Dear Sudhir,
Please also include IICD on your list of institutions for participation by
faculty and students of our institute.

Regards,

Yunus Khimani
IICD
Jaipur

> The 7th National Design Summit
> 12th 13th December 2007
>
> is being organised by CII-NID in Bangalore.
>
> I also read yesterday that Hotel room charges are going up from
> September. SO here is a call to Designers in Bangalore to help.
>
> This is how you can help:
>
> 1. Call your designer friends to the summit and offer them to put up
> with you...your batchmates/people you know. So besides the
> summit..you also have friends visiting you. Anyway it will be a good
> time to meet everyone.
>
> 2. If your company/Organisation can- please offer Guestrooms/Hostels
> or at least a few rooms to the organisors- they could help the
> visitors/students.
>
> 3. Maybe you can persudae your company/organisation to offer few
> rooms at special discount to the Summit.
>
> 4. If you can be adventrous- offer two day PG/Gratis on designindia
> for direct takeups. Make new friends.
>
> 5. Maybe you know of a institution/organisation (other than yours)
> and take lead in organising a few rooms.
>
> 6. May be your organisation can directly deal with NID, IDC, SID,
> MIT NIFTs etc to accomodate students/faculty.
>
> Last Summit in Delhi- Amity had offered their guest houses and buses.
>
> thanks
>
> regards
> Sudhir Sharma
> 1989 nid
> elephant
> pune
>
>
>
>

Dear Bangaloreans

My longtime design book supplier in Delhi is opening shop in
Bangalore. Incredibly, it's called "Page 3 Bookshop". Asked why he
named it so, the owner sheepishly said "Isn't design all about Page
3"? (That's unfortunately is what many people think of design).

Pay a visit to check out for a good collection of international design
publications. They  offer subscriptions to many design magazines as
well (never lost any copy in transit). They also sell Pantone
products. The shop opens on 11 September. Location:

Page 3 bookshop
NG 11, North Block, Manipal Centre
47 Dickenson Road
Bangalore - 560042
Phone: 25591090
Fax: 25591091
Email: page3books@...

Happy browsing

Sagarmoy Paul
New Delhi

Now we are getting warmed up -
   what about the Bata Blue and white chappal - do you think we  can now call it
Indian inspite of  Bata being a Czech company
   Another ones that comes to mind is the stacked steel tiffin or the multi
segment thali
   regards

elizabeth john <lizabethjohn@...> wrote:
           Hi

Elanza - molded PP suitcase from VIP

It is a product that has been selling in large
quantities for more than the last ten years.
The acceptance of the product is very wide accross the
urban & rural segments.

I wonder if that fits the description of a "modern
classic " that is indian in its design origin(designed
in india)& appreciated by the masses in india.

regards
Elizabeth John
VIP Industries Ltd
ID, NID
2002 - 2005

--- Pankaj Jhunja <jhunja@...> wrote:

> Hi,
> I was waiting for something like this to be
> mentioned.
>
> I do not know if many people are aware but we at
> Renault are running a student design competition
> with Design Schools (NID, MSRAS, IITK, IITG, MIT,
> SID, Raffles) with the topic reading
>
> 'What is the language of Modern Indian Design'.
>
> The reason the word Modern is mentioned - is that
> we wanted to see if there is something outside of
> Craft based products (Kolhapuris, Kullhad, Zari
> embriodery etc.) or tradition based. - but something
> that has been captured in a mass produced item.
>
> The exclusion ofcourse - if craft and tradition
> inspired products have been contemporarised (I dont
> know if this word exists) and used in a fresh and
> modern context.
>
> Please note that the idea is not to identify here
> products designed in India - but products that
> have captured the 'Indianess' - either in visual
> language, or in use, or influenced by climate,
> environment, consumer behaviour etc. which is very
> Indian.
>
> Can can we have one more show of the great
> enthusiasm shown - in order to have feedback on such
> products that are Indian in Design - in terms of
> context and thinking.
>
> Awaiting
>
> Pankaj Jhunja
> Renault Design India
> Cell 9967656406
>
> Dyutiman Moulik <dyutimanmoulik@...> wrote:
> Has anyone already mentioned the Hawkins
> Futura Pressure Cooker, the only Indian industrial
> design success to have been exhibited at MoMA, New
> York? It has got 12 patents and 35 design
> registrations worldwide. Credit: Hawkins Design
> Team.
>
> Dyutiman
> PD NID 03
> Bangalore
>
> ----- Original Message -----
> From: natasha jeyasingh
> To: designindia@...
> Sent: Tuesday, August 28, 2007 13:31
> Subject: Re: [designindia] Design Classics list-
> please add
>
> Dear All,
> Thank you for the replies, its been insightful.
> and as Saumitri pointed out, there are 'evolved'
> classics and 'intended'
> classics. (as used in her mail :)
> So far (with a few exceptions mentioned like the
> string chair by GU and
> ultra by tessaract) we've all been talking about the
> evolved category. (the
> great indian classics)
> does anyone have any inputs on the 'intended'
> category as well?
> regards,
> Natasha Jeyasingh
> LAD NID 2005
> Mancini enterprises
>
> ps: below is part of the mail by Saumitri:
>
> If we go by the "evolved" category - a design that
> has evolved with
> time - a lot of stuff we use/had used in India would
> qualify as
> classics. The list would be huge.
>
> If we go by the "intended" category - a design
> either designed by an
> individual or a group and not a result of evolution
> over a period of
> time - then we would have a different set of
> classics. The list might
> be rather small.
>
> Are we talking about both, OR one of the above?
>
> Best regards,
> Saumitri
>
> [Non-text portions of this message have been
> removed]
>
> [Non-text portions of this message have been
> removed]
>
>
>
>
>
>
> ---------------------------------
> 5, 50, 500, 5000 - Store N number of mails in your
> inbox. Click here.
>
> [Non-text portions of this message have been
> removed]
>
>

__________________________________________________________
Choose the right car based on your needs. Check out Yahoo! Autos new Car Finder
tool.
http://autos.yahoo.com/carfinder/





---------------------------------
  Unlimited freedom, unlimited storage. Get it now

[Non-text portions of this message have been removed]

"As ego and belief in one's identity is considered to
be an illusion of our limited sensibilities, the focus is
never on the individual. For about a thousand years
in early times, vast quantities of art was produced in
India. This depicted deities, mythical creatures, animals,
plants, trees, forms that combined these beings in a
great harmony, and also common men and women.


Yet this art never depicted the kings who patronised it.
Nor was the name of the artist mentioned. According
to *Chitrasutra*, the treatise on art-making, personalities
are too unimportant to be depicted in art. The purpose of
art is a noble one: to show the eternal beyond the ephemeral.
-----------------------
*Series:The first part of a 25-part series on Indian art.
*http://www.frontlineonnet.com/fl2416/stories/20070824507606600.htm*

*--
warm regards
Pudi Ravi Krishna
Hyderabad
09989802868


[Non-text portions of this message have been removed]

I think my mail was misunderstood, I want to clarify that..........
Requirement is open for all the people having any Design education
background or professional experience in design.


On 8/31/07, Rahul Bhatt <bhatt_iitg@...> wrote:
>
>   *Educational Qualifications* Design from NID (Ahmedabad) OR HCI / HFI
> trained information architects OR over 3 years experience in the field
> of Information Architecture
>
> Wonder how your last line fits in Educational Qualification! Anyway, leave
> it.
> And there are plenty of good colleges other than NID to choose from as
> well. But, I don't think you wanna even look at 'em.
>
> Rahul Bhatt,
> DoD, IIT Guwahati
>
>
>
> Abhishek Sahu <ultimatesahu@... <ultimatesahu%40gmail.com>> wrote:
> Hi all,
>
> I am Abhishek Sahu, Working in Julysystems. Inc (
> http://www.julysystems.com), Bangalore as User Experience designer.
>
> JULYSYSTEMS is hiring people for the positions mentioned below.
>
> for the same you can send your resume or queries to Vandana at
> vandana@... <vandana%40julysystems.com>
>
> and to me at
> abhishek@... <abhishek%40julysystems.com>
>
> Regards,
> Abhishek Sahu
> User Experience Designer
> Julysystems Inc. Bangalore (Julysystems.com)
>
> ------------------------------
>
> *Information Architect / User Experience Designers* (Full-time hires,
> Consultants & Interns – all positions open)
>
> * *
>
> *Role Description* To work on services & product Information architecture,
> user flows and storefront templates • Design and deliver high-level
> content
> organization and navigation, user flows, interface metaphors/approaches,
> page layout/wireframes and content schematics • Work closely with project
> stakeholders, and developers • Translate user needs into functional
> requirements • Communicate with the organization in all stages of design
> to
> answer questions about the IA strategy
>
> * *
>
> *Educational Qualifications* Design from NID (Ahmedabad) OR HCI / HFI
> trained information architects OR over 3 years experience in the field of
> Information Architecture
>
> * *
>
> *Years of experience* 2-3 years (from NID) 3-4 years if in related fields
> (fresh grads also welcome for internship)
>
> * *
>
> *Required Skill sets* • Working knowledge of the principles of information
> architecture, usability, and web-based user experience design • Ability to
> work with internal clients and users to understand their goals •
> Experience
> observing user research and translating user research into design
> decisions
> • Experience with services/products that offer personalization and/or
> customization • Experience with a CMS • Strong time management,
> communication, and interpersonal skills
>
> * *
>
> *Desirable Skill sets* • Info Design for Mobile services, consumer facing
> services/products • Familiarity with HTML, CSS, cross-browser
> compatibility
> issues • Experience with Microsoft Project and Visio • Involvement with
> industry standards or professional organizations related to web/UI design
>
> [Non-text portions of this message have been removed]
>
> Yahoo! Groups Links
>
> ---------------------------------
> Fussy? Opinionated? Impossible to please? Perfect. Join Yahoo!'s user
> panel and lay it on us.
>
> [Non-text portions of this message have been removed]
>
>
>



--
Abhishek Sahu
Information and Digital Design
National Institute of Design (NiD)


[Non-text portions of this message have been removed]

*Educational Qualifications*   Design from NID (Ahmedabad) OR HCI / HFI
trained information architects OR over 3 years experience in the field
  of Information Architecture

   Wonder how your last line fits in Educational Qualification! Anyway, leave it.
   And there are plenty of good colleges other than NID to choose from as well.
But, I don't think you wanna even look at 'em.

   Rahul Bhatt,
   DoD, IIT Guwahati



Abhishek Sahu <ultimatesahu@...> wrote:
   Hi all,

I am Abhishek Sahu, Working in Julysystems. Inc (
http://www.julysystems.com), Bangalore as User Experience designer.

JULYSYSTEMS is hiring people for the positions mentioned below.

for the same you can send your resume or queries to Vandana at
vandana@...

and to me at
abhishek@...

Regards,
Abhishek Sahu
User Experience Designer
Julysystems Inc. Bangalore (Julysystems.com)


------------------------------


*Information Architect / User Experience Designers* (Full-time hires,
Consultants & Interns – all positions open)

* *

*Role Description* To work on services & product Information architecture,
user flows and storefront templates • Design and deliver high-level content
organization and navigation, user flows, interface metaphors/approaches,
page layout/wireframes and content schematics • Work closely with project
stakeholders, and developers • Translate user needs into functional
requirements • Communicate with the organization in all stages of design to
answer questions about the IA strategy


* *

*Educational Qualifications* Design from NID (Ahmedabad) OR HCI / HFI
trained information architects OR over 3 years experience in the field of
Information Architecture


* *

*Years of experience* 2-3 years (from NID) 3-4 years if in related fields
(fresh grads also welcome for internship)


* *

*Required Skill sets* • Working knowledge of the principles of information
architecture, usability, and web-based user experience design • Ability to
work with internal clients and users to understand their goals • Experience
observing user research and translating user research into design decisions
• Experience with services/products that offer personalization and/or
customization • Experience with a CMS • Strong time management,
communication, and interpersonal skills


* *

*Desirable Skill sets* • Info Design for Mobile services, consumer facing
services/products • Familiarity with HTML, CSS, cross-browser compatibility
issues • Experience with Microsoft Project and Visio • Involvement with
industry standards or professional organizations related to web/UI design


[Non-text portions of this message have been removed]






Yahoo! Groups Links






---------------------------------
Fussy? Opinionated? Impossible to please? Perfect.  Join Yahoo!'s user panel and
lay it on us.

[Non-text portions of this message have been removed]

Hi

Elanza - molded PP suitcase from VIP

It is a product that has been selling in large
quantities for more than the last ten years.
The acceptance of the product is very wide accross the
urban & rural segments.

I wonder if that fits the description of a "modern
classic " that is indian in its design origin(designed
in india)& appreciated by the masses in india.

regards
Elizabeth John
VIP Industries Ltd
ID, NID
2002 - 2005

--- Pankaj Jhunja <jhunja@...> wrote:

> Hi,
>   I was waiting for something like this to be
> mentioned.
>
>   I do not know if many people are aware but we at
> Renault are running a student design competition
> with Design Schools (NID, MSRAS, IITK, IITG, MIT,
> SID, Raffles) with the topic reading
>
>   'What is the language of Modern Indian Design'.
>
>   The reason the word Modern is mentioned - is that
> we wanted to see if there is something outside of
> Craft based products (Kolhapuris, Kullhad, Zari
> embriodery etc.) or tradition based. - but something
> that has been captured in a mass produced item.
>
>   The exclusion ofcourse - if craft and tradition
> inspired products have been contemporarised (I dont
> know if this word exists) and used in a fresh and
> modern context.
>
>   Please note that the idea is not to identify here
> products designed in India   - but products that
> have captured the 'Indianess' - either in visual
> language, or in use, or influenced by climate,
> environment, consumer behaviour etc. which is very
> Indian.
>
>   Can can we have one more show of the great
> enthusiasm shown - in order to have feedback on such
> products that are Indian in Design - in terms of
> context and thinking.
>
>   Awaiting
>
>   Pankaj Jhunja
>   Renault Design India
>   Cell 9967656406
>
> Dyutiman Moulik <dyutimanmoulik@...> wrote:
>           Has anyone already mentioned the Hawkins
> Futura Pressure Cooker, the only Indian industrial
> design success to have been exhibited at MoMA, New
> York? It has got 12 patents and 35 design
> registrations worldwide. Credit: Hawkins Design
> Team.
>
> Dyutiman
> PD NID 03
> Bangalore
>
> ----- Original Message -----
> From: natasha jeyasingh
> To: designindia@...
> Sent: Tuesday, August 28, 2007 13:31
> Subject: Re: [designindia] Design Classics list-
> please add
>
> Dear All,
> Thank you for the replies, its been insightful.
> and as Saumitri pointed out, there are 'evolved'
> classics and 'intended'
> classics. (as used in her mail :)
> So far (with a few exceptions mentioned like the
> string chair by GU and
> ultra by tessaract) we've all been talking about the
> evolved category. (the
> great indian classics)
> does anyone have any inputs on the 'intended'
> category as well?
> regards,
> Natasha Jeyasingh
> LAD NID 2005
> Mancini enterprises
>
> ps: below is part of the mail by Saumitri:
>
> If we go by the "evolved" category - a design that
> has evolved with
> time - a lot of stuff we use/had used in India would
> qualify as
> classics. The list would be huge.
>
> If we go by the "intended" category - a design
> either designed by an
> individual or a group and not a result of evolution
> over a period of
> time - then we would have a different set of
> classics. The list might
> be rather small.
>
> Are we talking about both, OR one of the above?
>
> Best regards,
> Saumitri
>
> [Non-text portions of this message have been
> removed]
>
> [Non-text portions of this message have been
> removed]
>
>
>
>
>
>
> ---------------------------------
>  5, 50, 500, 5000 - Store N number of mails in your
> inbox. Click here.
>
> [Non-text portions of this message have been
> removed]
>
>






________________________________________________________________________________\
____
Choose the right car based on your needs.  Check out Yahoo! Autos new Car Finder
tool.
http://autos.yahoo.com/carfinder/

Mahesh, your guess is right.
The roti-maker is not any Indian innovation. Since preparation of tortilla and
roti have similarities, the device satisfies the way of preparation of both. By
certain minor modifications in design and mechanism, the same device has been
well adapted either for roti, tortilla or similar pan-cake kind of food
worldwide. A Mexican inventor in US has the patent (filed earliest) for a
tortilla-maker:
<http://www.google.com/patents/pdf/Tortilla_maker.pdf?id=sJA8AAAAEBAJ&output=pdf\
&sig=WiCXCxo5nMf7BCPj-zAOmh1Safc>


Dyutiman
PD NID '03
Bangalore


   ----- Original Message -----
   From: mahesh_joglekar
   To: designindia@...
   Sent: Friday, August 31, 2007 13:52
   Subject: [designindia] Re: Design Classics list- please add


   --- In designindia@..., Pankaj Jhunja <jhunja@...>
   wrote:
   >> The reason the word Modern is mentioned - is that we wanted to
   see if there is something outside of Craft based products
   (Kolhapuris, Kullhad, Zari embriodery etc.) or tradition based. - but
   something that has been captured in a mass produced item.

   >
   > Can can we have one more show of the great enthusiasm shown - in
   order to have feedback on such products that are Indian in Design -
   in terms of context and thinking.

   Hi Pankaj
   Your observations are spot on, as the list was getting populated it
   felt like the list did not had enough "Modern" Indian product as you
   put it.

   Yes it will be interesting to see how many products come up

   One I would like to suggest is the Instant Rotimaker "RotiCheff"
   but have reservations also.
   Yes it certainly does make the Roti go like a balloon ( In
   marathi "Fugane")Could not believe when I used it first time!
   But unless you eat it immediately it goes sticky"
   But any way I doubt if it is originally Indian as I have a feeling
   that it is a copy of some Mexican device ( Tortilla maker may be!)
   But I may be wrong.
   Interestingly a friend of mine likes this gadget very much and is
   always ready to undertake the task of making any no of Puris when we
   have large get together, his reason, It works far better as a Puri
   roller than a Roti maker!
   there you go "Jana Tha Japan.. pahucha gaye China ..."
   MJ





[Non-text portions of this message have been removed]

Hi all,

I am Abhishek Sahu, Working in Julysystems. Inc (
http://www.julysystems.com), Bangalore as User Experience designer.

JULYSYSTEMS is hiring people for the positions mentioned below.

for the same you can send your resume or queries to Vandana at
vandana@...

and to me at
abhishek@...

Regards,
Abhishek Sahu
User Experience Designer
Julysystems Inc. Bangalore (Julysystems.com)


  ------------------------------


*Information Architect / User Experience Designers*   (Full-time hires,
Consultants & Interns – all positions open)

* *

*Role Description*   To work on services & product Information architecture,
user flows and storefront templates • Design and deliver high-level content
organization and navigation, user flows, interface metaphors/approaches,
page layout/wireframes and content schematics  • Work closely with project
stakeholders, and developers • Translate user needs into functional
requirements  • Communicate with the organization in all stages of design to
answer questions about the IA strategy


* *

*Educational Qualifications*   Design from NID (Ahmedabad) OR HCI / HFI
trained information architects OR over 3 years experience in the field of
Information Architecture


* *

*Years of experience*   2-3 years (from NID) 3-4 years if in related fields
   (fresh grads also welcome for internship)


* *

*Required Skill sets*   • Working knowledge of the principles of information
architecture, usability, and web-based user experience design  • Ability to
work with internal clients and users to understand their goals • Experience
observing user research and translating user research into design decisions
• Experience with services/products that offer personalization and/or
customization • Experience with a CMS  • Strong time management,
communication, and interpersonal skills


* *

*Desirable Skill sets*   • Info Design for Mobile services, consumer facing
services/products • Familiarity with HTML, CSS, cross-browser compatibility
issues  • Experience with Microsoft Project and Visio  • Involvement with
industry standards or professional organizations related to web/UI design


[Non-text portions of this message have been removed]

--- In designindia@..., Pankaj Jhunja <jhunja@...>
wrote:
>>   The reason the word Modern is mentioned - is that we wanted to
see if there is something outside of Craft based products
(Kolhapuris, Kullhad, Zari embriodery etc.) or tradition based. - but
something that has been captured in a mass produced item.

>
>   Can can we have one more show of the great enthusiasm shown - in
order to have feedback on such products that are Indian in Design -
in terms of context and thinking.

Hi Pankaj
Your observations are spot on, as the list was getting populated it
felt like the list did not had enough "Modern" Indian product as you
put it.

Yes it will be interesting to see how many products come up

One I would like to suggest is the Instant Rotimaker "RotiCheff"
but have reservations also.
Yes it certainly does make the Roti go like a balloon ( In
marathi "Fugane")Could not believe when I used it first time!
But unless you eat it immediately it goes sticky"
But any way I doubt if it is originally Indian as I have a feeling
that it is a copy of some Mexican device ( Tortilla maker may be!)
But I may be wrong.
Interestingly a friend of mine likes this gadget very much and is
always ready to undertake the task of making any no of Puris when we
have large get together, his reason, It works far better as a Puri
roller than a Roti maker!
there you go "Jana Tha Japan.. pahucha gaye China ..."
MJ

Dear Friends

I am feeling honoured and delighted in announcing that Design For
All Institute of India and Greece are jointly publishing the August
2007 Vol-2, No-8 issue of    newsletter. Designers from Greece have
contributed the articles and our current issue is in front of your
computer screen. It is very sad to inform you that Greece is
struggling to put the forest fire under control which has so far
claimed 44 lives, loss of plants and animals and forced the
Government to declare state of emergency.
Our September 2007 Vol-2, No-9 issue of newsletter is on special
issue on "Child Education and Universal Design". Designers from
United States have contributed articles.

Kindly visit our web site www.designforall.In   for our current as
well as past publication of our monthly newsletter or click this
link
http://www.designfo rall.in/newsletter_aug_2007.pdf

We have moderate success and many improvements are required to re-
shape for the actual impacts of the newsletter for our social
movement of Design For All/ Universal Design. We welcome your
suggestions. We have included the following articles for your
opinion and suggestions.
Content of August 2007 Vol-2, No-8

1.        Editor's Desk ……………………………………………..9
2.       Biography of Contributors…………………………….13
3. Greece Related   information……………………………17

4. Introduction on Greece Design
    a) The Hellenic Approach to Inclusive Design……..23
        Prof Dr.   Margaret-Catherine Perivoliotis-Chryssovergis
        Associate Professor, Interior Design Department
        Faculty of Graphic and Applied Arts
       Technological Educational Institute of Athens,Greece
    b)  Design Education……………………………………..27
     Prof Dr.Margaret-Catherine Perivoliotis-Chryssovergis
     Associate Professor, Interior Design Department
    Faculty of Graphic and Applied Arts
   Technological Educational Institute of Athens, Greece
    3.    Design For Inclusiveness………………………………35.
     Prof Dr.   Margaret-Catherine Perivoliotis-Chryssovergis
     Associate Professor, Interior Design Department
     Faculty of Graphic and Applied Arts
    Technological Educational Institute of Athens, Greece

     6. "People and Things"
        A temporary Exhibition fully accessible to Sighted
           and Non-Sighted people…………………………………63
           Mr.Charalambos Chaitas
          "GET INSPIRED" Design Studio, Athens,    Greece
           Ms Anastasia Kalou,
          "GET INSPIRED" Design Studio, Athens,    Greece

         7. Architecture without vision-
             Architecture for Everyone……………………………….74

         8. Design: A Time-Space Construction………………….79
       Asso. Prof.Dr. Georgiadou Zoe
  Associate Professor, at the Interior Architecture, Decorative Arts
and                    Design Department of the Faculty of Graphic
Arts and Design, Technological Educational Institute (T.E.I.) of
Athens, Greece

       .Mr. Panagiotis Ilias - Senior lecturer , Photography and
Visual Arts Department of the Faculty of Graphic Arts and Design,
Technological Educational Institute (T.E.I.) of Athens, Greece.

        9. Program & Events ………………………………………81
       10. Letters………………………………………………………89.
        11. Job Opening……………………………………………109

This e- newsletter is free and you can forward this newsletter to
the concern persons for their reference. If you intimate their e-
mail to us, we shall gladly enrol them in our database. Those who
are interested in print version they can send their request to
dr_subha@...
With regards
Dr. Sunil Bhatia
Design For All Institute Of India
dr_subha@...
www.designforall.in
Tel 91-11-27853470(R)
NOTE: It is our humble request kindly circulate our newsletter among
your esteem members

Dear Friends

I am feeling honoured and delighted in announcing that Design For
All Institute of India and Greece are jointly publishing the August
2007 Vol-2, No-8 issue of    newsletter. Designers from Greece have
contributed the articles and our current issue is in front of your
computer screen. It is very sad to inform you that Greece is
struggling to put the forest fire under control which has so far
claimed 44 lives, loss of plants and animals and forced the
Government to declare state of emergency.
Our September 2007 Vol-2, No-9 issue of newsletter is on special
issue on "Child Education and Universal Design". Designers from
United States have contributed articles.

Kindly visit our web site www.designforall.In   for our current as
well as past publication of our monthly newsletter or click this
link
http://www.designfo rall.in/newsletter_aug_2007.pdf

We have moderate success and many improvements are required to re-
shape for the actual impacts of the newsletter for our social
movement of Design For All/ Universal Design. We welcome your
suggestions. We have included the following articles for your
opinion and suggestions.
Content of August 2007 Vol-2, No-8

1.        Editor's Desk ……………………………………………..9
2.       Biography of Contributors…………………………….13
3. Greece Related   information……………………………17

4. Introduction on Greece Design
    a) The Hellenic Approach to Inclusive Design……..23
        Prof Dr.   Margaret-Catherine Perivoliotis-Chryssovergis
        Associate Professor, Interior Design Department
        Faculty of Graphic and Applied Arts
       Technological Educational Institute of Athens,Greece
    b)  Design Education……………………………………..27
     Prof Dr.Margaret-Catherine Perivoliotis-Chryssovergis
     Associate Professor, Interior Design Department
    Faculty of Graphic and Applied Arts
   Technological Educational Institute of Athens, Greece
    3.    Design For Inclusiveness………………………………35.
     Prof Dr.   Margaret-Catherine Perivoliotis-Chryssovergis
     Associate Professor, Interior Design Department
     Faculty of Graphic and Applied Arts
    Technological Educational Institute of Athens, Greece

     6. "People and Things"
        A temporary Exhibition fully accessible to Sighted
           and Non-Sighted people…………………………………63
           Mr.Charalambos Chaitas
          "GET INSPIRED" Design Studio, Athens,    Greece
           Ms Anastasia Kalou,
          "GET INSPIRED" Design Studio, Athens,    Greece

         7. Architecture without vision-
             Architecture for Everyone……………………………….74

         8. Design: A Time-Space Construction………………….79
       Asso. Prof.Dr. Georgiadou Zoe
  Associate Professor, at the Interior Architecture, Decorative Arts
and                    Design Department of the Faculty of Graphic
Arts and Design, Technological Educational Institute (T.E.I.) of
Athens, Greece

       .Mr. Panagiotis Ilias - Senior lecturer , Photography and
Visual Arts Department of the Faculty of Graphic Arts and Design,
Technological Educational Institute (T.E.I.) of Athens, Greece.

        9. Program & Events ………………………………………81
       10. Letters………………………………………………………89.
        11. Job Opening……………………………………………109

This e- newsletter is free and you can forward this newsletter to
the concern persons for their reference. If you intimate their e-
mail to us, we shall gladly enrol them in our database. Those who
are interested in print version they can send their request to
dr_subha@...
With regards
Dr. Sunil Bhatia
Design For All Institute Of India
dr_subha@...
www.designforall.in
Tel 91-11-27853470(R)
NOTE: It is our humble request kindly circulate our newsletter among
your esteem members

The 7th National Design Summit
12th 13th December 2007

is being organised by CII-NID in Bangalore.

I also read yesterday that Hotel room charges are going up from
September. SO here is a call to Designers in Bangalore to help.

This is how you can help:

1. Call your designer friends to the summit and offer them to put up
with you...your batchmates/people you know. So besides the
summit..you also have friends visiting you. Anyway it will be a good
time to meet everyone.

2. If your company/Organisation can- please offer Guestrooms/Hostels
or at least a few rooms to the organisors- they could help the
visitors/students.

3. Maybe you can persudae your company/organisation to offer few
rooms at special discount to the Summit.

4. If you can be adventrous- offer two day PG/Gratis on designindia
for direct takeups. Make new friends.

5. Maybe you know of a institution/organisation (other than yours)
and take lead in organising a few rooms.

6. May be your organisation can directly deal with NID, IDC, SID,
MIT NIFTs etc to accomodate students/faculty.

Last Summit in Delhi- Amity had offered their guest houses and buses.

thanks

regards
Sudhir Sharma
1989 nid
elephant
pune

Hi,
   I was waiting for something like this to be mentioned.

   I do not know if many people are aware but we at Renault are running a student
design competition with Design Schools (NID, MSRAS, IITK, IITG, MIT, SID,
Raffles) with the topic reading

   'What is the language of Modern Indian Design'.

   The reason the word Modern is mentioned - is that we wanted to see if there is
something outside of Craft based products (Kolhapuris, Kullhad, Zari embriodery
etc.) or tradition based. - but something that has been captured in a mass
produced item.

   The exclusion ofcourse - if craft and tradition inspired products have been
contemporarised (I dont know if this word exists) and used in a fresh and modern
context.

   Please note that the idea is not to identify here products designed in India  
- but products that have captured the 'Indianess' - either in visual language,
or in use, or influenced by climate, environment, consumer behaviour etc. which
is very Indian.

   Can can we have one more show of the great enthusiasm shown - in order to have
feedback on such products that are Indian in Design - in terms of context and
thinking.

   Awaiting

   Pankaj Jhunja
   Renault Design India
   Cell 9967656406

Dyutiman Moulik <dyutimanmoulik@...> wrote:
           Has anyone already mentioned the Hawkins Futura Pressure Cooker, the
only Indian industrial design success to have been exhibited at MoMA, New York?
It has got 12 patents and 35 design registrations worldwide. Credit: Hawkins
Design Team.

Dyutiman
PD NID 03
Bangalore

----- Original Message -----
From: natasha jeyasingh
To: designindia@...
Sent: Tuesday, August 28, 2007 13:31
Subject: Re: [designindia] Design Classics list- please add

Dear All,
Thank you for the replies, its been insightful.
and as Saumitri pointed out, there are 'evolved' classics and 'intended'
classics. (as used in her mail :)
So far (with a few exceptions mentioned like the string chair by GU and
ultra by tessaract) we've all been talking about the evolved category. (the
great indian classics)
does anyone have any inputs on the 'intended' category as well?
regards,
Natasha Jeyasingh
LAD NID 2005
Mancini enterprises

ps: below is part of the mail by Saumitri:

If we go by the "evolved" category - a design that has evolved with
time - a lot of stuff we use/had used in India would qualify as
classics. The list would be huge.

If we go by the "intended" category - a design either designed by an
individual or a group and not a result of evolution over a period of
time - then we would have a different set of classics. The list might
be rather small.

Are we talking about both, OR one of the above?

Best regards,
Saumitri

[Non-text portions of this message have been removed]

[Non-text portions of this message have been removed]






---------------------------------
  5, 50, 500, 5000 - Store N number of mails in your inbox. Click here.

[Non-text portions of this message have been removed]

Dear all,
   Sorry for cross-posting incase you are on other mailing lists.
   I would like to remind interested participants that the last date for availing
the Early Bird Discounts for early reservations for our Weekend Workshops on
Human Computer Interaction Design in September and October.

   Participants wishing to attend-
   = Weekend Workshop on Usability Testing in September (29th and 30th), the
deadline for the early registration discount is 3rd September. More information
here http://www.designincubator.com/ws_sept2007.html
   = Weekend Workshop on User Requirments Engineering for Web and GUI in October
(21st and 22nd), the deadline for early registration is 25th September. More
info here http://www.designincubator.com/ws_oct2007.html

   = Participants who wish to attend both workshop can avail of a combo + early
registration discount before 3rd September.

   Feel free to contact me if you need any more information on:
   atul(dot)joshi(at)designincubator(dot)com

   Thanks & Regards,



-----------------------------------------------------------------------
Atul N Joshi  (Communication Designer- NID 97, Design Research Scholar-
Fabrica-Benetton 2001)
   Design Incubator (R&D Labs Pvt Ltd)
Mail to: atul.joshi@...
For more information please visit : http://www.designincubator.com


---------------------------------
Park yourself in front of a world of choices in alternative vehicles.
Visit the Yahoo! Auto Green Center.

[Non-text portions of this message have been removed]

Dear Jinan,
A quick reply to your mail. Will give a detailed response later.

I do not have the kind of long experience you have in the sector. But I
would certainly like to know more, send my students to learn and work in
your initiative.

I would agree with you that the craftsmen should be made an active
collaborator with the designer. I do not know how one can manage to do
that.

We have many instances (increasing with each passing year) of craftsmen's
children joining our institute. This just goes on to prove that there is a
great interest amongst the craftsmen to provide their children with
education in craft. My concern is Does one look at them differently or let
them be part of the general group? Would an institution like ours give
them more, do any value addition? Can you and others in this group with
wide experience throw light on this issue?

We would certainly like you to visit our institute and talk to the students.

Regards,

Yunus Khimani
Indian Institute of Crafts and Design
Jaipur

> Hi All
>
>
> You might be aware of my involvement, in the last 14 years setting up
> ‘Kumbham’ a potter’s initiative at Nilambur, Kerala. (www.kumbham.in)
>
>  From 1989 onwards I have been working, researching, learning from the
> artisan communities. I have tried to address several issues- cultural,
> spiritual, socio political and economical in these interactions.
>
>  As a designer I have been working as an active collaborator with
> artisans, helping them conceive new design possibilities and extend their
> design and product vocabulary. It is crucial to me that they don’t become
> mere laborers, instead use their imagination freely and retaining their
> creativity and self respect. Practically it means opening up avenues for
> craft usage in daily life.
>
>
>
>   Kumbham at Aruvacode, Nilambur, Kerala is a unique example in reviving
> an almost wiped out pottery tradition. I began in 1993, worked with over
> 150 artisans and in the course of 13 years developed over 500 designs/
> products, using a novel way of initiating creativity among artisans.  A
> fundamental premise of the training interventions at Aruvacode is the
> cultural, aesthetic and creative superiority of the trainees, compared
> to the ‘developed’ mainstream of Indian society.  Thus the basic attempt
> at the training programmes is to help the individuals regain their
> wisdom and confidence which lies embedded within their own communities
> and culture.
>
>  For detailed study see the web sites www.kumbham.in
>
>
>  In continuation with my work with potters and addressing various issues (
> common to all crafts ) I feel one of the most important is the future of
> craft as their children are not taking up craft.
>
>  The present context that is visible to the children are not promising.
> But the reality is that there is a big demand for crafts as it is being
> felt in the urban spaces which is invisible to the artisans especially in
> the rural areas.
>
>  This work has led me to explore an essential aspect of all crafts- that
> of enabling the artisan’s children to take forward their skills as a
> viable livelihood option.
>
>
>  As a logical step I am planning to do learning activity with 10 potters
> children of the age group 18 to 24.
>
>
>  What I mean by education is an over all exposure/ training to obtain the
> skills/ abilities needed to pursue pottery in the present context.
>
>  The estimated time frame is about one and half to two years.
>
>  The participants will be given exposure to the pottery especially to the
> present interest among the urban population as well as its role in the
> coming ecologically sensitive era, modern ways of marketing, internet and
> web, design intervention etc.
>
>  The whole process will be hands on.
>
>  Then they will develop new products, hold exhibitions to get feed back.
>
>  Rough schedule is as follows.
>
>  Two three months of learning to research, document, photograph etc.
>
>  6 to 8 months of traveling to various parts of the country where various
> types of experiments are happening for example the potters in Utam nagar,
> Delhi, craft institutions, craft based NGOs, urban markets and pottery
> ‘studios’ etc.
>
>  Then about 6 to 8 months of developing of new products, holding
> exhibitions etc and finally in the last phase the potters children will
> be helped to set up new ventures or collaborate with existing production
> at their respective villages.
>
>  The participants will be selected from various parts of the country-
> Orissa, Kerala, and Tamilnadu etc especially from work areas with which I
> am familiar.
>
>  The participants will be provided with tools and equipments that are
> necessary in the present context like digital camera, computer etc.
>
>  I will also have to construct or hire minimum facilities for working
> staying etc.
>
>  The out come of the project apart from equipping the potters children
> with an ability to pursue pottery would be
>
>  1. About 500 new products
>
>  2. Documentation of the process which can be good reference
>
>  3. The process could also be used for other crafts and for developing
> institution for enabling the Artisans.
>
>  You would have guessed this will require quite a lot of money.
>
>  As an individual proposing to do such a project I foresee difficulties in
> obtaining funding from regular channels. I am sending this in the hope
> that a completely new way of supporting socially relevant issues will
> take shape.
>
>  I am going to post this as a bog and let as many people know and I would
> like to open up this project for suggestions, collaborations etc.
>
>  Interested people can contribute with their time, money, donation of
> equipments- digital camera, computer etc or even hosting the team when we
> travel.
>
>  Roughly the total cost is estimated to be Rs 24, 00,000. This means about
> Rs 10,000 per month per student for two years.
>
>  Do get back to me if you find this interesting. Then I will send you a
> detailed proposal.
>
>  I will set up the blog after hearing your suggestion.
>
>  Jinan
> 09447121544
> Aep 1985 to 1988
> NID
>
>
> Jinan,
> www.re-cognition.org
> www.kumbham.in
> http://my.opera.com/jinankb/albums/
> http://www.flickr.com/photos/terracotta_murals/sets/72157594503980465/
> 09447121544
> 0487 2386723
>
> ---------------------------------
> Boardwalk for $500? In 2007? Ha!
> Play Monopoly Here and Now (it's updated for today's economy) at Yahoo!
> Games.
>
> [Non-text portions of this message have been removed]
>
>

Hello,

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I just joined Shelfari to connect with other book lovers. Come see the books I
love and see if we have any in common. Then pick my next book so I can keep on
reading.

Click below to join my group of friends on Shelfari!

http://www.shelfari.com/Register.aspx?ActivityId=4668905&InvitationCode=c85522c6\
-98e5-4b83-b342-daa21bea94a7

reachpk

Shelfari is a free site that lets you share book ratings and reviews with
friends and meet people who have similar tastes in books.  It also lets you
build an online bookshelf, join book clubs, and get good book recommendations
from friends.  You should check it out.

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[Non-text portions of this message have been removed]

I just joined Shelfari to connect with other book lovers. Come see the books I
love and see if we have any in common. Then pick my next book so I can keep on
reading.

Click below to join my group of friends on Shelfari!

http://www.shelfari.com/Register.aspx?ActivityId=4668713&InvitationCode=1b173976\
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reachpk

Shelfari is a free site that lets you share book ratings and reviews with
friends and meet people who have similar tastes in books.  It also lets you
build an online bookshelf, join book clubs, and get good book recommendations
from friends.  You should check it out.

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[Non-text portions of this message have been removed]

This english language,this internet forum,design education/profession as well as
other professions like management or technical education is not just 'oriented'
to the west.
   It is from the west - lock stock and barrel.
   We are kind of using western tools/utensils (for want of a better example)
which were developed to make pasta to make sambhar for our local needs.
   And we seem to continuously get overrun by the west in the technology race
that we think of switching over to pasta but for its cost.
   The cost race is one battle we can win.For eg I am certain that (except for
subsidies by the Chinese government) none of the big car manufacturers around
the world can make a car to match the price of TATA's one lakh car.Even Maruti
cant/wont do it.
   The korean phenomenon was about cost.The Japanese companies were too evolved
on the price front to be able to enter the cheap Asian markets.So 'they' dumped
their technology and money in Korea to build factories to specifically make
cheap products for the asian markets.

   Trying to develop the design profession without developed infrastructure and
supporting market is like putting the cart before the horse.
   Nevertheless the guys at the CII summits who have been meeting for many years
now seem to be groping for direction as they are not forthcoming with concrete
actions other than hollow rhetorical plans (again) borrowed from the west.
   There is an apparent disconnect between the machanisations up there and the
practising designer on the ground but for some face saving design
representatives and names like designindia forum to provide the credibility
angle of being representative.
   Maybe designers will get involved when their design initiatives reach the
'layman' - their term I presume for designers.
   Frankly if the are really serious about developing design they should involve
mainstream designers through forums like designindia and have their
deliberations posted and discussed right here.Their closed doors priviledged
sessions are begining to appear a bluff after so many hyped up meetings without
path breaking outcomes.
   The reality is dawning in slow motion.Silence helps it seems.

   Regards,
   Samson Mathai
   PD,NID,1992

   .




---------------------------------
Need a vacation? Get great deals to amazing places on Yahoo! Travel.

[Non-text portions of this message have been removed]

Dear Siddharth,

Thanks for your sharing your experience in real with Hawkins. Sad to know that
though they have produced a classic, they "stopped investing in R&D" as you say
(for more number of reasons/excuses than anyone can think of), though this is no
surprise news from most Indian producers. Well, the figures of patents and
registrations I came across in the internet edition of Hindu Business Line dated
June 24, 2002
<http://www.blonnet.com/life/2002/06/24/stories/2002062400010100.htm> while
searching for Futura. Whatever the reality may be with IP figures (since someone
surely cooked up these numbers), Futura sure is in the 'classic' list.


Dyutiman
PD, NID '03
Bangalore

   ----- Original Message -----
   From: siddharth Dash
   To: designindia@...
   Sent: Tuesday, August 28, 2007 17:29
   Subject: Re: [designindia] Design Classics list- please add


   Dear Dyutiman,

   Yes, that is a product 'designed in India'. Yes, it is
   a classic because it has not 'changed' because the
   manufacturers 'Hawkins' did not want to 'change'.
   However, because of its shape, construction and
   finish, I would say it is a classic. In fact, any 'new
   shaped' cooker the company wanted to do later on
   became like the Futura, so strong was the influence.
   Ventura is a case in point. But Ventura is a better
   design than Futura.

   Eventually the Futura, Ventura or the Contura of
   Hawkins were attempted to 'move' away from the
   cylindrical shape of 'classic' Hawkins or Hawkins
   Universal as you know.

   I was with Hawkins for a long time having designed all
   the later Futuras and Conturas. Sadly, they have
   stopped investing in R&D since the nineties.

   By the way how do you get 35 design registrations for
   1 product? It is only one design registration which
   expired in 1999 but the design was still protected by
   the next generation stainless steel Futura. Even the
   patent would be one - for the pressure regulator only
   which was a 'novelty'.

   Siddharth Dash
   AEP PD 1992
   --- Dyutiman Moulik <dyutimanmoulik@...>
   wrote:

   > Has anyone already mentioned the Hawkins Futura
   > Pressure Cooker, the only Indian industrial design
   > success to have been exhibited at MoMA, New York? It
   > has got 12 patents and 35 design registrations
   > worldwide. Credit: Hawkins Design Team.
   >
   >
   > Dyutiman
   > PD NID 03
   > Bangalore
   >
   >
   > ----- Original Message -----
   > From: natasha jeyasingh
   > To: designindia@...
   > Sent: Tuesday, August 28, 2007 13:31
   > Subject: Re: [designindia] Design Classics list-
   > please add
   >
   >
   > Dear All,
   > Thank you for the replies, its been insightful.
   > and as Saumitri pointed out, there are 'evolved'
   > classics and 'intended'
   > classics. (as used in her mail :)
   > So far (with a few exceptions mentioned like the
   > string chair by GU and
   > ultra by tessaract) we've all been talking about
   > the evolved category. (the
   > great indian classics)
   > does anyone have any inputs on the 'intended'
   > category as well?
   > regards,
   > Natasha Jeyasingh
   > LAD NID 2005
   > Mancini enterprises
   >
   > ps: below is part of the mail by Saumitri:
   >
   > If we go by the "evolved" category - a design that
   > has evolved with
   > time - a lot of stuff we use/had used in India
   > would qualify as
   > classics. The list would be huge.
   >
   > If we go by the "intended" category - a design
   > either designed by an
   > individual or a group and not a result of
   > evolution over a period of
   > time - then we would have a different set of
   > classics. The list might
   > be rather small.
   >
   > Are we talking about both, OR one of the above?
   >
   > Best regards,
   > Saumitri
   >
   > [Non-text portions of this message have been
   > removed]
   >
   >
   >
   >
   >
   > [Non-text portions of this message have been
   > removed]
   >
   >

   Once upon a time there was 1 GB storage in your inbox. To know the happy
ending go to http://help.yahoo.com/l/in/yahoo/mail/yahoomail/tools/tools-08.html




[Non-text portions of this message have been removed]

I think the list is great, but it is turning to a list of popular icons of
Indian culture. A lot of things that we think are associated with Indian
culture are not really invented or designed here - but merely adopted.
(example - the green colored rural kandeel/lantern, or the copper water
heater bamb, or easy-chairs)

Secondly, the list can easily become regional-culture specific - everybody
belonging to a certain state may recognize a particular object, but it may
not be recognizable outside of the state. Which is okay - you might just
want to tag the regionality of things. That will also be an indicator of
which things have risen beyond purely regional significance.

OTOH, there may be designs which all designers are aware of because they
have been created by someone within the community - but they may have no
mass-consciousness penetration to speak of. Do these qualify, and if so, on
what basis do some qualify more than others of the same type? Sales? staying
power? Designers' opinion poll?

Which is why, the criteria for defining design classics have to be compiled
very meticulously, even if some fuzzy boundaries may be kept. This
definition is most important - the identification of design classics is a
piece of cake, as compared to defining the criteria.
I am seeing a distinct mixing up of two categories - "design icons of India"
and "Design classics designed/evolved in India".


- Pankaj Sapkal
ex-IDC


On 8/28/07, manish pillewar <manishpi@...> wrote:
>
>   Adding to the list:
>
> These names are mostly Marathi, but you should be able to identify it,
>
> Adkitta ( Beetle Nut Cracker, awesome design patterns)
> The Pewshi (Tabacco bag - used by grandparents for keeping tabacco, etc)
> Ambe Fodni ( For cutting raw mangoes mostly for pickles)
> The Paushi/ Suri ( Sharp edged apparatus for cutting vegetables and
> scrapping dry coconut)
> The DandPatta ( An ancient flexible sword made from extremely tensile
> steel)
> The Daal Ghotni ( used to break down cooked daal/ lentils)
> The Stone Grinder ( two stone wheels used to grind wheat to flour)
> The Pata Warwanta ( Again of the the grinder variety: mostly used to crush
> spices to a paste)
> The Khalbatta ( same as above: crushes )
> The Bumb (copper water heater)
> The Copper Water Filters( Tamta Work)
> The Belan/chakla ( for making rotis)
> The Tandoor ( for making rotis)
> The Chulha ( for cooking, has gone tremendous change in the fuel type:
> biogas used now i guess in villages or dried cow dung, wood,etc)
> The Sigri ( used in Kashmir for keeping oneself warm)
>
> This list will be endless, just start looking in your kitchen.
>
> Others:
> The Bindiya and the liquid container.
> The Kajal stick( metal stick used to apply kajal, mostly though the end of
> a
> agarbatti is used at homes)
> The Charkha ( both the cotton one and the one from Bageshwar, UT)
> The Chakri ( for winding kite thread)
> The Sling Shot ( for keeping birds off the wheat/ jowar fields)
> The Idli Steamer/maker ( south indian classic)
> The coconut tree climbing rope ( another one)
> The Rakhdas of Ahmedabad ( localisation at its best)
> The Aaram Khurchi ( a folding classic)
> etc.
>
> Each one qualifies as a design classic, unless you are looking for brand
> names attached to it.
> Amazing,
>
> Oh ya, did I mention the Nana Chaddi? ( a bue white stripped
> male undergarment, worn mostly in Maharashtra)
>
> :-)
>
> Cheers!
> Manish
>
> On 8/28/07, Sagarmoy Paul <sagarmoypaul@...<sagarmoypaul%40gmail.com>>
> wrote:
> >
> > Hi Natasha
> >
> >
> > --
> > Manish Govind Pillewar
>
> Sr. Designer- User Experience
> Bangalore 560 047
> +91 9880566951
>
> [Non-text portions of this message have been removed]
>
>
>



--
"We are made to persist. That's how we find out who we are."
- Tobias Wolff, 'In Pharaoh's Army'


[Non-text portions of this message have been removed]

Hi All


You might be aware of my involvement, in the last 14 years setting up ‘Kumbham’
a potter’s initiative at Nilambur, Kerala. (www.kumbham.in)

  From 1989 onwards I have been working, researching, learning from the artisan
communities. I have tried to address several issues- cultural, spiritual, socio
political and economical in these interactions.

  As a designer I have been working as an active collaborator with artisans,
helping them conceive new design possibilities and extend their design and
product vocabulary. It is crucial to me that they don’t become mere laborers,
instead use their imagination freely and retaining their creativity and self
respect. Practically it means opening up avenues for craft usage in daily life.



   Kumbham at Aruvacode, Nilambur, Kerala is a unique example in reviving an
almost wiped out pottery tradition. I began in 1993, worked with over 150
artisans and in the course of 13 years developed over 500 designs/ products,
using a novel way of initiating creativity among artisans.  A fundamental
premise of the training interventions at Aruvacode is the cultural, aesthetic
and creative superiority of the trainees, compared to the ‘developed’ mainstream
of Indian society.  Thus the basic attempt at the training programmes is to help
the individuals regain their wisdom and confidence which lies embedded within
their own communities and culture.

  For detailed study see the web sites www.kumbham.in


  In continuation with my work with potters and addressing various issues (
common to all crafts ) I feel one of the most important is the future of craft
as their children are not taking up craft.

  The present context that is visible to the children are not promising. But the
reality is that there is a big demand for crafts as it is being felt in the
urban spaces which is invisible to the artisans especially in the rural areas.

  This work has led me to explore an essential aspect of all crafts- that of
enabling the artisan’s children to take forward their skills as a viable
livelihood option.


  As a logical step I am planning to do learning activity with 10 potters
children of the age group 18 to 24.


  What I mean by education is an over all exposure/ training to obtain the
skills/ abilities needed to pursue pottery in the present context.

  The estimated time frame is about one and half to two years.

  The participants will be given exposure to the pottery especially to the
present interest among the urban population as well as its role in the coming
ecologically sensitive era, modern ways of marketing, internet and web, design
intervention etc.

  The whole process will be hands on.

  Then they will develop new products, hold exhibitions to get feed back.

  Rough schedule is as follows.

  Two three months of learning to research, document, photograph etc.

  6 to 8 months of traveling to various parts of the country where various types
of experiments are happening for example the potters in Utam nagar, Delhi, craft
institutions, craft based NGOs, urban markets and pottery ‘studios’ etc.

  Then about 6 to 8 months of developing of new products, holding exhibitions etc
and finally in the last phase the potters children will be helped to set up new
ventures or collaborate with existing production at their respective villages.

  The participants will be selected from various parts of the country- Orissa,
Kerala, and Tamilnadu etc especially from work areas with which I am familiar.

  The participants will be provided with tools and equipments that are necessary
in the present context like digital camera, computer etc.

  I will also have to construct or hire minimum facilities for working staying
etc.

  The out come of the project apart from equipping the potters children with an
ability to pursue pottery would be

  1. About 500 new products

  2. Documentation of the process which can be good reference

  3. The process could also be used for other crafts and for developing
institution for enabling the Artisans.

  You would have guessed this will require quite a lot of money.

  As an individual proposing to do such a project I foresee difficulties in
obtaining funding from regular channels. I am sending this in the hope that a
completely new way of supporting socially relevant issues will take shape.

  I am going to post this as a bog and let as many people know and I would like
to open up this project for suggestions, collaborations etc.

  Interested people can contribute with their time, money, donation of
equipments- digital camera, computer etc or even hosting the team when we
travel.

  Roughly the total cost is estimated to be Rs 24, 00,000. This means about Rs
10,000 per month per student for two years.

  Do get back to me if you find this interesting. Then I will send you a detailed
proposal.

  I will set up the blog after hearing your suggestion.

  Jinan
09447121544
Aep 1985 to 1988
NID


Jinan,
www.re-cognition.org
www.kumbham.in
http://my.opera.com/jinankb/albums/
http://www.flickr.com/photos/terracotta_murals/sets/72157594503980465/
09447121544
0487 2386723

---------------------------------
Boardwalk for $500? In 2007? Ha!
Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.

[Non-text portions of this message have been removed]

The FNL Magazine (August issue) includes an article named ' World fashion's top
60 take from India.' It includes a variety of things from " Ittar", "Bandhani",
"Pyjama", "Tree of Life" to " Gandhi Topi" ... pretty interesting.


   Ritika Gandhi,
   Accessory Design,
   NIFT, New Delhi
   (2000-03)


kaustav sen <kaustavsengupta@...> wrote:
           I dont know if by design classics u r meaning only
"industrial innovations" or it includes "basic
innovations" (innovated by people in process)....in
that case we can add up "Mojari"...a type of footwear
which are very "customized" and definite styling...and
we actually dont need a pattern or last to make
them...Recently Indian govt has taken a patent of
"Mojari" making process and launched a brand too...
Also the traditional "lota" or "Garu"....a utensil
common in villages which has multipurpose usage...

And why not the "dhoti"? the traditional classic
bottom dressing for men's ...a pc of cloth worn in
various stylings...the technique is ufcourse an
innovation.

regards,
Kaustav

--- Dyutiman Moulik <dyutimanmoulik@...>
wrote:

> Has anyone already mentioned the Hawkins Futura
> Pressure Cooker, the only Indian industrial design
> success to have been exhibited at MoMA, New York? It
> has got 12 patents and 35 design registrations
> worldwide. Credit: Hawkins Design Team.
>
>
> Dyutiman
> PD NID 03
> Bangalore
>
>
> ----- Original Message -----
> From: natasha jeyasingh
> To: designindia@...
> Sent: Tuesday, August 28, 2007 13:31
> Subject: Re: [designindia] Design Classics list-
> please add
>
>
> Dear All,
> Thank you for the replies, its been insightful.
> and as Saumitri pointed out, there are 'evolved'
> classics and 'intended'
> classics. (as used in her mail :)
> So far (with a few exceptions mentioned like the
> string chair by GU and
> ultra by tessaract) we've all been talking about
> the evolved category. (the
> great indian classics)
> does anyone have any inputs on the 'intended'
> category as well?
> regards,
> Natasha Jeyasingh
> LAD NID 2005
> Mancini enterprises
>
> ps: below is part of the mail by Saumitri:
>
> If we go by the "evolved" category - a design that
> has evolved with
> time - a lot of stuff we use/had used in India
> would qualify as
> classics. The list would be huge.
>
> If we go by the "intended" category - a design
> either designed by an
> individual or a group and not a result of
> evolution over a period of
> time - then we would have a different set of
> classics. The list might
> be rather small.
>
> Are we talking about both, OR one of the above?
>
> Best regards,
> Saumitri
>
> [Non-text portions of this message have been
> removed]
>
>
>
>
>
> [Non-text portions of this message have been
> removed]
>
>

__________________________________________________________
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[Non-text portions of this message have been removed]

Dear Dyutiman,

Yes, that is a product 'designed in India'. Yes, it is
a classic because it has not 'changed' because the
manufacturers 'Hawkins' did not want to 'change'.
However, because of its shape, construction and
finish, I would say it is a classic. In fact, any 'new
shaped' cooker the company wanted to do later on
became like the Futura, so strong was the influence.
Ventura is a case in point. But Ventura is a better
design than Futura.

Eventually the Futura, Ventura or the Contura of
Hawkins were attempted to 'move' away from the
cylindrical shape of 'classic' Hawkins or Hawkins
Universal as you know.

I was with Hawkins for a long time having designed all
the later Futuras and Conturas. Sadly, they have
stopped investing in R&D since the nineties.

By the way how do you get 35 design registrations for
1 product? It is only one design registration which
expired in 1999 but the design was still protected by
the next generation stainless steel Futura. Even the
patent would be one - for the pressure regulator only
which was a 'novelty'.

Siddharth Dash
AEP PD 1992
--- Dyutiman Moulik <dyutimanmoulik@...>
wrote:

> Has anyone already mentioned the Hawkins Futura
> Pressure Cooker, the only Indian industrial design
> success to have been exhibited at MoMA, New York? It
> has got 12 patents and 35 design registrations
> worldwide. Credit: Hawkins Design Team.
>
>
> Dyutiman
> PD NID 03
> Bangalore
>
>
>   ----- Original Message -----
>   From: natasha jeyasingh
>   To: designindia@...
>   Sent: Tuesday, August 28, 2007 13:31
>   Subject: Re: [designindia] Design Classics list-
> please add
>
>
>   Dear All,
>   Thank you for the replies, its been insightful.
>   and as Saumitri pointed out, there are 'evolved'
> classics and 'intended'
>   classics. (as used in her mail :)
>   So far (with a few exceptions mentioned like the
> string chair by GU and
>   ultra by tessaract) we've all been talking about
> the evolved category. (the
>   great indian classics)
>   does anyone have any inputs on the 'intended'
> category as well?
>   regards,
>   Natasha Jeyasingh
>   LAD NID 2005
>   Mancini enterprises
>
>   ps: below is part of the mail by Saumitri:
>
>   If we go by the "evolved" category - a design that
> has evolved with
>   time - a lot of stuff we use/had used in India
> would qualify as
>   classics. The list would be huge.
>
>   If we go by the "intended" category - a design
> either designed by an
>   individual or a group and not a result of
> evolution over a period of
>   time - then we would have a different set of
> classics. The list might
>   be rather small.
>
>   Are we talking about both, OR one of the above?
>
>   Best regards,
>   Saumitri
>
>   [Non-text portions of this message have been
> removed]
>
>
>
>
>
> [Non-text portions of this message have been
> removed]
>
>



       Once upon a time there was 1 GB storage in your inbox. To know the happy
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dear saumitri,

Well said, very apt. I think we have to concentrate
more on professional practice than on education. I
definitely do not think we are 'way off the mark' in
our design education. It requires improvement,
modification, adaptation like any other discipline. So
no big deal.

Finally, I can bet that none of the responses are
'knee-jerk'. On the contrary I urge people to believe
that it comes from years of experience working in the
industry deep and wide. I think if we document these
experiences as is, it would definitely form an
excellent reference material to take the design
profession forward.

Siddharth Dash
AEP PD 1992
Mumbai
--- saumitri <saumitri_c@...> wrote:

> Hmmm...
>
> Arvind, I am on one such search myself. As they say,
> a Hindu goes in
> search of Truth, not God... :-)
>
> On every project i work with an Indian client, I
> constantly think and
> re-jig methodology, inputs and output to see what
> would work best in
> our context. At every moment  during such a project,
> i make a
> conscious attempt at brining in our own context, at
> all times
> questioning if I have unnecessarily brought in an
> element that is a
> result of the education, which as your rightly say
> is a bit tilted
> towards the west.
>
> However, I have felt, that it is not only the
> designer's prerogative
> to bring in this context. It is also the prerogative
> of all the
> stakeholders to think in "our context". And it is in
> this context that
> I am taking the Indian CEO and other stakeholders to
> task.
>
> More than design education, its is management and
> technical education
> in India that is oriented towards the west. And that
> is the worrisome
> factor. As far as design education is concerned,
> though from the west,
> I think since its thought based, schools and
> especially individual
> educators have been very conscious in bringing in a
> sense of our
> country and its context. However, that is not true
> of management and
> technical education - which has largely been
> more-or-less directly
> imported and thus completely oriented towards the
> west.
>
> I am sure its not possible for us in industry to go
> beyond our own
> individual soul-searches on this. However, if you
> and others from
> academia do take up a study that provides "informed,
> rooted and
> critical foundation than our present knee-jerk,
> impulsive & reactive
> responses" I would be a willing contributor from
> industry.
>
> It would be better if this encompasses not just
> design but technical
> and management education as well - since the
> industry runs on all
> these wheels together. That would provide a
> wholesome context.
>
> Hopefully that would go a long way in shaping
> policy.
>
> Best regards,
> Saumitri
>
> www.coffeeagain.blogspot.com
>
> ------------------------------------
>
>
> --- In designindia@..., "Arvind
> [work]" <lodaya@...> wrote:
> >
> > Designindia
> >
> > Dear Saumitri, Mahesh, Uday, Sagar & others,
> >
> > American CEOs don't have to deal with the very
> same 101 factors that
> Indian
> > CEOs must (which is what Mahesh refers to). That
> is precisely my
> argument:
> > that when Indian design (education) is itself
> imported from the west
> and is
> > modelled as if Indian conditions and business
> environment were the
> same as
> > in Europe or the US, we are bound to feel
> frustrated with Indian
> > CEOs-typically, when they don't or won't "speak
> our language".
> >
> > Please don't take this personally, Saumitri, I'm
> in empathy with you
> > entirely-especially when you conclude that Indian
> designers have not
> been
> > good enough to deliver in context (as you will
> see, I trace the line of
> > accountability further up). However, in order to
> answer the question
> "why
> > are we not good enough?", we first need to answer
> the question "what
> is/are
> > our context/s?". This would help us decide whether
> the contextual
> difference
> > is fundamental enough to warrant a change in
> theory, or is it just a
> matter
> > of time-as we "catch up" with the west-merely
> warranting a change in
> > methodology?
> >
> > In other words, I think the onus is far more on
> educators and
> academics than
> > practitioners (but, as you will see in the last
> paragraph, it cannot
> be done
> > without the active involvement and support of
> practitioners).
> >
> > As a designer, observer & educator, it is my
> thesis that certain
> fundamental
> > constitutents of design that we have accepted as
> "essential and eternal
> > truisms" need to be problematized and debated:
> such as "human
> > needs/aspirations", "utility/function",
> "originality/distinctiveness",
> > "premium/value", "form/elegance", "quality",
> "pleasure/satisfaction/pride",
> > etc.-on the grounds that all these are cultural &
> spiritual
> value-constructs
> > of a society (unless we agree to the China model
> with its single-point
> > agenda of "catching up" with the west, culture
> included). In my
> mind, there
> > is no doubt that no discipline that deals with
> "subjective" aspects can
> > claim a "universal" theory and methodology, except
> maybe at the
> extremely
> > general level (and maybe not).
> >
> > Our society might appear to be split in terms of
> "westernized" and
> > "vernacular" (at a simplistic level), but I
> believe even the
> "westernized"
> > carry significant influences of the "vernacular"
> that remain
> unresolved (and
> > not necessarily explained as a "past-ness" that
> needs to be
> "modernized").
> >
> > The challenge, and opportunity, for us is to use
> our collective design
> > experience (which is now diverse, substantial and
> complex) to review
> rather
> > than reiterate our received ideas about the
> discipline itself, and
> > (re-)build a theory from the ground upwards that
> is based on our own
> > empirical evidence and experience rather than an
> "adaptation" of
> received
> > ideas, and that refers to similar enquiries &
> findings of other
> "subjective"
> > & cultural disciplines in our context. I'm not
> suggesting that what
> emerges
> > has to be profoundly different from western
> theory, but I do believe
> that
> > this is an essential prerequisite to formulating
> policy. I choose to
> believe
> > that that is the message of the Eameses' "India
> Report".
> >
> > I would love to hear from people on this forum
> (and outside) who
> have been
> > involved in designing (and/or implementing)
> successful
>
=== message truncated ===



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--------------------------------------

Hi Natasha

Thanks for initiating an interesting 'assignment' for designers. Wish
more designers participate with their inputs...Whatever be their
rationale for selection, they can explain. Imagine if anyone asked
this question out of the blue in an international design seminar, most
of us will look for cover. So, here is a great opportunity for a
collective dress rehearsal. These are my nominations:

1.  Ambassador car: I know it's not "Indian" by birth, but it has
outlived its "country of origin" in India. Another famously foreign
import Indianised. If there is any product uniquely ubiquitous about
India this is it. When white in colour with a VIP lamp on its head it
exudes an aura of power unlike any car. It works on any surface. And
it is here to stay.

2.  Salwar Kameez: Truly a great product of form & function,
vernacular and yet pan Indian. It can be chic as well as perfect
working dress. It fits all image categories and is equally at ease
with its western counterparts.

3.  Water cooler: That cumbersome contraption without which dry north
Indian summers would be unbearable. Don't know whether its origin is
Indian, but a smart product indeed. Lots can still be done with it in
terms of design.

4.  India Mark - II Handpump: It is designed to draw water from the
deeper aquifers upto 50 metres of 100/150 mm diameter borewells. This
water from borewell is safe, potable and free from the bacteria and
contamination. It is also easy to use even by a child. A successful
product responsible for reducing drudgery by rural women to fetch
water from far away. It is in use throughout developing world.

5.  Mosquito repellent coil: Since Sir Ronald Ross carried out his
malaria research in India and got his Nobel Prize, chances are
mosquito coil is a homegrown product by a desi entrepreneur who
converted a problem into opportunity. The basic ingredient is neem –
another uniquely Indian resource. Could be an Indian product.

6.  Plastic lota as used in the south Indian villages: It is a great
product idea. Colourful, lightweight for carrying long distances,
unbreakable, easier to clean, cheap and designed to fit the contours
of human body (predominantly female). And unmistakably Indian.

7.  Automatic stone wet griender for south Indian food: This one is
definitely a modern  Indian product with right mix of tradition and
technology. It seems to be a commercially successful product. Similar
attempts in making household tandoori oven with lpg or automatic roti
maker are also available, but don't seem to be as popular.

8.  Codified language of Indian dhobis (washermen) and dabbawallas
(cooked lunch suppliers) of Mumbai: These are indigenous and highly
efficient inventory management systems which make sure right person
gets the right product, be it washed cloth or cooked lunch, even
though they change several hands.

9.  Pee repellent tiles: These are ceramic tiles with graphic images
of gods and godesses printed on them. These tiles are strategically
pasted on walls prone to be targeted as public urinals. One can see
secularism at its best here – an art gallery of the divinities in most
unexpected places. Another ingenious (desperate) idea to shoo away
Indian men for whom any wall is a loo. Sad strategy for design, but it
works! It must have been inspired by VS Naipaul.

10.  Zero (I know there are other claimants, but let's ignore them):
The mother of all Indian products ever designed. Imagine, a $
0.00000001 royalty for its Intellectual Property Rights by each user
will definitely make India the richest country of the world.
Honourable Mr. Kamal Nath, are you listening?

Cheers

Sagarmoy Paul
Communication Designer
NID-GD-1981-87
THOUGHTSCAPE
New Delhi

----------------------------

Mahesh,

Please continue. It is a good idea and response could be poor
beacuse of more reasons than you could think. Good ideas take time
to root. nurture till that happens.

regards
Sudhir
nid 1989 nid
elephant

--- In designindia@..., "mahesh_joglekar"
<mahesh_joglekar@...> wrote:
>
> Around 6th of August I had uploaded a poll about a mock exercise (
with
> real inventions) about being a design judge, based upon a popular
TV
> program called "The New Inventors" in AUstralia
> On that poll only 6 people participated... so I am wondering if I
> should upload another one at all?
>
> I guess the reasons perhasp we got poor response is
> - People are busy
> - The idea is not that great
> - It is difficult to download the info/ video in order to vote!
>
> My reason behind this idea was to get some "real" activity
happening on
> the group.... and ot introduce a different market place and share
how
> people in this market place invent things... what kind of diferent
> products / services ideas are present in this country
>
> SO I will appreciate if people could give me some feedback? Shall
I
> continue?
>
> Mahesh Joglekar
>

I dont know if by design classics u r meaning only
"industrial innovations" or it includes "basic
innovations" (innovated by people in process)....in
that case we can add up "Mojari"...a type of footwear
which are very "customized" and definite styling...and
we actually dont need a pattern or last to make
them...Recently Indian govt has taken a patent of
"Mojari" making process and launched a brand too...
Also the traditional "lota" or "Garu"....a utensil
common in villages which has multipurpose usage...

And why not the "dhoti"? the traditional classic
bottom dressing for men's ...a pc of cloth worn in
various stylings...the technique is ufcourse an
innovation.


regards,
Kaustav

--- Dyutiman Moulik <dyutimanmoulik@...>
wrote:

> Has anyone already mentioned the Hawkins Futura
> Pressure Cooker, the only Indian industrial design
> success to have been exhibited at MoMA, New York? It
> has got 12 patents and 35 design registrations
> worldwide. Credit: Hawkins Design Team.
>
>
> Dyutiman
> PD NID 03
> Bangalore
>
>
>   ----- Original Message -----
>   From: natasha jeyasingh
>   To: designindia@...
>   Sent: Tuesday, August 28, 2007 13:31
>   Subject: Re: [designindia] Design Classics list-
> please add
>
>
>   Dear All,
>   Thank you for the replies, its been insightful.
>   and as Saumitri pointed out, there are 'evolved'
> classics and 'intended'
>   classics. (as used in her mail :)
>   So far (with a few exceptions mentioned like the
> string chair by GU and
>   ultra by tessaract) we've all been talking about
> the evolved category. (the
>   great indian classics)
>   does anyone have any inputs on the 'intended'
> category as well?
>   regards,
>   Natasha Jeyasingh
>   LAD NID 2005
>   Mancini enterprises
>
>   ps: below is part of the mail by Saumitri:
>
>   If we go by the "evolved" category - a design that
> has evolved with
>   time - a lot of stuff we use/had used in India
> would qualify as
>   classics. The list would be huge.
>
>   If we go by the "intended" category - a design
> either designed by an
>   individual or a group and not a result of
> evolution over a period of
>   time - then we would have a different set of
> classics. The list might
>   be rather small.
>
>   Are we talking about both, OR one of the above?
>
>   Best regards,
>   Saumitri
>
>   [Non-text portions of this message have been
> removed]
>
>
>
>
>
> [Non-text portions of this message have been
> removed]
>
>



      
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