Mind the Gap Indian Express, 28th April 2018

The recently - concluded design week in Milan shows what design can do for a country and its economy. India can take a cue

As denizens of the design community flocked to the 57th Salone del Mobile, which ended on April 22, one would presume Italy has always been the design capital of the world. However, it wasn’t always so. It was envisioned to become one, through strategic engagement with the public. One of the key engines of achieving this vision was the foundation of La Triennale di Milano, that was established in 1933 as a design and art museum that encouraged dialogue between society and the creative industry. Its focus on industrial design from the 1950s, along with the setting up of an annual furniture trade fair in 1961, have contributed immensely to making 'Made in Italy' the hallmark of excellence in design. The trade fair, which has now acquired iconic status as the Milan Design Week or Salone del Mobile, showcases furniture, lighting, home accessories and more. This year, the fair had a record attendance of more than 4 lakh visitors spread across the two venues – Rho-Pero, where brands and designers exhibit within the sprawling 2.5 million sq ft architectural marvel made by architect Massimiliano Fuksas, and Fuorisalone, a set of more creative events spread across the city.

With registered exhibitors from 33 countries, the highlights of this year included tech savvy, Spanish studio Nagami's exhibit 'Brave New World', Asian brand Stellar Works' new range of furniture by Neri & Hu, where their work was juxtaposed with pieces from mid-century modern masters to provoke questions of what interior objects mean to us and what it means to live anywhere and everywhere. 'Forever Young' by Maarten Baas and the avant-garde work of students of the Design Academy Eindhoven and of brands like Moooi from the Dutch Design fraternity. From India, we had Studio Koy and Design Clinic India at the Asia Pavillion. While Studio Wood and Studio Ardette displayed at Salone Satellite, one of the most interesting zones within the Rho Fiera, which showcases young and emerging talent under 35, Luxury brand Scarlet Splendour showed at a booth within the Rho Fiera. This was their third consecutive participation.

However, considering what is being produced in India, the representation was rather limited. A country pavilion is sorely missed and we need more participants travelling from the country. In the past, Rajiv Saini did a solo with a range of lacquered furniture in 2008. Architect Bijoy Jain and Design Temple showed their respective collaborations at Wallpaper Handmade in 2010 and 2011. I had the pleasure of launching a globally patented line of furniture in 2012. Gunjan Gupta showed her Bori Sofa series in 2013 at Apartment Gallery.

These individual participations, however, are not adequate to create an impact. The lack of government support, perhaps, evidences the lack in the country's belief in design's power. Globally, industrialisation was that pivotal point when design consciously began playing an important role in social evolution and building industry and economy. However, India's case has been different. The challenge of innovation for the newly independent India of the 20th century was to build infrastructure, which could then build industry and, in due course, industrial design.

While the legacy of design in India today owes its inception to the likes of Ardeshir Godrej and Sir Dorabji Tata, this delayed exposure has affected the evolution of industrial design in India. While the rest of the West enjoyed a natural course to industrialisation and a simplification of aesthetics — our own seamless approach to design from ancient times has fumbled to evolve into a singular design language.

Compared to Italy or the Netherlands, India’s shortfall in creating an educated and interested audience is preventing a solid ground for design to become a sustainable enterprise. The Indian design industry continues to stagnate with sparing examples. The popularity of online brands such as Pepper Fry and Urban Ladder make a case for the need for standardisation in furniture. The newly launched brand Sprint, by the Godrej group, offers a fresh and well-designed range of furniture. However, due to the absence of choice and qualitative home-grown brands catering to different price points, the affluent continue to flock to Milan's Salone or Paris' Maison Objet, to either import reliable branded furniture, or ship containers of reasonable knock-offs or well-priced pieces from other parts of Asia. Now, however, there is a faint ripple of interest of design in India, and that seems to be attracted to the idea of “bespoke” design. Given that technology will drive the future, the question is will design in India be cognizant of its past and present and play a leadership role in navigating a conscious future to create exponential growth for all.

The writer is a designer, curator and founder of home decor brand, Design Temple.

Divya Thakur

The India Story Verve, May 2018

Today, Indian art, has brilliantly taken its rightful place on the global stage and India’s design story definitely needs telling, finds Divya Thakur

In the broader sense of the word, design has always held its place of importance in Ancient India. More formal applications of which, were perhaps first seen during the post-Independence era when nation building was in full swing. In the interim years from then to now, design took a backseat but of late it does seem poised to come back to the forefront once again. Indian design, particularly in the field of art, has brilliantly taken its rightful place on the gobal stage. And fashion seems all set to follow suite

I personally believe that the ‘Indian’ aspect of design is not an external phenomenon. It’s not like drawing a maatra on a type to make it look Indian or a bindi you may put on as an adornment. It is not even an object, like a lota or kulhar (clay tea cup) or a sari. The essence of Indian design is intrinsic to its being. So it is seamless with its function – and function has always dictated India’s approach to design. Today, minimalism may be a global trend but aeons ago, we were designing things based simply on what was essential. We weren’t creating wastefully, or for the sake of it. I’ve often heard people say that decoration is a key feature of the Indian aesthetic. Even that was done with reason and not just for the sake of beautification. A temple or statue was painstakingly adorned, painted or carved with the intention to draw out one’s emotions – to evoke reverence in the people who saw it.

Another facet of Indian design which I find very interesting is something I learned when I was working on the exhibition India Past Forward that showed in Stockholm in 2015 – India’s approach to design transcended individual egos; the creator was supreme – and artists were mediums. There was also no singular author to things that were created. When you think of the lota or the charpai, it doesn’t matter who designed it. What was important was that the form was refined and adapted as per the demands of the time. When it was redundant, it went away and when there was a need for it, it returned. The essence of Indian design is not superficial or superfluous; it is integral to who we are as people, what our climate is. It is based on need; it’s not driven by ‘Let’s make something for the heck of it’.

Design in India has evolved with time. A great example of this is seating. British historians say chairs came into India post colonisation. But aasanas were the old way of seating here. We didn’t use chairs, but other manners of elevated seating were long in use. There were bolsters, gaddas, charpais, and stools for the common man and higher seating like thrones for nobility and learned men. We also used our spaces multi-functionally. So, we would have gaddas and baithaks when people came, and when they left the space turned into a sleeping area. Adaptive furniture has always been a big part of our way of living.

Going forward, since it is the era of digital and technological transformation, it is extremely interesting to see what we are going to develop. Our change will hopefully allude to our cultural context. Until we are completely comfortable with who we are as people, with all our demands and indiosyncracies, it will be difficult for our design to reflect an updated aesthetic. So we have to realise how we will combine our Indian way of being and our desire for globalisation.

I work with a few brands in the luxury and interiors space, like Nilaya wallpapers by Asian Paints. They tell me that there is a noticable surge of interest within the country for better living. And this will hopefully bring an interest in design objects. Earlier, interiors and homes were not really prioritised. There was more emphasis on what you wore, which bag you carried and which shoes adorned the soles of your feet. Cars were also an important part of the ‘keeping up with the Jones’ philosophy, but now the emphasis shows a shift to the design of homes, offices and interiors.

So, is there an urban Indian aesthetic? There is an updated, modern one but I do not know if there is a well-defined urban Indian aesthetic. Beyond some pockets, I haven’t seen enough of it to be sure that it exists. Charles Correa’s seminal work with traditional methods and local materials. Bijoy Jain’s own translation of the indigenous, the handmade and the handcrafted. Rahul Mehrotra’s library for CEPT, Ahmedabad. The design language of Sandeep Khosla’s work, Laurie Baker’s iconic use of laterite in Goa, Ambrish Arora’s updation of traditional features like the jaali at Raas Jodhpur and the pillars at the Baradari restaurant in City Place, Jaipur and Rajiv Saini’s subtlte deployment of luxury at Devigarh Palace are all amongst the gladdening examples of what may be termed as the new Indian Aesthetic. And this does not require you to put flashy elements somewhere to prove a point of having arrived. That need to show anything more than what is, is a tricky demand on the urban Indian aesthetic.

In my opinion, the world of Indian art has, by its vision and aesthetic, really earned itself a global platform. It is competitive, international and yet so from our roots that it is exciting to see that translation. I went to Manish Nai’s factory recently and was exhilarated to see his thinking, process and results. It is effortless, as are the creations of Atul Dodiya, Subodh Gupta, L. N. Tallur and so many more. Their work is from a global moment, but you can also feel the pulse of the nation in it. We have to do that in the world of design. I certainly dream of it. And I work towards it, in every big or small way that I can.

India’s design story definitely needs telling – and it would be heartwarming if a greater number of people engaged with the world of design. That was the idea that drove me to curate the exhibition Objects Through Time last year. We felt there was a need to bring out what has transpired in the country, and our primary attraction was to understand how it has evolved and to identify emerging concepts and certain aspects. This was about everyday objects, about design in the service of everyday life, about what’s out there. We juxtaposed mass-manufactured items like Godrej refrigerators against traditional craft objects and bespoke contemporary furniture and lighting by Indian designers. The idea was to trace our journey, India’s journey!

The supplementary exhibition Ideas Through Time was more experimental. It was an unplanned accidental exploration. Through this show, I put forward eight concepts culled from various texts to evaluate their relevance as we go forward into the fourth digital revolution. We positioned these concepts as the pillars of Indian design. And if you really think about it, a lot of stuff that people are waking up to today globally has existed in our ancient ways of being for years. The Sanskrit word auchitya and the Hindi uchit meaning ‘appropriate’ refer to a basic element of design. Every decision to be made while designing an object can be evaluated against this yardstick of appropriateness.

When I started my career in 1999, the industry was smaller; there were only a handful of people doing things. Today, there are a lot more designers – in fashion, graphics, products and more. When I hear younger talent speaking, I realise they think they have to do an Indian story because that is what everyone is looking for. So I feel they may be embracing this as a trend now rather than as an intrinsic understanding. But, it doesn’t matter. What is important is that there is an element of consciousness to include who we are and where we are coming from in fashion, graphic design and product design. The defining visual language of India is definitely vibrant, but not kitschy as is commonly believed. There is an absolute influx of colour but it’s actually quite a sophisticated usage of a very wide colour palatte, so I’d hardly call that kitsch.

There are designers and brands who appreciate the importance of democracy in design – their solutions lie largely in mass-production. A great example of a brand that uses design resources within the parameter of the Indian landscape is Fabindia. It developed an excellent structure enabling both people who consume and the suppliers/craftsmen who create.

If we are seeking a visible change in the new urban Indian aesthetic, I think it will come from architecture. The jaali is a great example of an iconic motif that has found resurgence, globally, in the hands of contemporary architects for use as facade screens for shade and also in high-storeyed buildings as windbreakers.

If we are to make a difference – we need impact. If we are to create impact – we need to reach out to more people and widen the audiences. I think architecture, particularly public buildings, have the ability to stand, be seen and engage people at greater levels. Followed perhaps by smaller and bigger design objects in the context of interiors.

What is the future of Indian design? I would say mass-production and technolgy hold immense potential in the coming years. We have the numbers, and we definitely have the need. If we can embrace the problem-solving aspect of design and take it to the people of India, I think we will be on to something inclusive – and for the greater good of the country.

BIO: Multi-disciplinary designer and curator Divya Thakur, seeks to create a relevant identity for Indian design through her work. She is the founder of luxury home accessories brand Design Temple (and is working on creating a design museum ??)

Read out options: The essence of Indian design is not superficial or superfluous; it is integral to who we are as people, what our climate is. It is based on need; it’s not driven by ‘Let’s make something for the heck of it’.

What is important is that there is an element of consciousness to include who we are and where we are coming from in fashion, graphic design and product design. The defining visual language of India is definitely vibrant, but not kitschy as is commonly believed.

Present Past

“If we are to make progress, we must not repeat history but make new history. We must add to inheritance left by our ancestors.”

India’s past history with product design reveals what is called an “evolutionary process”. Followed by many ancient civilizations, this is a process where products were created, improved upon through usage and by the collaboration of a variety of skilled craftsmen across different points in time, over hundreds of years. And so India’s past is replete with a plentitude of products designed not just by one but by many minds and hands. The Lota is one such unique object that is a succinct celebration of this Ancient Indian approach. A mastery of form and function, the Lota derives its basic shape from a gourd and is the most versatile of Indian pots.

“…that simple vessel ( ‘lota’) of everyday use, stands out as the greatest , most beautiful… it is balance, the centre of gravity, when empty, when full, it is balance when rotated for pouring; it is sculpture as it fits the palm of the hand, the curve of the hip; it is sculpture as it is compliment to the rhythmic motion of walking or a static post at the well.” Charles and Ray Eames, India Report, 1958

This seamlessness of form and function, was another aspect intrinsic to products designed in India’s past – Nothing was made, unless there was an absolute need for it – all products were designed to fulfill a specific functions – and the discussion of art for art sake or decoration vs purpose was alien to this process.

The learned process or planning tool applied to product design, came relatively late to India. (The word “design” itself was transplanted on Indian soil less than 200 years ago) The present day scenario of many mass-produced products in India still, often display the lack of a professional, trained designer at their inception, which results in innovation at different levels, including during production at the factory. This process continues to produce a plethora of its own unique solutions and designs. The last few decades are full of such examples of inventiveness – And the ubiquitous Plastic Mug and Balti stands out as one such fabulous invention, which, when replaced their brass and stainless steel predecessors, were received with great enthusiasm. – As a simple solution for accessible water, the bucket or balti – continues to fulfill the requirement of basic water storage in homes across present day India.

The Future of Design in India, I hope, will throw up examples informed by our innate ability of inventiveness and ability to adapt and respond to the times we live in. As we all know technology, UX and UI will drive design at all levels. And Product Design will be no exception to that inevitable future.

― Mahatma Gandhi

The New Jali Architectural Digest, India - February 2017

Divya Thakur writes about an ancient and iconic Indian architectural motif that is finding favour in the hands of contemporary designers the world over.

The world is witnessing an interesting resurgence, of an ancient and iconic feature of Indian architecture. At the hands of contemporary architects and designers, Jaali’s or perforated surfaces, are finding new favour. Used to great sculptural scale and effect, for their original purpose of providing breathable visual barriers, they are now also gaining popularity, as windbreakers in high-storied buildings

Jaalis, or perforated surfaces, date back to the rock-cut and stone architecture, found at the Kailasa temple (Ellora) and in Pattadakal

An Urdu word meaning ‘net’, a Jaali’s perforated form, both as latticed partitions and as chiseled structures - allows light, ventilation and privacy.

In many instances, Jaali’s, imitated the porosity of fabric. Like, the Red Fort ‘woven’ marble which resembles popular carpet designs of the time.

Early manifestations also included cane blinds and sheer cloth. And usage as semi-permanent demarcators within the interior space for segregating genders and social classes was not uncommon. One could say, Jaali’s reached their zenith of craftsmanship and stylistic expression under Mughal patronage. Designs from this period were predominantly geometrical. Even when the motifs were naturalistic, they revealed a strong mathematical undertone. Symmetrical patterns were developed by intersecting simple shapes such as the circle, square, triangle, polygon and so forth. Often, multiple shapes were used to create these patterns. The possibility of endless repetitions/ tessellations of this pattern, alludes to the infinite nature of the universe.

The jaali returns today, at the hands of contemporary designers and architects. And the form is cast to newer material such as stainless steel, wood, bamboo, concrete, limestone and exposed brick.

On the one hand designers like Rooshad Shroff, are using laser cut perforation, to create ethereal surfaces for interior usage. On the other, architects are using perforated or ‘breathing walls’ to create distinct languages. Some examples in the Indian context would include the brick Jaali walls at The Centre for Developmental Studies by Laurie Baker and those at the SAHRDC Offices by Anagram Architects, Concrete Jaali walls at Rabindra Bhavan by Habib Rehman, Metal Jaali wall at Raas hotels, Jodhpur by Lotus Praxis, and at the LMW Headquarters, Coimbatore by RMA and Wood Walls at Niravan Films Office by SJK Architects.

Once the sole requirement of tropical countries, perforated walls, are enjoying resurgence with architects globally. Of special note, is the work of Brazilian based, Studio MK by Marcio Kogan, whose work brilliantly combines the sublime aesthetics of perforation with minimal modernism. Examples include B+B House, White House, Fazenda Boa Vista.

Down The Rabbit Hole Vogue, 2013

Rome wasn’t built in a day. And Milan wasn’t always the design capital of the world. It was envisioned to become one, around five decades ago, by encouraging public engagement of design.

Trade fairs like Maison e Objet, Paris, or the very successful Ambiente by Messe Frankfurt all fuel the business of design. They chart the path forward by forecasting trends. But what makes Milan’s annual Salone Del Mobile unique, is the original vision of public participation. The entire city comes forth to celebrate. And with over 3 lakh visitors from across the globe, it’s like a gentrified Woodstock.

Design enthusiasts convene at the Rho Pero district, which hosts one of the world’s largest fair grounds. High-heeled design divas breathed easy this year, as Veuve Clicquot had champagne bars for much needed rejuvenation between pavillions. The fair’s focus this year was on lighting, and the overall trend was weightless, floating clusters. Spanish brand Vibia stole the show with its exquisite light forms, of which my favourite was Arik Levy’s sculptural lights – with its use of geometric forms and concealed LED’s that created light and a shadow play that made them both functional and artistic.

Milan is a must-visit at this time of the year as the design discourse isn’t limited to the fair grounds. Crowds spill over to Zona Tortona, the city’s hip and trendy zone. And over the last three years, Ventura Lambrate—on the outskirts of Milan— has quickly become the go-to destination for discovering emerging talent.

Salone is the birthplace of collaborations, and each year leading brands team up with fashion, design and architecture and throw up stunning installations, collections or one-off pieces. Bisazza, the leading house of glass tiles since 1956, had a striking chair by Alessandro Mendini in Via Tortona. Louis Vuitton– collaborated with designers like the Campana brothers, Marten Bass and Nendo for their objets Nomades collection where each designer brought their own unique approach to travel.

As a lover of all things old –the use of public and heritage buildings for temporary design installations never fails to fascinate me. Museo Della Sienza is where Tom Dixon curated his show, themed to give power back into the hands of the designers. Rotonda di via Besana- is where Karl Lagerfeld showed The Little Black Jacket – A photo installation of differing personalities, in one iconic garment. Circolo Filologico, provided the perfect backdrop to luxurious living by Hermes – where luxurious chairs sat against a backdrop of antique books. My personal favourite – was their motorized wardrobe in bullcalf leather– a testament to technology and the highest quality of craftsmanship.

Exploring these design destinations by foot is highly recommended, as the city unfolds itself - industrial looking lanes open onto flowering tree-lined paths. Solferino on a street by the same name, is one such delight – for all senses. The Burrata here, guarantees to melt everything but the inches.

Triennale Design Museum – is an institutional must see – Most striking was “Constancy and Change” curated by Son Hye-won. On display were 11 objects made by contemporary artists using traditional Korean Crafts. Lacquered pots, Hanji lights, bedding, tables and exquisite costumes- Hanbok’s - each a celebration of the human hand that created them with chic, global aplomb!

Salone 2013: The rain and recession hadn’t dampened the hope of Spring.