December POOL 2012

ISSUE 30 December 2012

Manit Rastogi pg32

Product Design Summit 04 / Mainak 10 / Fenny 16 / Charutha 24 / Sudhir 48 / Sanchari 56 / Girish 68 / CAGRI 79

Editor in Chief | sudhir@indidesign.in

December 2012 | # 30

Sudhir at Red Fort, Agra

Benefits and Proof It is natural to think of what you will get for anything that you have to do. Modern business ethics and professionalism dictate that you deliver value for the money and time you spend on a project.

It is a perfect barter system that has come to represent the business of creativity.

Most results of creative processes are not tangible, hence it is not easy to convince someone of the success of your project or idea.

It is much better to document the benefits and proof of success of your project. Benefits that your project would cause to other objectives of the project; this itself is not easy but has to form a part of your case study.

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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

Too many websites of design offices claim proof which is laughable. My advice is that it is better not to give proof than to make it up! Experienced people can see the benefits by looking at the projects. Adjectives in any case spoil the after taste of a good project.

Marketing and management companies are used to seeing numbers; they also count numbers accrued for any reason to their account. It is a good idea to see those numbers and interpret them for your prospective customers. Be real and do let them know how you are calculating.

A good customer will probably not need you to give him proof of your creative work, but then, we know there are not many of those!

International Design Media Network Participant

Sudhir Endorsed by

Supported by

Chennai Hosts India’s Premier

Product Design Summit Product Design Days 2012 is the first and only platform created for small and medium businesses to interact and forge businesses relationships with design service providers. PDD 2012 was an avenue for SMBs to get an insight into the advantages of integrating design in their businesses, thereby empowering them to compete in the global market.

The idea of the conference was to educate them in the processes and modalities of design development and design management.

PDD enables small/medium business houses to learn more about the intricacies and nuances of incorporating product design as a part of their

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manufacturing process, including how to approach and brief a design firm and plan the early stages of the product design development. Product Design Days 2012 is the only event that provides end to end design solutions for SMBs covering the entire spectrum of the product design portfolio.

The event was held at the Chennai Convention Centre, Chennai, on 22nd and 23rd November 2012.

It was organised by Chennai based Unitech Exhibitions Pvt. Ltd. and managed by Geo & Nobi Events and Exhibitions Pvt Ltd. “This event will help expedite the process of Indian

SMBs venturing into Research, Product Engineering and Design rather than business houses blindly copying successful product ideas,” said Augustine Kurian, MD, Geo & Nobi Events and Exhibitions Pvt. Ltd. “We had consciously kept this event as a ‘no-frills’ Manufacturer/Designer meet rather than a forum to discuss Design at a very intellectual level,” he added.

Unni Tharakan, MD, Unitech Exhibitions Pvt. Ltd. said, “The concept of design as a marketing tool will excite the Indian SMBs and is sure to set the ball rolling for indigenous and innovative products meeting international standards.”

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www.khinvasaragroup.com

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www.indidesign.in

Highlights First and only product and industrial design event in India.

Over 600 pre-registered delegates from the Indian manufacturing industry.

15 national and international speakers, 25 design firms and allied industries exhibiting.

16 international award-winning products on display.

Design gallery with over 200 international award winning designs.

Daily conferences featuring eminent national and international speakers.

An exhibition showcasing Indian and international design firms and allied industries.

The I DESIGN AWARDS – its successful first edition declared 39 winners from over 300 submissions selected by an eminent jury panel. The awards boast of an impeccable and transparent voting system and selection methodology.

About Unitech Exhibitions Private Limited Established in August 2001, Unitech Exhibitions Private Limited (UEPL) specializes in trade fairs for businesses in niche industrial segments. UEPL has handled trade shows such as Analysis India, EEWAC, Hotel & Restaurant Tech, Bottled Water India, Post Harvest, Business Park, Roof India, Hand Tools & Fastener Expo and third party events like PU Tech 2005 to 2011, Weld India 2005 to 2011. www.productdesigndays.com

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BEYOND THE IMAGERY art

Architect and Design Consultant by profession, Mainak Ghosh is the only Indian artist whose work was featured at the recently held ‘Silence is a Lie’ exhibition in Berlin

Tell us something about the ‘Silence is a Lie’ exhibition.

MG: Art has gone through tremendous transformation in the last few decades. A lot of experimentation has happened, and it has been highly commercialized. However with the global socio-economic turmoil, things have received a strong jolt.

The art fraternity has started thinking of alternatives and solutions. A group based in Germany has been pondering the issue and questioning the conventional forms of art, the philosophy and commerce around it. They have fondly proclaimed it as a movement that breaks the silence imposed by the conformance of the majority, offering its truth about reality through the art.

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‘Silence is a Lie’ is about this urban art movement that rethinks and questions actual parameters of art without even intending to do so. Just as no words are needed to break silence, there is no need to be obvious when communicating something. The focus is thus not on works with political content or core social issues but to give every artist the opportunity to express his vision of the world in his own style or the way he likes best. Artists, installers, and sculptors from countries such as Peru, USA, China, Brazil, Colombia, Turkey and other European countries exhibited their critical perspectives on current world affairs, not only for urban art experts but also for people interested in a steadily growing art

art

‘Last Breath’ www.poolmagazine.in 11

movement that is in the process of establishing itself.

A major focus of ‘Silence is a Lie’ is to offer a dynamic platform internationally to artists whose artworks have a strong statement and are partly underrepresented, echoing the words uttered by a great Soviet poet decades ago, “When truth is replaced by silence, silence is a lie”.

‘Growing Up’

How did you get associated with the exhibition?

MG: I came across their website on the internet and we had an exchange of thoughts and some of my artworks. It was a proud moment for me when I was informed that I was the only participating artist selected from India for this international exhibition. I had to quickly ship two of my artworks which they had liked - ‘Illusion’ and ‘Society, and Beyond’.

‘Illusion’ was conceptualized and painted specially for this exhibition. It is a dramatic representation of society which shapes up, evolves, often transforms and metamorphoses.

It is a humble manifestation of an artist’s view for today and for tomorrow, unraveling what I cannot really explain in words. Society, and Beyond depicts society as a reflection of people, their thoughts, motivations, aspirations and failures.

Relatively smaller in dimension, the painting calls for minute scrutiny.

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art How did you get interested in art?

MG: Though art has always been a magnetic force in my development professionally and personally, I started painting regularly when I migrated to Bangalore for work - not with the intention of gallery display as such, but as mere fulfillment and personal satisfaction. It gave me a strong medium for the expression of my thoughts. My subject of interest has been human thoughts, various characters, their interactions with habitat, nature and other individuals. I enjoy the freedom of art.

I was not especially keen to publicize or market my creations. However I changed my mind, when a friend proposed a group exhibition. Held in Kolkata early this year, ‘T – a confluence’ was a unique amalgamation of artworks by three different individuals from different walks of life: a doctor, a painter, and an architect-designer.

How would you describe your style?

MG: Visually my works have a typical entwined and entangled look, blissfully chaotic yet harmonizing. This feature has evolved through my vision of urban dwellers, dwellings, gadgets, and lifestyle related intricacies; often a splash of nature creeping in. I work mostly in mixed media, pen and ink, poster, acrylic, water color, sometimes with the intervention of the digital medium. I have a strong affinity towards hand-drawn sketches and intricate pattern augmentation.

Tell us a little about your journey into architecture and design.

I grew up in Kolkata and my parents noticed that from a very tender age I had a strong flair for artwork, crafts and clay modeling. For five years I

trained under art guru and famous painter, Ramandanda Ji, under the aegis of Ramakrishna Mission Institute of Culture. Thereafter I learnt the basics of digital art at the Academy of Fine Arts, Kolkata, along with regular schooling.

My higher education was a continuum to my creative zest - graduate in Architecture from Jadavpur University, followed by Masters in Design, IIT Kanpur. I was a senior research associate for a short time at IIT, before I was offered a place in the innovation team of one of the biggest global corporate giants in India.

I now run a creative consulting firm called ‘Undream Design’ in Kolkata, focusing on assimilation of art, architecture and design. It includes holistic design consulting and turnkey services with key focus on artistry, beautification, staging, landscape, illumination, etc. My latest endeavor is to propagate creative or art modules with a purpose, focusing primarily on the younger generation. KBM or Kreative Bone Marrow is the school that is conspicuously picking up the mission.

What’s next in terms of art?

MG: The exhibition in Berlin has brought me enormous exposure amongst the audience and critics, and I am all set to carry on with future endeavors which keep the spirit rolling. Though I have not planned anything in particular, I am also looking at possibilities of marrying the concepts of art, architecture and design together. Since society, human interactions, and their stories generally find their way into my creations, there could be a strong amalgamation of other utilitarian forms of design, architecture, etc. which are user centric in nature, catering to society and human needs. www.poolmagazine.in 13

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art Whether or not I exhibit, I will continue with my artworks, which are a passionate part of my life. Art is the media which I find best to vent out many of my thoughts in a sublime manner. It is the dialogue which does not argue but makes you think.

It does not proclaim anything but makes you remember it. It is just static imagery but makes you see beyond.

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product design

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product design

THE ART OF LEVITATION Fenny Ganatra’s ‘Bounce’ is much more than a chair – it’s a unique attempt to convert function into a multi-dimensional experience

When you think of a chair called ‘Bounce’, just the name is enough to create a visual in your mind. This aptly named product is the creation of Mumbai-based product designer Fenny Ganatra, and it is as full of joie de vivre, elasticity and comfort as the name seems to imply. “I think design is a judicious mix of form, function and technology that enhances the experience of users. It is when you sit on Bounce that all these elements come together to leave in its wake an uncanny feeling of levitation,” says Fenny.

www.the-bounce.com

This ‘seating innovation’ as she refers to it, is not only attractive to look at, it is also contemporary, lightweight, weatherproof, and provides a natural and comfortable ergonomic support to the back by design and by default. “Design should add dimensions to a product that range from the extreme to the sublime: from a feeling of ‘levitation’ to a supremely tranquil, relaxed state of mind. Bounce does provide many such experiences simultaneously. Such multi-pronged www.poolmagazine.in 17

product design experiences in one product make what I call the hyper-experiential feel of a design,” explains the young designer from Raffles Design International School in Mumbai.

Her product creation company, Bounce Innovations Pvt. Ltd., takes products from concept to reality. Bounce is the star of the line-up and recently received an honorable mention at the Red Dot Awards. The unique chair is currently available in 14 countries across the world within less than six months of its launch.

“My design ethos is to create a unique experience for the users and have a product that would look like an art installation when not in use,” says Fenny.

“The progressive translation of my design ethos into reality inspires me the most while working on a project.”

Bounce is created with high quality polycarbonate and silicone that is

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engineered with a unique proprietary process. Determined to use silicone in a non-traditional manner, Fenny started relating the product to her personality – vibrant, cheerful, relaxed, colorful and full of life, “I felt almost intuitively that this material had great potential to be used in a unique and innovative fashion. Hundreds of renderings later, creating a seating innovation was almost instinctive,” she says.

“When you design a product, you have a concept. First it is in 2 dimensions, and then it evolves into 3 dimensions. And yet you have no clue how the concept will translate physically in a tangible manner. This process itself is tedious, challenging but highly exciting,” she admits. The challenges were plenty, including working on the composition of the silicone material, sourcing the inventories, finding a factory that would translate it best, and finding the balance between volumes, cost and efficiency.

product design “Even the manufacturers (in this case Mumbai-based One Group) need to be explained the concept. And then you need to struggle along with them to create what you have in mind.

It calls for technology support, manufacturing process support, logistics and material support, all of which might not be available at one place,” admits Fenny. “And these are only few of the tangible limitations a designer faces. Add to that a creative fatigue, unending frustrations, the endless cups of coffee and conversations and an inability to explain or understand, and the limitations can never be described. But it is totally worth it all, when you get the product right!”

Fenny however hasn’t let the process faze her. Her interest in developing new experiential products is still as alive as ever, and she’s bouncing ahead with plans to create and distribute innovative products across the world!

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In 1488, Rao Bika established the city of Bikaner In 2012, we established Indi - Bikaner to provide global brand creation services to businesses with ambitions.

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BRAND BETTER w w w.indidesign.in

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illustrator

Illustrator and graphic designer Charutha Reghunath enjoys playing with colors and expressions drypastels.blogspot.com

What led you to doing illustrations?

CR: I have been drawing ever since I can remember. When I joined the College of Fine Arts in Trivandrum for a BFA in Applied Arts, I started sketching as a part of the course. I haven’t stopped since! Eventually I got interested in illustrations. I did a Post Graduate Diploma in Graphic Design from National Institute of Design in Ahmedabad and now work as a graphic designer with Kena Design in Bangalore.

What is it about illustrations for children that you enjoy? Do you have a favorite project?

CR: I love colors and like to play with bright colors. I also love to 24  POOL #30

illustrator

A recent illustration project done for Kerala State Children’s Literature Institute.

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draw expressive figures and characters.

I feel doing children’s illustrations gives me both. My favorite projects are always my personal sketches. But, among the commissioned projects my favorite is a wall project I have done for a handloom showroom called ‘daram’ in Hyderabad. The showroom has a large open space facing the road and I was given full freedom to choose a subject to draw. I thought of drawing the process of handloom, from cotton to yarn, which many people don’t know.

The purpose was to fill the space with attractive and educative material. I think this was one of the projects I thoroughly enjoyed!

Your illustrations tell us stories of people around you…are they your main inspiration?

CR: I get inspired by everything around us…it could be the people around me, or the places I have traveled, or interesting 26 POOL #30

things. All my sketches/ illustrations have some memories or stories attached.

What mediums do you work with?

CR: I try to experiment with new mediums and like to work with different mediums in every new project. My all time favorite is the pen.

How would you describe your style?

CR: I won’t call it any particular style…I try to follow where my mind and hands take me, but also try to do justice to the subject. I have my own way of coloring and outlining that is derived from my sketching.

Do you follow a specific process?

CR: If I am following a brief, I try to understand the requirement. Later the main work happens in the mind and then it is a process of transferring to paper or computer. I try to sketch and scribble as much as possible before starting the final

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(Top to Bottom) 1. ‘Girl Next Door’ A close friend and a close space inspired me to draw this.

2. The aim of the project was to create a set of images by using Calligraphy as a medium, and drawing inspiration from a play called ‘Santhana Gopalam’ from the classical Indian dance form ‘Kathakali’. www.poolmagazine.in 27

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work, which gives me an indication whether it will work well for the brief or not. I believe one should never stop practicing one’s passion; one should be open to mistakes and learning.

(Top to Bottom) 1. Wall graphics done for a handloom retail showroom ‘daram’ in Hyderabad 2. ‘New one’, drawing done during an inspiring workshop

Do you admire any illustrators in particular?

CR: I admire the power and magic of Maurice Sendak’s children’s illustrations which even communicate to adults.

I admire the paintings of Van Gogh and Gustav Klimt.

Apart from the illustrators, designers and artists I admire, many people in my day to day life teach me many things and inspire me.

What are your plans for the future?

CR: I am waiting to do more and more illustration projects including children’s illustrations. I hope to get an opportunity to use my sketches in their original form in some projects.

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cover story

For Manit Rastogi, Managing Partner of New Delhi-based Morphogenesis, the allinclusive nature of sustainable architecture is what will define emergent Indian design www.morphogenesis.org

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cover story

Tell us about your journey into architecture.

MR: I studied architecture at the School of Planning and Architecture in New Delhi before going to the Architectural Association, School of Architecture in London where I got an AA Graduate Diploma (Environment and Energy Studies), and an AA Diploma. Morphogenesis was set up in 1996 with a clear mandate of looking to expand the boundaries of architecture and environmental design with sustainability at the core. This was a poignant decision which was supported by the paradigm change in the nascent liberalized economy of the 1990s in India. Morphogenesis terms of engagement with architecture have always been interdisciplinary in nature, ranging from science and technology to finance, globalization and other forces of urbanization.

‘House 2’, New Delhi In the relaxed urbanity of the N85 residence, the architect uses the house as a platform to investigate two issues central to design today: the family as a social unit and the environment.

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cover story

Why the name ‘Morphogenesis’?

MR: Post-liberalization of the Indian economy, there has been a fundamental shift in Indian design thinking. Within this milieu of an emergent India, social, cultural, and economic values are changing at an unprecedented pace.

Architecture, design and urbanism as processes need to be in step with this radical shift, if not two steps ahead of it. In this context, architecture is a strategic weapon to bridge boundaries and through discourse, it sets the 34 POOL #30

ground for evolution and innovation. It is within this milieu that the practice of Morphogenesis was set up.

‘Morphogenesis’ means the process of creation of form, structure and organization in response to nature.

Using nature as an inspiration for its appropriateness, the morphogenesis philosophy of ‘an architecture of almost somewhere’ was formed.

The Morphogenesis approach to creativity is inspired by the evolutionary

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Jindal Pipes Corporate Office, Gurgaon The project entailed taking a completed building and designing the interiors for it with obvious constraints imposed on the interior architecture as the building design was done independently and with little provision for the intended and eventual use of the building.

processes in nature to create form which is optimized for the built environment and the community. Design is viewed as a result of different stimuli, such as climatic conditions, urban fabric, local traditions, and human activity. At Morphogenesis, sustainability is a core creative value and is practiced in the evolution of the design.

The practice considers the widening scope of sustainability to be all-inclusive; to include social, cultural, financial, technological and environmental sustainability.

Morphogenesis believes that this inclusive nature of design is what will define emergent Indian design.

My wife Sonali and I were the original founders, setting up Morphogenesis in 1996 upon our return from a long stint at The Architectural Association in London. The aim was to create a practice that would evolve and promote Indian contemporary architecture and bring its design values to the forefront of global discourse. www.poolmagazine.in  35

cover story

The Pearl Academy of Fashion, Jaipur The institute creates interactive spaces for a highly creative student body to work in multifunctional zones which blend the indoors with the outdoors seamlessly. The radical architecture of the institute emerges from a fusion of the rich traditional building knowledge bank and cutting edge contemporary architecture.

What is your design philosophy?

MR: At Morphogenesis, we have become architectural activists in an attempt to effect change in our cities, in the buildings in which we dwell and ultimately, the lifestyles we adopt. We understand that we are working in an environment with limited resources. The main question that continues to pervade our design philosophy is the notion of how do we redefine sustainability by thinking systemically? How do we celebrate identity and diversity versus homogeneity? How do we think of our buildings and cities as bazaars (places of human interaction) rather than only as machines (places of human habitation)?

How do we redefine our urbanism as an emergence of interwoven networks? The opportunity is immense, the opportunity to define a new emergent architecture – an architecture of almost somewhere, for a people of almost somewhere.

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How do you approach a project and execute a concept?

MR: All projects are conceived through a research-oriented approach to policy, planning, design, technology, and passive/low energy design and continue to carry the Morphogenesis brand of Engagement, Experimentation, and Innovation. Whether it is an institute, or a restaurant in a traditional bazaar or a corporate office, each project is a step forward in our efforts towards formulating economic, environmental, social, political and cultural processes that shape city life.

Environmental sensitivity is inherent and integral to the process of design, from concept to completion and to the full life cycle of the building. The goal when building sustainably is to use energy and natural resources wisely and in a responsible manner. Simply

cover story put, we use the phrase ‘no is more’; we begin any design process by saying NO! We have no energy, no water, no waste disposal, etc. and then begin to evaluate from first principles how to passively provide the basic fundamentals of comfort, safety and livability and yet sustainably respond to the local climate and ecology while remaining economically viable and globally pertinent.

What are your expectations from your team?

MR: The case for creating the new practice in the current globalized world needs to emerge from embodied sustainable processes. Designs should be an emergent product of the process and greater than the individual

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architect. Today’s architecture needs to be a product of the collective, wherein the organization acts only as a synaptic glue connecting individuals to create a collective genius.

Morphogenesis is an association of over 100 architects, designers, urban designers, master planners and environmentalists and support staff. We believe and expect that each member of this collaborative contributes to the evolving nature of design, and Morphogenesis thrives on this condition. This is what drives us every day; to create a platform for exchange of ideas aimed to bridge the boundaries between art, architecture, design and urbanism. The intent is to foster cross-pollination, interaction, innovation, a fusion of ideas, and the emergence of a discourse in the contemporary paradigm, in bridging two cultures, the local, and global.

Which project are you particularly proud of?

This is a difficult question to answer. Each project of ours aims to push the boundaries of design – and this is a process that evolves by attrition. I am proudest of the creation and evolution of Morphogenesis from where it started as a small architecture firm in a garage to an institution today, greater than the individual. It is during this transformation that various projects have been created and innovated and helped shape the ideology of Morphogenesis today.

How do you react to the large number of awards the firm has won?

It feels great to be recognized nationally and internationally as a leading Indian contemporary design firm; however it is only a small step in the larger goal. The work of the practice has been published and exhibited at several venues nationally and globally. Nationally the sense of recognition for our work that comes from our 38 POOL #30

cover story

Harley Davidson Corporate Office, Gurgaon The office is located in India’s Millenium City, Gurgaon; being the country’s industrial and financial centre, it was an ideal setting for the launch of the first Harley Davidson office in India. The preliminary objective was to create an indigenous space using traditional materials to customize and personalize the office in a way that it blends into the Indian context. www.poolmagazine.in 39

cover story peers is very important for us to keep the energy going for the larger vision.

International awards really reinstate the belief in our mission for an Indian, globally recognized architecture.

What problems do Indian architects face today?

MR: There are many issues that are plaguing the architecture profession and for that matter, all professions in India today. Issues of outdated education curricula and methods of teaching, commercialization of professions, ineffective regulatory bodies monitoring the practice of the profession by unregistered firms and individuals, lack of minimum standards and processes, disorganized construction industry, etc.

The list is endless. But, in my opinion, the main issue stems from within the profession - a certain lack of belief in a holistic vision for an emergent India.

Indian architects are amongst the best in the world – they need to realize the potential that they posses and rise up to the challenges that face the profession today by presenting a vision of what we can be, and not only what we are or have been.

Do you think design will succeed in bringing about innovation in architecture?

MR: Historically, the architecture of this region has been about innovation.

Innovation was the only way to deal with the extreme climatic conditions, high seismic activity, lack of resources – water and energy, and access to only local materials. At some point with the advent of cheap energy and industrialization, we began to believe that we were above nature, that we could create habitats and workplaces devoid of context, climate and culture. This has largely led us to a point where we are 40 POOL #30

facing one of the gravest crises in water, energy and above all, unsustainable and unlivable cities and buildings. As much as design is responsible for the current condition we are in, design will also be the way out.

The opportunity for design to transform our lives, the buildings we inhabit, the objects we use, the materials we consume, and the waste we generate is immense. We just need to start thinking differently. The process of design is not only a tool for creating objects; it should be a systemic process for transforming society. We need to move design away from a ‘master planning’ approach, and rethink design as a process for ‘strategic intervention’ in society bottom up, inclusive, effecting change by demonstrating success at a local level.

What is your take on sustainable architecture in India for the future?

MR: Indian architects, to a large extent, have always built and designed with limited resources and materials. With a local, socio-cultural response to design, the results have been more often than not, passive solutions, which further help to reduce energy and water dependence by increasing the number of comfortable habitable hours without reliance on mechanical means. Optimization of all resources is a prerequisite to responsible architecture today. Unlike other nations, local resources and methods of construction are still easily available to us. This local response towards sustainable building has inherently been different from the western model of green building, which has generally been equipment centric with comfort predefined in a narrow band. It is the adoption of this western approach in India that has allowed many projects to certify themselves as green, creating an

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City Centre, Siliguri Located at the entrance of the 400-acre Uttorayon Township, the City Centre attempts to create a much-needed, organized commercial district for the city of Siliguri. It is positioned as an interface between the township and the city that envisages a new destination for the local community and emerges as an urban landscape in between the offices and commercial components of the master plan. This family entertainment centre is a judicious mix of retail, F&B outlets, entertainment areas; children’s play areas and a large 4-screen multiplex.

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The Nira, Kerala (Ongoing project) The design brief called for a luxury eco-resort in Kumarakom, Kerala.

As a boutique project, in close proximity of the Arabian Sea, the objective was to offer an indulgent retreat experience, of life amidst the backwaters. Physical and Visual Engagement with the natural setting laid the foundation for the development of the globally unique design set amidst a serene landscape.

incomplete and incorrect model of sustainability architecture.

It is imperative that we, as Indian architects, take a few steps back into the past, to be able to find solutions for creating a sustainable future.

Are Indian architects too influenced by the West?

MR: The issue is not about Indian architects being influenced

by European or Western architecture, but whether they are being influenced by the visual of the product or the process that created the product. Surviving globalization (and commercialization), where Form Follows Finance, has to be one of the most difficult predicaments for Indian architects today. For us, every project is an opportunity to investigate the program from a fresh perspective and to challenge the orthodoxies of architectural design and its established hierarchies whilst remaining culturally appropriate, and addressing global issues whilst respecting local traditions.

What’s next for Morphogenesis?

MR: New projects that we’re very excited about are the corporate factory and office we’re doing for the DS Group in Noida, which is based on the idea of land tectonics where the landscape and the building are interwoven, thereby losing the classical distinction between the vertical and the horizontal, between outside and inside, between landscape and building.

We’re also currently working on a tall commercial tower in Gurgaon which is extremely exciting as we have managed to recreate the idea of land, of a garden, of a plot of land at www.poolmagazine.in 43

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cover story 114 Avenue, Gurgaon (Ongoing project) Situated on a triangular site on the Delhi Gurgaon Border within close proximity to the Airport, the design for 114 Avenue presents an opportunity to generate a mixed-use scheme planned for offices, retail and serviced apartments.

The intent is to arrange a series of blocks that direct a creative interaction between the buildings and the people, in order to enhance spatial and visual permeability across the site. The idea is to create a network of routes that converge on a central plaza at the heart of the site.

multiple levels throughout the tower. We’re designing a very interesting boutique resort in Kerala on 50 acres, built entirely out of local materials used to build fishing boats and with morphology that captures the local wind conditions.

We’re also designing a 3,000-acre township on the west coast where the existing land is extremely damaged because there were many industries that dumped toxins and chemicals; we are now looking at a method of rehabilitating that land to bring back human occupation as well as regenerate the local ecology in a sustainable manner. A lot is going on, but what eventually gets done, what gets built, how it gets built, that’s the real challenge. Implementation: that’s the real test.

What is your advice to new generation architects and designers?

MR: My advice would be that they should first understand that architecture and design is not only a profession, it is a way of life. The commitment required is paramount as there is a tremendous responsibility to oneself, the environment and society at large. If design and architecture is not your hobby, your recreation, your meditation, your work, your mojo, then try something else.

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graphic design

Visual Communication Designer Sudhir Kuduchkar’s dream is to explore and excel in as many creative arenas as possible!

What is fascinating about Indian typography and design?

SK: The diversity, in expression and interpretation! Indian typography and design is region-specific. Every Indian state has its own influence on the typography and design practiced there. Hence, it is the diversity that fascinates me the most…

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

SK: Culture and history does play an intrinsic role in type and graphic design. It is very important to understand the origin and growth of a language to make its type, more so for a place like India where every region has a specific dialect. Only by exploring the culture and history can one give an innovative (yet relevant and identical) touch to the new type.

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How did you get into type and graphic design?

SK: During my school days, I was deeply interested in painting. I would make projects with cent percent dedication and interest.

I always dreamed of being an artist. After

Hindi Typography

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graphic design

Gujarati Typography

Invisible Typeface 50 POOL #30

completing my higher secondary education, I got to know about an institute called National Institute of Design in Ahmedabad, and because I was always fascinated by colors and forms, I decided to pursue a career in design. I can say that I was introduced to the world of typography by NID’s Prof. Mahendrabhai Patel (in 1995–96). However, I was busy with graphic designing during the initial years of my professional career. As an obvious extension, for the past five years, I have been exploring the nuances of typography. I started with a yearly calendar centered on the ‘crow’ theme; later I did English, Hindi and Gujarati typefaces.

How did you get into the corporate world?

SK: Post NID, I stepped into the exhilarating world of advertising, design and media. I started my professional career as a graphic designer in an ad agency. After a while, I landed in the corporate world of designing by joining Torrent Group in 2000. Currently I am their Design Center Head.

Torrent Design Center has been active for the past 30 years. Today, it has a team of 17 well qualified designers.

The Center is equipped with all contemporary design software and is amongst the finest in-house corporate design centers.

graphic design What kind of graphics appeal to you?

SK: I like the use of negative space – what space you leave is more important than what you use in an artwork. It is all about space, form and structure.

I like the use of typography – according to me, type / typography is the soul of any and every design.

It gives meaning to the design. Then, the use of colors – the choice of colors ‘adds’ to the appeal of the design. I also like the use of innovative concepts.

‘Crow Calendar 2012’ This ideated in 2007, when I thought of designing the calendar only in black & white

What are you currently working on?

SK: I am planning to start writing a blog on letterpress and foundries in and around Ahmedabad - the objective is to keep letterpress fresh in the minds of young, upcoming designers. I am working on a typographic calendar for 2013. I am also working on the Typography Exhibition 2014 about my journey in typography. It will feature letterpress compositions, live typography concept, and Bengali typography, which I am in the process of developing.

What are some of your most notable projects?

SK: The poster design for National Literacy Mission, which bagged the ‘President’s Award for Poster Design’; the Crow Calendar; the Annual Report for National Dairy Development Board (with Dr. Kurien). www.poolmagazine.in 51

quality printing

Vinayak Arts, 986, Sadashiv Peth, Dnyan Prabodhini Roavd, Pune 411030

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(+91 20) 2447 7253, (+91 98) 2275 7538, info.vinayakarts@yahoo.in

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graphic design What challenges did you face in the early days?

SK: When I started out in 1996, the design industry was going through a paradigm shift – from manual art works to digital / computerized art work. The equipment and software wasn’t readily available.

There was an absolute lack of tutors to explain the use of the ‘new’ design software.

Moreover, computer literacy wasn’t too widespread in India during those days. Hence, we were left to accept the change and lead the change ourselves…

‘Hand Made Ceramics’ Calendar, based on terracotta jewelry design by Purvi

What has been your major influence?

SK: The rich Indian art and culture has had a major influence on my work, and it is evident in my work.

How was your advertising experience? Did it help you in other areas of design?

SK: So far I have worked with three ad agencies and yes, the experience has been very handy. Various types of design are interlinked and interwoven. Hence, my experience of addressing various tastes has exposed me to exhibition, environmental, product, and multimedia designing as well. I have had the opportunity to explore these various types of design.

What is the one thing every designer should know about type?

SK: It is very subjective…but I would say, ‘feel, sense and absorb the type to do full justice to its usage’. My thumb rule for constant growth is: Explore.

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textile & craft

Textile designer Sanchari Mahapatra does her bit for traditional craftspeople even while working on a book on the history of Ahmedabad’s National Institute of Design

How did you get interested in textiles?

SM: A likeness for textiles developed because of my mother who sensitized me to the beauty of things like light, texture and color from an early age. My first exposure to crafts began with a month’s trip to a wonderful village in Bishnupur, West Bengal.

As a student studying design, I had gone there to see how Baluchari sarees were woven. It was there that I realized how craft is an integral part of day to day activities and is born as a result of a community’s need.

The fact that both textiles and craft are products of humans’ need fascinates me a lot. The anthropological side of both textiles and crafts has interested me since I was a student and I find it very difficult to just look at them as products only. I feel as a consumer, it is as important for me to know the story behind the making of a textile or a craft as it is for me to know its quality and value. Through generations our culture and history has been kept alive through innumerable crafts and textiles. The existence of a craft or textile product speaks so much about the world it lives or lived in.

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When did you decide to start your own label, Sanchari Designs?

SM: In 2006 I got my Diploma in Textile, Apparel and Accessory Design from National Institute of Design in Ahmedabad.

textile & craft

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textile & craft I worked with a textile design firm and later in a fashion house where I got to work up close with the fashion fraternity and held a responsible post, taking care of designing, production of retail and exports garments, and styling. It was my curiosity to see how design was linked to the people behind (artisans, craftsmen, embroiderers, weavers) the making of these exquisite fashionable products that took me to the interiors of India.

As a consultant designer, I was fortunate to work in many small villages of Orissa, Manipur, Arunachal Pradesh, and Gujarat on projects designed and funded by government bodies. I observed that how even now, many communities were purely surviving due to their crafts. Our training programs aimed at expanding the market reach of these products and gradually help craftspeople to bring a marked difference in their annual sales.

As a designer I worked very closely with the families of the craftspeople. Design training activities were rigorous as we had to comply to tight deadlines while working with minimum Cushions under the label ‘Sanchari’

Women in Bhuj

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(Top) Work by women in Bhavanagar

resources (broken looms, weak yarns, language, unskilled people, and many times adapting to the lack of adequate infrastructure). However, towards the end of such training programs I always felt that people had a strong will to carry forward their learning from the training. And I used to find it very disturbing to see that the link between training and commencement of actual production was very weak. I wanted to continue my association with the craftspeople and began by placing an order for some products. In a small way the label began as an attempt to continue our understanding of how a craft was adapting to the changing market need. Sanchari Designs started with that intention.

What do your designs convey?

SM: I strongly feel that designs should be such that people associated with their making can leave their personal mark.

Hence, our focus is in creating things that allows the creativity of the doer (weaver, embroiderer, etc.) to leave an impression of his/her work. Under an overall concept, each product is unique.

The idea is to promote creativity at every level and involve people as much as we can. We understand that products have to be marketable in order to continue our association with our craftspeople. To have a balance between production orders, www.poolmagazine.in  59

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textile & craft which would mean replicating same designs in multiple numbers and creating one-off samples, we try to make such things which require an effortless yet sensitive way of doing things.

We are careful that our process doesn’t convert a ‘thinking and creative mind’ into a stagnant state of being.

What products is Sanchari Designs known for?

SM: Our designs are inspired by craftspeople and their traditional understanding and technique of the craft they practice. At present we make mainly handwoven stoles, hand-embroidered cushion covers, and hand block printed curtains. We are working with pure materials like cotton, merino wool and natural dyes.

Weaving, embroidery and block printing is what we have started with and we intend to include other non-textile crafts as well.

Who are your designs targeted at?

SM: A person who appreciates the human touch will identify with our collection. A person who loves to know a new culture and enjoys listening to stories will love our products because there is always a face and story behind our products. So far we have been retailing through Nidus and Artisan’s Cottage in Ahmedabad and Studio Alaya in Dehradoon. The response has been encouraging and we are hopeful about reaching out to other cities.

Curtains - block printed with natural dyes

What difficulties did you face when introducing your label?

SM: The most important aspect is to be able to be there in times of need as the artisans rarely have the financial capacity for the pre-processes and during production. A great deal of energy is spent in ensuring that quality is given prime importance even at the risk of rejecting bulk products, but we don’t let it affect the artisans and try to find creative solutions and alternatives. This approach has also helped artisans realize that short cuts affect every individual in the process, and while ensuring quality might be time consuming, it pays off in the long run. Like it is for any entrepreneurial venture, arranging finances for the dry season is a challenge in itself, but because we have been doing limited quantities we have been able to take care of it till now. www.poolmagazine.in 61

BRAND BETTER

A Beautiful Rendezvous With the vivid species of birds from the bio-diverse land of Baramati, Maharashtra!

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textile & craft

Cane and bamboo craft from Orrisa

Is it your intention to revive Indian handicraft and textiles through your work?

SM: I agree that many crafts have become extinct but at present I believe most organizations and companies are supporting existing crafts. Reviving dead crafts requires an overall effort by specialists from different professions.

At our end we are involved with those craftspeople who have been able to continue their practice against all odds and are excited to see how their craft can adapt itself to the changing lifestyles of people. During my travels I did encounter such gems and am trying to start involving them in a more productive way.

What does your training for traditional craftspeople involve?

SM: When it comes to craft it’s difficult to say who the trainer is, actually. It is more

of an exchange of ideas. My interactions have always confirmed my belief that a craftsman is not only more skillful but also better at churning out new ideas.

Skilled artisans need a proper direction for their products, a little hand holding for quality control (especially for those who have now been converted into doing job work only), and an insight into the world of his future customer who lives miles away from him. We must understand that earlier the market was closer to their immediate environment. However, with time that distance has widened. As a designer I try to connect them to their customers, the lifestyle and the culture.

I usually start a design training program with a sensitization workshop wherein we look at their work from a different point of view. It is followed by going back to talking about design and its fundamentals and its reflection in their existing work. www.poolmagazine.in  63

textile & craft What are the challenges that you face?

SM: I think our intention guides our approach. To start with, we need to re-look at our intention. Are we looking for surface level design changes or a deeper absorption of how design can benefit people and their lives? I feel most of the design development programs that are happening through government initiatives need to be relooked at. Assigning a training program for the benefit of artisans and craftsmen with the idea of finishing it before the end of a financial year can lead to only surface level learning and can have long term repercussions in the quality of the final product, the user (us) and most importantly, the maker (artisans). This poses a great threat to the traditional understanding of craftsmen for whom the craft holds the same sentiment that a piece of land holds for a farmer.

Cane and bamboo craft from Orrisa

It is crucial that all steps are given due consideration before the commencement of any training program, starting

“I feel that designing comes with many challenges but one should be able to remember that behind these exquisite works of art, lives a man who is more than just a karigar! ”

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textile & craft from identifying actual beneficiaries to planning distribution of resources and delegating responsibilities to staff of implementing agencies, and arranging facilities like drinking water and hygienic working conditions. It’s time to re-evaluate the approach of conducting such programs as millions of craftspeople are losing trust in deriving any benefits from these. The absence of any authentic audit system, feedback session and monitoring adds to the situation. For a successful design intervention program for a craft cluster, a training program on design must immediately be followed up with linking or networking with buyers. It’s only when a design gets orders that a family benefits. Only concentrated and united efforts by a well developed team of artisans, stakeholders, designers, implementing agency and buyers can bring in the desired change.

lives but also acted as the engineer of our culture. Indian textiles have entered the fashion world with uniqueness.

Designers like Aneeth Arora, Rahul Mishra and many more not only use handloom and hand-crafted textiles in their collections but their sensitive styling has given a new freshness to Indian textiles.

What would you advise budding young designers in your field?

SM: I feel that designing comes with many challenges but one should be able to remember that behind these exquisite works of art, lives a man who is more than just a karigar! We at Sanchari Designs wish to grow along with our artisans!

I learnt a lot from the women while working in the villages. There are many layers that one needs to understand before bringing in any change. One has to be sensitive about the hierarchy that works in a village, the differences in the ways of working between men and women, and respect their customs.

The dynamics that work in NGOs or any implementing bodies/agencies that work at the intermediate level are also very interesting and challenging for a designer!

What do you think is the future of Indian textiles?

SM: It was thanks to visionaries like Kamladevi Chottopadhya and Pupul Jayakar who worked relentlessly towards preserving arts and crafts that India got timely help in identifying the handloom and handicraft sector as one which not only supported millions of

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Photographer

Marriage of Two Careers Industrial Designer and Fine Art Photographer, Girish Lone is as much at home designing medical products as capturing unforgettable images at weddings!

What drew you to photography?

GL: In the year 2004 when I started studying Industrial Design at IIT Kanpur, I felt the urge to photograph whatever I was doing at that moment!

I went out and bought myself a simple 4MP Nikon Coolpix and started taking pictures. Being a bit of a geek and curious by nature, I started getting more and more interested in the f numbers, ISOs and all the complicated terms of photography, so exploration led to knowledge. Meanwhile, I picked up the fundamentals of what makes a good frame through design. Finally, I realized that photography gave me the relaxing break and liberating effect which you feel when you are working on good design, and my journey of two careers started - Industrial Designing and Photography.

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Photographer

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Photographer

How has the design journey been so far?

GL: The idea of starting DesignLIFE, my own Industrial Design Studio, came when I was approached by a few prospective clients to do some work for them. Today, after two and a half years, we are an enthusiastic team of industrial designers, engineer, manager and interns. Based in Thane (near Mumbai), we offer industrial design and allied services. DesignLIFE started with the aim of making people happy by implementing design in their lives.

We work closely, one on one with our clients and offer end to end support for the products till market launch.

Right now, we are going through an exciting phase, with projects from a variety of domains, right from large industrial machines, medical products and electronics devices to photography equipment. We have also developed products for our niche photography client services.

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How have you evolved as a photographer over the years?

GL: The early days involved exploration of photography, mainly the camera, film, developing in the darkroom, etc. I used to shoot almost 300 photos on an average every day - I was a relentless photographer! Then, I picked up Film SLR and became conscious of what I was shooting and the journey began. Slowly my style evolved. I started going to places to see nature and people - walking, chatting with people and taking their pictures…I started opening up to the outside world.

Simultaneously, my design career was taking me places and I came to Pune to work at a design house with a bunch of highly creative, inspiring individuals. We shot my friend’s wedding for fun and wedding photography happened.

During the last couple of years, I have picked up lots of professional assignments mainly in wedding photography. Now I have my own

Photographer

wedding photography studio called Girish Lone Photography. Recently, I was honored with membership to the Wedding Photojournalist Association (WPJA), a highly acclaimed group of wedding photographers from around the world.

Being in the wedding photography profession, it’s difficult to choose either location or subjects! For landscape and people photography, I prefer giving myself enough time to take in the environment, and understand the place, people and culture.

What is your personal choice of subject?

GL: It’s difficult to say what particular subject excites me. Most of the time, I start off with that first reaction to the light or subject and then start taking pictures till I feel I have got what I have seen in that moment. As soon as I get that shot, I smile and can breathe again! I see the world as a photograph, and have realized that I am pretty good at shooting nature, people (wedding photography gives ample opportunities for that) and abstracts.

Nature, people and beautiful images always inspire me to take better photographs.

What is it about your photos that make them stand out?

GL: Over time, I have honed my style, largely through wedding assignments. My style is in the way I place the picture in front of you as I have seen it; if that moment had drama, you would see it, if that moment had serenity, you would see it. It’s a photojournalistic style and my silent-shy nature plays a huge role in it as I effortlessly become a part of that environment. My style is also strongly backed by my design ethos as it consists of compositions, filled with emotions depicted through perspectives, patterns and colors. www.poolmagazine.in 71

Photographer Is people photography difficult?

Have you ever had to shoot someone you dislike?

GL: There is nothing to like or dislike!

Being allowed or able to photograph someone and know them is a privilege you have as a photographer. During wedding photography, you need to be prepared to shoot all kinds of situations and face all kind of treatment from guests!

How do you make your subjects feel comfortable?

GL: It’s really important to know your subjects well, either passively or by actively engaging with them.

I learned this during my days as a design researcher and in ethnography field work with IMRB and others. It’s important to make yourself part of the surroundings. I tend to speak and interact with people while I photograph them.

What goes through your head right before you snap a picture?

GL: The only thing I think about is to take that shot before the moment passes! In

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Photographer

case of street photography you have to be quick. Most of the time, after you take the first snap, your head starts working on how to make a better picture. In weddings, I anticipate the next moment, picture the shot in my head and get ready to take the shot.

Do you think photography is a skill that comes naturally?

GL: It’s a skill till the point you are trying to learn the tricks of the trade.

Apart from that one also needs to have an eye for light and a sense of esthetics. It becomes difficult when you need to differentiate yourself from other photographers. It’s important to understand what your style is and what you really love to do. You can only know your style if you know 74 POOL #30

yourself, your own nature, and that’s pretty difficult.

What is the most challenging part about being a photographer?

GL: To earn enough to keep satisfying your senses, what with those never ending gear upgrades! Jokes aside, the most challenging is to find your style, nurture it and then make it unique as an art in itself. I am nurturing my style.

There is a long way to go.

What camera are you using now?

GL: I have been using Canon for the last eight years. I started my journey with a Nikon point and shoot camera and then moved to Canon film cameras. I have used Canon 500D, 5DMark I, II, III.

Photographer

How much do you rely on lighting?

GL: I rely on light; it may be natural, artificial or no light. Mostly in street photography and landscapes you have to rely on natural light. I tend to carry my own light for wedding shoots. I use Lightroom to develop my images so that I can put them in front of you as I have experienced them.

What is your favorite lens?

GL: 50mm Prime! I love my Sigma 50f1.4 and Canon 50 f1.8, which are my preferred traveling lenses.

What do you hope to achieve with your photography?

GL: Whatever I do, be it design or photography, the goal is always to be happy, and make others happy.

How has photography helped you evolve as a human being?

GL: Photography has made me more observant and empathetic to my surroundings. It has developed a sense of respect as well as awe for nature and people. The biggest lesson I have learned is not to intrude – either in nature, or a person’s personal space. I rarely do that while photographing - I let them be what they are best at being.

What would you advise young photographers?

GL: Learn the skill as much as you can.

If you want to make photography part of your life, an experience of a lifetime, then learn to know what makes your photographs unique.

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insights often come from extraordinary lives

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www.indiresearch.in neha@indidesign.in

designer on the road

dubai, uae Designer on the Road, Cagri Cankaya finds he can’t take the heat in this dazzling desert city! www.designerontheroad.com

life there for sure. I have no idea what I would have done without them. They showed me many places around Dubai and we went to Hard Rock Cafe.

I didn’t work for an agency in Dubai but I made a 100x70 cm digital painting as a surprise gift for my girlfriend. Since I only stayed in Dubai for four days, it was like a tourist visit instead of the usual ‘Designer on the Road’ lifestyle. I saw places, traveled a bit, and enjoyed my time there.

Hello from Dubai! My story starts with huge problems.

During my last days in Sri Lanka I had sent an e-mail about my arrival to the company I was to deal with in Dubai. However, they told me that they had misunderstood my project and couldn’t afford to take me on! I was so angry because they had earlier agreed to my terms. Without a job I had no idea how to survive there and I didn’t have much money to pay for hotels.

If I paid for hotels, how would I buy a plane ticket to return to my country?

Via CouchSurfing, I searched for Dubai-based people who would host me at their home, and a Turkish family invited me over for four days. Solmaz, Erkal and their two and a half year old daughter Duru are a small Turkish family with great hearts! I felt like a big brother to Duru through all my time in Dubai. They saved my

Dubai is a great example of the things you can build if you have enough money. In the old days this place had nothing except endless sands, and now it has become a very popular tourist city in the middle of the desert. Dubai is a huge city with big things - big buildings, big cars, big roads. Arabs love big stuff for sure! They are obsessed with creating the world’s tallest buildings, fastest elevators, biggest aquariums, and largest shopping malls. I visited Burj Khalifa, which is the tallest building in the world. Petrol in Dubai is a bit more expensive than in the other cities of the UAE, and yet it costs just 0.48 dollars per liter! In Turkey we pay 2.5 dollars! It’s a huge difference and it’s very hard to calm down when you learn this fact. This is just a small part of the story – it is much the same when it comes to taxes. Life is much easier for Arabs in Dubai. If you want to set up a business you have to have an Arab partner.

Some Arabs just help big companies to be in Dubai they are partners on paper but get paid to do nothing at all. That’s why there are many passive CEOs in Dubai!

I can’t tell you how hot this place is! Dubai is pretty hard to survive without air conditioners! It’s like living in an oven. It’s impossible to walk around outside in the day time - that’s why even the bus stops are designed as small rooms with air conditioners!

See you later from somewhere around the world... probably South Africa! www.poolmagazine.in 79

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