knick-knacks on all my travels.

How do you retail your jewelry?

KSR: I started my label on Facebook! I am a huge fan of social networking and I wanted to promote my brand of modernist jewelry using new-age technology. An online presence is an indispensable tool today and I retail through Shopo.in and Pret-amoda.Com. In Kolkata I retail from India Kitsch. Currently, I am in talks with high end designer stores in Mumbai like Amara and Creo and I plan to retail from all the major metros.

What is the scope of jewelry design in India?

KSR: With 5,000 years of jewelry making behind us, it is undoubtedly one of the most vital and challenging areas of design. Contemporary jewelry in India is an interesting blend of traditional finesse coupled with a modern and edgy esthetic. Globalization has ensured that we are all aware of the latest trends, materials and technologies. The best thing is that today there are as many customers willing to take on new designs as there are designers who work hard to carve new molds. The future is very bright and glittery. www.poolmagazine.in  55

jewelry-design jewelry design

Collection: Funky, Edgy, Chic and Very Very Light ‘Edgy’- Laser-cut multihued acrylic neckpiece

What’s next for KSR? KSR: Currently I am in the process of completing my festive collection with heavy bib neckpieces and cuffs which will be available from next month. I am also working on a special line of statement jewelry using wood as the base material. By next year, I plan to diversify and add my brand of quirkily elegant shoes and bags to the accessory line which will be in tandem with my garment line. I want to create a design house that is synonymous with the very best in style and fashion.

What do you love most about your work?

KSR: A happy face or a radiant smile in the vicinity of a KSR piece! To know that

I have been able to make someone feel happy and beautiful makes all the effort seem so worthwhile! And of course, to see people slowly open up to newer possibilities in adornment.

What would you tell young jewelry designers?

KSR: To have fun! To realize that nothing is incongruous or ugly. We need to pave the way for new possibilities and styles, especially in jewelry design, where people still have a very conservative outlook. People are doing some amazing things with materials that have no relation to the usual conceptions of jewelry, but which add on a whole new dimension to this art form and are perfect tools for self expression. www.poolmagazine.in 57

architecture

COMPOSITE ARCHITECTURE: PARADIGMS OF DESIGN Ameeta Sharma Menon throws light on the concept of composite architecture and its impact on the environment

In a world full of ideas, it’s hard to judge which one is worthwhile and takes care of one’s actual everyday needs. It is these quests that led us as a team to look into the possibilities of working on what we don’t see around us, but would love if it was integrated with our existence.

Architecture in itself is an extremely integral part of one’s everyday life, a design parameter that does not just soothe the visual senses but also the holistic being. At MU Design, we have followed this thought to its purest sense and tried in our own small way to achieve the juxtaposition of the complexities of design with pure function.

Deriving inspiration from the source and addressing current needs, we came across the existence of composite architecture, which is architecture in its purest sense.

Composition of Hybrid Forms

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Bamboo Architecture: If you get down right to the core of bamboo architecture you will find a wonderful world within itself. Knowing the exact breed of bamboo and the corresponding strength with it in terms of its applications is imperative. This is followed by the various types of treatments

architecture

Bamboo Detail - Recover Model

that protect bamboo from weathering and decomposing situations, even fire.

We started using bamboo to replace steel to cover large spans. The bamboo lays exposed internally to let you admire the actual strength with the whole system of the truss. It’s difficult to achieve something like this with our civil engineers who barely leave their comfort zone to venture into unsolicited material usage, but with various trials, research and on-site testing we were able to prepare a truss entirely out of bamboo.

It was merely a dream for us to see it functioning in its full structural glory and our quest led us to hunt for the right type of bamboo. Due to the technicalities and functionality of the whole system we had to be really particular about the cross section of bamboo that we used. It had to be at least 6” in diameter with a core that wasn’t too wide, and at least 20’ in length

without any natural bends. After trying to locate the correct harvesting time and the growth duration we finally came across the Dandeli variety in North Karnataka.

Dandeli, as legend goes, is named after Dandelappa, a local deity, and a servant of the Mirashi landlords, who lost his life because of his loyalty. As per some ancient texts, Dandeli is the mythical ‘Dandakaranya’ mentioned in the epic Mahabharata. The name ‘Dandakaranya’ was derived from the word ‘Dandvalli’ or the green bamboo. Upon visiting this bamboo haven we were finally able to get just the right lot with help from the local forest authorities.

Upon arrival the bamboo was first treated with various chemicals in specific proportions to make it weather resistant and immune to damage from moisture. After that we got down to the construction technique. The local labor had to be rigorously trained by experts www.poolmagazine.in 59

architecture

(Clock-wise) 1. The massive bamboo trusses being placed over the roof 2. Hunting for the right breed of bamboo to fit the requirements 3. Supporting a bamboo bridge on load bearing arches

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architecture to put in the nuts and bolts and choose the right piece of bamboo for the right section of the truss.

The finished bamboo truss spanned a column free space of 40’ from one steel stanchion to the other; underneath it was a giant barrier free space for meditation.

Externally it was clad with a waterproof membrane covered with a set of wooden rafters which were then clad by clay tiles, creating the perfect ethnic setting for the structure.

For our second attempt at composite architecture using bamboo, we have started research on bamboo reinforced concrete slabs. Concrete as a material is quite a celebrated example of composite architecture. It uses three basic ingredients to form a bond of enduring strength. Roman architecture is an example of the oldest form of concrete. During those times it basically comprised quicklime, pozzolana and an aggregate of pumice. The use of this Roman concrete is defined in the history of architecture as the Roman architectural revolution. It gave Roman master craftsmen the freedom to build forms without the restrictions of stone or bricks, which then gave shape to structures like the Roman Pantheon and aqueducts.

Somewhere down the line with Corbusier and his affinity to the pure form and finish of concrete, reinforced cement concrete came into being. Reinforcing it with steel allowed it to span further distances. We thought of tweaking the steel with bamboo as the tensile part of the composition and thus making the whole system lighter as well as more economical. This combines the age old everlasting strength of concrete with the high tensile flexibility of bamboo.

We are currently researching the same with the help of a think tank and skilled labor support from Auroville; hopefully we will be able to achieve a new form of ‘concrete’.

Mosaic floorings: Mosaic is essentially a collage of stones with the use of a bonding medium. Mosaic flooring in India finds its roots in Mughal and Indo-Portuguese architecture.

Today mosaic flooring is an extremely standard, traditional and low cost form of flooring in India. We thought we could create a very sophisticated yet calm and weather efficient floor in mosaic without the ‘typical’ looks. The sight and understanding of mosaic flooring is very clearly defined due to the many numbers of grouts that come into being due to the inability of the material to be cast for larger sizes. A little market research introduced us to Nano fibers.

After various experiments in the proportion of white cement to marble chips to Nano fibers, we were able to cast a monolithic piece of mosaic floor for the entire span of any given room of any size or shape! Thus it gave us an extremely free hand in designing floors traditionally without the bindings of modern materials.

Under the Magnifying Glass As a part of our continuous learning we experiment with various juxtapositions of materials, forms, designs, constitutions, etc. We see a lot of potential in a lot of ideas. Here are some thoughts that we are currently researching: Terracotta building blocks: A deeper study of the existing options of mud block construction. www.poolmagazine.in 61

architecture

Testing the bamboo truss prior to construction

Lighting design: Right from fittings and fixtures to setting just the perfect mood, we have been trying to define space just by the light aspect of it, artificial and natural.

Luxury architecture: To us luxury does not mean wealth in terms of monetary achievements but the pure enjoyment of lavishness achieved through merging traditional and modern architecture - be it space, comfort in furniture or just a breath of fresh air.

Conservation in modern times: Restoring heritage to its old glory is a passion that we maintain. It enables us to study the ancient systems of construction with a close eye and at the same time opens our vision to use of modern technology to achieve the same fabric and texture of construction.

Climatic responsive architecture in modern times: A field of great depth and understanding, climate responsive architecture is not the same with global warming. Technology evolving by the 62  POOL #27

minute is no help to our living conditions where every individual wants the perfect temperature to live in, without caring for the impact on the environment. We are thus trying to achieve a balance between the clients’ requirements and structures with minimal global impact.

Ameeta Sharma Menon (ameeta@ mudesign.in) runs MU Design with fellow architect Krishnendu Menon. The firm is involved in various hospitality based projects, ranging from hotels, resorts and spas to hospitals and simple dwellings, which cater to all five senses of the human psyche.

Team at MU Design

designer ethnography on the road

Designer on the Road, Cagri Cankaya, learns how to say ‘Sing ken ken’ or ‘no worries’ in Bali!

I was so excited about visiting Bali since it’s a heaven-like island!

I worked here in a company called Good Karma, founded by two friends, Alex and Freddy. They are not Balinese but decided to start their business there in order to live a better life, and surf everyday!

Everything started so well - I had a nice house and bike, and worked in an office with a swimming pool. I worked on lots of interesting branding, logo and web design projects such as Passport (an alternative clothing brand for surfers and skaters); Movida (a new social media platform); Job Center (a human resources service website); Sing Ken Ken (a new brand only for Balinese products); One and Go (a utilities service website project); and some other brochures and stuff.

I was working hard but also having a lot of fun. Imagine having business meetings in the swimming pool while sipping on coconut juice! Then the bad things started to appear one by one. Thanks to a huge wave in the ocean, I lost my action camera. Then my wallet was stolen and I lost all my money and my ID card. And finally I contracted the tyfus virus, with high fever, and couldn’t even move for almost one week. I am grateful to my friends Patricia, Andy, Alex and Freddy for all their help during this time. However despite all the bad things that happened, I couldn’t hate Bali – it is like a slice of heaven. Lots of nice beaches with an amazing atmosphere and tropical view. Palms, tropical fruits, tasty juices, super sunsets, beautiful sands and always smiling local people. The locals are a relaxed lot probably because of the Balinese life style and the tropical climate. They never say ‘no’.

They usually address a foreigner as ‘boss’, and say ‘Yes boss, Ok boss’ to everything you ask! I learnt from them to say ‘sıng ken ken’, which means ‘no worries’ in the Balinese language.

www.designerontheroad.com

A bike is a must-have in Bali, though no driving licence is needed.

Sometimes policemen will stop you if they realize you are new to Bali; however they are just looking for some money and don’t really care about your licence. The local food is good but not for everyday consumption! However, since it’s a tourist island, you can find any kind of food from anywhere in the world. For more stories about Bali don’t forget to check my blog. Meanwhile, buy a ticket to Bali and prepare to enjoy the beaches. You will thank me later. www.poolmagazine.in 63

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Editor in Chief Sudhir Sharma sudhir@indidesign.in Copy Editor Ashvina Vakil Research & Design Coordinator Shriya Nagi shriya@indidesign.in

Publisher INDI Design Pvt Ltd www.indidesign.in

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Contact us Indi Design Pvt Ltd C-1, Unit No 503-504, Saudamini Commercial Complex, Bhusari ColonyRight, Paud Road, Pune 411038 Call: +91 20 2528 1433 Direct Mails All Subscription Enquiries to subscribe@poolmagazine.in All Sponsorship Enquires to sponsor@poolmagazine.in All Content related enquires to content@poolmagazine.in Printing, Binding & Paper Vinayak Arts, Pune 64  POOL #27

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