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Pratap Bose pg 10 Paul Sandip 02 Harikrishnan and Deepti 22 Kumkum Nadig 28 Atishe and Nishyta 36 Kabini Amin 42 Kritha Makwana 48 Paromita Banerjee 54

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Editor in Chief | sudhir@indidesign.in

October 2017 | # 86

Purposeful Design

Sudhir at the historic Sofiyska Square in Kiev

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Pratap Bose pg 10 Paul Sandip 02 Harikrishnan and Deepti 22 Kumkum Nadig 28 Atishe and Nishyta 36 Kabini Amin 42 Kritha Makwana 48 Paromita Banerjee 54

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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.

I often marvel at smart, efficient and working solutions. You see them all over. So many times when I am traveling I stop and marvel at some details, beautiful carvings, elaborately colored furniture, hand painted cafe graphics...this is where art and design become one for me. A very useful, needed, working solution is always beautiful; a very good looking piece of art is not always so.

That’s how I define the beauty of design; it is the purposefulness, the objective of a piece that distinguishes it, and makes it very contextual. Someone who works with specialist tools sees beauty in that one piece that most of us will miss. Design or art are not universal in that sense; they are contextual and time sensitive. That’s what makes installations and performances so powerful...context and time matters.

Perhaps we should all stop and take a second look at what we are working on. Ask yourself if it is timely.

Does someone need this? Does it, in fact, have a purpose beyond satisfying your own creative urges?

Sudhir

http://in.groups.yahoo.com/group/designindia

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1

PRODUCT DESIGN

Industrial design consultant Paul Sandip believes in transforming everyday objects with designs that stay in the mind

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COVER STORY

THE DRIVE TO DESIGN

As Head of Design for Tata Motors, Pratap Bose leads a large team across three global design studios. His attempts to bring synergy between the three have enabled the Indian automotive giant to introduce a range of passenger and commercial vehicles that aspire to compete in the global arena.

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ART

Husband and wife duo, Harikrishnan Panicker and Deepti Nair discovered the magic of paper and light quite by chance. Since then the engineers-turnedpapercut artists have gone on to international acclaim for their unique style.

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DESIGN & EDUCATION

A practicing designer and design educator, Kumkum Nadig handles the two tasks with a dexterity born out of years of experience

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DIGITAL

Siblings Atishe Chordia and Nishyta Chordia have brought together their engineering and design backgrounds to create a cuttingedge digital solutions company

Tell us a little about your journey in design.

AC: I don’t have formal education in design, but through my school experience at Rishi Valley, I was exposed to solving problems in the most unconventional ways. Encouraging unique ways of addressing a problem is probably the first prerequisite of being able to ‘think design’. I was at college in the US when Facebook, iPhone and other such hardware and software systems were born. This helped incredibly in building my exposure and defining design preferences.

NC: Design and art have always been of interest to me. In college I majored in Art History and Design; I went on to do a Master’s in Illustration and Visual Media at London College of Communication.

All of this really opened up my horizons; 36 POOL #86

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ILLUSTRATOR

Illustrator and visual designer Kabini Amin doesn’t like to be pinned down, either geographically or creatively

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JEWELRY

Jewelry and accessory designer Kritha Makwana finds inspiration in discarded bits and bobs that tell their own forgotten tales

Why does an architect move to designing jewelry?

KM: My passion for jewelry started while I was a student at the School of Architecture, CEPT University. In 2012, while sketching for a mapping exercise to study spatial constructs in the old city of Ahmedabad, I found a sewing machine bobbin and a rusted metal hinge lodged within a heap of metal waste. Exploring further I found more interesting, abstract and undefined metal waste. It seemed to carry stories and associations, and had the openness to adapt and gain a new meaning. This piqued my interest in adopting these beautiful discarded pieces and using them to make different accessories for myself. It didn’t start with an idea to make it for people or to sell it.

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FASHION

Committed to preserving India’s handweaving traditions, Paromita Banerjee believes in creating fashion that will endure past changing trends and seasons Tell us about your formative years in design.

PB: Immediately after Class 12, I applied to the National Institute of Design (NID) with the intention of making design my profession. As luck or perhaps as destiny had it, I got through in my first attempt. It was the year 2001 and we were called the ‘riot batch’ since the Gujarat riots broke out that year. NID was a dream, an institution that lets you be and teaches you about the various nuances of design and arts and sort of leaves you on your own to be the biggest winner or the biggest loser. It was up to us to figure out what we wanted to do and which path we wanted to take. It was ‘learning by doing’ and the approach was to inculcate in us the spirit of free thinking.

I took up textile design as my specialization in my second year and after that there was really no looking back.

While at NID, I was sent on a student exchange program to Konstfack University of Art and Culture in Stockholm. After I graduated from NID in 2006, I was employed by NID for six months on a craft research project under a new craft wing called International Centre for Indian Crafts, which undertook various design intervention projects in crafts and helped craftsmen move with the times by sensitizing them toward design and the elements that go into making a product viable and market friendly. I became quite well versed with the craft sector and felt a natural inclination towards it. When I started my company in 2009, with the intention of amalgamating my learnings in textiles as a canvas, and garments as end products, 54 POOL #86

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What can India do when there are no funds to build schools and equip them?

Excerpts from the book ‘Q&A on Education’, S Balaram’s meditative, minimalist, experimental art book that attempts to throw light on a weighty subject through simple questions and answers 62 POOL #86

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