- Vision Plus 2010

Urban and Rural Divide
Opportunities for Digital Inclusion
Prof M P Ranjan
Design Thinker & Academic
Ahmedabad, India
[email protected]
www.designforindia.com
www.ranjanmp.in
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
What is Village India?
some research initiatives
Context
People
Community
Expression
Identity
Culture
Bio-Diversity
Resources Map
Sahpur
Indroda
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
What is Village India?
some key principles
Context
People
Culture &
Bio-Diversity
Sahpur
Indroda
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
What is Village India?
Creative Economy Potential
Context
People
Community
Expression
Identity
Culture
INTRODUCTION
Hand formed terracotta
Thongjao, Manipur.
Thrown and painted,
ceremonial terracotta,
Darbhanga, Bihar.
Brass sheet formed pot
used by ascetics,
Ahmedabad, Gujarat.
Heat flattened bamboo,
cheese container,
Bomdila, Arunachal Pradesh.
Turned wood bowls for
Jain Monks
Pali, Rajasthan.
Moulded and painted
papier-mâché
Srinagar, Jammu & Kashmir.
Brass cooking utensil, sheet
formed with cast handles,
Dhenkanal, Orissa.
Votive terracotta,
Nawrangpur, Orissa.
©© 2010 M P Ranjan : Urban & Rural Divide:
Wrought iron
figure,
Udaipur, Rajasthan.
Brass, heat forged
serving vessel,
Jhajpur, Orissa.
Bell metal casting,
ritual vessel,
Imphal, Manipur.
Dhokra, lost wax casting,
grain measure
Ranchi, Jharkhand.
Bell metal, sheet
formed ritual vessel,
Jhajpur, Orissa.
Tribal clay figure,
Nonihat, Jharkhand.
Hand formed and
painted cow-dung toy,
Parla Khemundi, Orissa.
Copper spitoon, sheet
formed and embossed,
Ahmedabad, Gujarat.
Moonj grass basket for storing
valuables, coiling technique,
Allahabad, Uttar Pradesh.
Bamboo basketry
Garo hills, Meghalaya.
Copper container, cast,
embossed, chased and
pierced work,
Srinagar, Jammu and Kashmir.
Brass sheet formed
water pot,
Dhenkanal, Orissa.
Bell metal cast charakku,
large cooking vessel,
Thiruvananthapuram, Kerala.
Painted clay and
Carved and painted
cow-dung female figure,
puppet,
Puhphutara, Chhattisgarh. Jaipur, Rajasthan.
Vision Plus 2010 - Ahmedabad
Turned and polished
agate bowl
Khambhat, Gujarat.
Realistic clay figure,
village woman,
Krishnanagar, West Bengal.
Bidri wash basin, copper and
zinc alloy with silver inlay,
Hyderabad, Andhra Pradesh.
Carved wooden
chariot decoration,
Papanasam,Tamil Nadu.
Replicas of Chola bronzes,
lost wax casting,
Swamimalai, Tamil Nadu.
Bronze idol of Shiva,
lost wax casting,
Swamimalai, Tamil Nadu.
Brass, heat forged
serving vessel
Patrapur, Orissa.
Dhokra cast,
brass tribal figure,
Jigidih, Orissa.
Wrought Iron Bison Horn
Maria figures,
Kondagaon, Chhattisgarh.
Wrought iron and
brass tribal figure,
Kondagaon, Chhattisgarh.
What is Design?
some key principles
A NEW LOOK AT
HUMAN INTENTION TO VALUE CREATION
Systems Thinking
TOMORROW?
Fire as a Metaphor for Design
e
int
actions that ge
ne
ra
t
TOOLS
1.5 million years
KNOWLEDGE
50 years — TODAY
SCIENCE
2000 years of education
alu
ev
n
s&
it on
FIRE
2 million years
e
MOBILITY
250,000 years
TECHNOLOGY & CRAFT
5000 years
ENVIRONMENT
EFFECT
AGRICULTURE & SETTLEMENT
10,000 years
MATERIAL
Ÿ
Experience by itself does not create
knowledge. However, it is the reflection
on experience that does.
Prof Bruce Archer
CULTURE
©© 2010 M P Ranjan : Urban & Rural Divide:
SYMBOLIC EXPRESSION
50,000 years
Vision Plus 2010 - Ahmedabad
What is Design?
some key principles
Intentions
Goals
Products
Systems
Services
Value
Business
Models
Insights
Concepts
Scenarios
Design as
Seed
Latent
Intention
Potential
Nutrure
Grow
The Iceberg Factor
• Tangible
• Visible & Perceived
• Features & Actions
• Intangible
• Intentions & Strategies
• Felt & Sensed Attributes
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
*
Design as
Iceberg
Metaphor
seed photo
courtesy
Prof. J L Naik, NID
Digital Design Effects:
2010
Reflection & Insights
Digital
World
+
Design &
Technology?
Life, Work & Play
Think Products
+
Digital
World
Digital
World
Think
Systems
“Digital
Design
as
an
Integrator”
“Digital Design as an Integrator”
{{ }}
Consumers & Markets
Culture & Use Domains
Trends
&
Effects
Nature,
Work,
Health
& Play
Nature,
Life,Life,
Work,
Health
& Play
Globalisation & Creative Clusters
(Creative Class Effect)
1.Environment
Earth & Environment
1. Earth &
2. Society,
Community
&
2. Society,
Community
& Wisdom
Harvesting
Traditional
Culture
Culture
(Climate
Change Effect)
Work, Productivity
&
3.
Productivity
&
3. Work,
Transparancy
& Governance
Occupations
Occupations
(Wikileaks
and RTI Effect)
Democracy
& Identity
4.
Food,and
Health
and Fitness
4. Food, Health
Fitness
(Bihar Election Effect)
5. Play, Entertainment
&
5. Play, Entertainment
&
Information
& Politics of Disparity
Leisure
Leisure
(Google Earth Effect)
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
* not just technology
Life, Work & Play
Think Sustainable
+
Think Experience
Environment & Nature
Global Ethical Prosumer *
* The Third Wave, futurologist Alvin Toffler 1980
* not just economy
Keynote lecture: USID 2007, Hyderabad
Case Study:
Insights
08
1995
Students: Priya Prakash, Rajib Ghosh,
Vijay Indalkar & Satvinder Channey
Sponsor: Apple Computers Inc., USA
INFARM :
Agricultural Pest Management System
Users
Illeterate Farmers
Hardware
Software
Interface
Icons
Navigation
Meaning . . . . .
Apple Design Projects:
1995 : INFARM & 1996 : MANDALA
10
Students: Priya Prakash, Rajib Ghosh,
Vijay Indalkar & Satvinder Channey
Sponsor: Apple Computers Inc., USA
Users
Illiterate Farmers
INFARM :
Agricultural Pest Management System
Useability
New Infrastructure
Easy to Use
Shared Facility
Low Cost
Reliable......
©© 2010 M P Ranjan : Urban & Rural Divide:
09
Students: Priya Prakash, Rajib Ghosh,
Vijay Indalkar & Satvinder Channey
Sponsor: Apple Computers Inc., USA
Users
Illeterate Farmers
New Infrastructure
Easy to Use
Shared Facility
Low Cost
Reliable......
Vision Plus 2010 - Ahmedabad
Problems
Approaches
Issues
Concepts
Testing.....
INFARM :
Agricultural Pest Management System
Case Study:
11
Students: Divya, Anab Jain &
Samrat Nawale
Sponsor: Apple Computers Inc., USA
MANDALA :
Building Communities of Elders
12
1996
Students: Divya, Anab Jain &
Samrat Nawale
Sponsor: Apple Computers Inc., USA
MANDALA :
Building Communities of Elders
Users
Senior Citizens
Users
Senior Citizens
Ageing Population
Loss of Purpose
Face to Face Interactions
Build Community
Repeated
Testing
User
Studies . . .
Modelling
&
Testing
Cycles
User
Studies . . .
14
Students: Divya, Anab Jain &
Samrat Nawale
Sponsor: Apple Computers Inc., USA
MANDALA :
Building Communities of Elders
13
Users
Senior Citizens . . in teams of four
The
Feature . . .
©© 2010 M P Ranjan : Urban & Rural Divide:
Modelling
&
Technology
Evaluation
Builds Community Spirit . . .
Vision Plus 2010 - Ahmedabad
MANDALA :
Building Communities of Elders
Users
Senior Citizens
Concept
Development
Wireless
Networking...
&
Physical
Networking...
Students: Divya, Anab Jain &
Samrat Nawale
Sponsor: Apple Computers Inc., USA
The
Product . . .
Insights
Design for Society:
Daily Dump & Bamboo Project
an
70% of the waste generated in an average
FARMING
HUMAN RESOURCE
STRATEGY
LOCAL MARKETS
SUSTAINABILITY
Centre for Bamboo Initiatives at NID
Paldi Ahmedabad 380007
India
©© 2010
P Ranjan
: Urban & Rural Divide:
NID - IL&FSM
- TRIPURA
BAMBOO MISION
Vision Plus 2010 - Ahmedabad
PROJECT CREDIT: National Institute of Design
[ 1998 ]
National Institute of Design
solution to composting at home
VS.
urban Indian home is organic wet waste
SUGGESTED BUSINESS PLAN FOR
PRODUCTION OF
BAMBOO POLE CHAIRS
IN TRIPURA
odour-free and pest-free
DESIGNER & ENTREPRENEUR: Poonam Bir Kasturi
Case Study:
These products have been designed to give
[ 2006 ]
Case Study:
Insights 1988 - 1991
04
Designers: J A Panchal & V M Parmar
Semiotic Study: Neeta Verma
Client: Election Commission of India
Electronic Voting Machine
Users
Indian Adult Voters
Interface should be
Secure
Reliable and
Beyond Suspecion .
06
Designers: J A Panchal & V M Parmar
Semiotic Study: Neeta Verma
Client: Election Commission of India
Electronic Voting Machine
05
Designers: J A Panchal & V M Parmar
Semiotic Study: Neeta Verma
Client: Election Commission of India
Electronic Voting Machine
Designed in 1989
Used in 10% of
Seats in 1999 . .
Gradual
Acceptance . . .
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
Field Testing
Convincing
Dependable
Beyond Suspecion . . . . .
Insights on Design Thinking
Emerging Design
Opportunities
for new services
End to End
Integrated
Digitally
Enabled
Services
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
Insights on Design Thinking
Village India - 2010
End to End
Integrated
Socially
Enabled
Services
Financial Services
©© 2010 M P Ranjan : Urban & Rural Divide:
Urban India - 2010
Vision Plus 2010 - Ahmedabad
Images Courtesy: Geodesics Ltd
• This proj
of the sy
design p
• How com
understo
rela-ons
with oth
isola-on
• Theme b
undertak
such as, Bublic ua wide ra
• To look f
interven
effect on
compon
Sustainability Posters
for
World Economic Forum, 2009
Davos
40
Redefining Sanitation
Sulabh International
Design Opportunities:
Case Studies for
World Economic Forum 2009
Technology
Transformation
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad
Projects
yclable
and Rec
ucts
Organic
Home Prod
Bambo
Women Powe
Mahila Gramu
r
dyog Lijjat
Papad
H ar y an a
Jhunjhunu
Craft Resources Map
Mandawa
Shekhawati Udaipurwati
2002 - 2007
Sikar
Ramgarh
Sambhar
Salt Lake
Kaladera Amber
Bungunga
Manpur
Jamwa
Jaipur Ramgarh
Sikandra
Bagru
Tal Dausa
Sanganer Dh
u
Mo nd
Ch
rel
Malpura
Tonk
Sawai Madhopur
Bundi
Cluster
Cluster & District
Cluster, District
& State Capital
District Boundary
Kota
Rana
Pratap Sagar
Gandhi
Sagar
Au
or
Ah
u
Handmade
in India
as
Ranthambore
Kali S
ind
h
RANJAN
N O R T H / RAJASTHAN / Jaipur
Subclusters of
R E S O U R C E S
Craft
Raw Materials
Sources
Jaipur district:
Meenakari
Meena – enamel
Australia and Germany
Jaipur, Kaladera, Bagru,
Manpur, Sanganer
Razai
Cotton
Gulabpura and
Ganganagar, Rajasthan
Dausa district:
Sikandra, Manpur,
Block making
Wood – sheesham,
roheda, bhujan
Farrukhabad
Block printing of Bagru
Wooden blocks
Sanganer
Block printing of
Sanganer
Wood – gurjan and
saghwan
Jaipur
Mojari
Cowhide, Leather
Jhunjhunu district
Felt products
Wool
Shekhawati, Beawar,
Jodhpur in Rajasthan;
Kashmir
Australia
JAIPUR
People
Dausa
Handmade in India
Jaipur, the capital of Rajasthan, lies on the eastern
fringes of the Thar Desert, a semi-arid land cut southwest
to northeast by the Aravallis. At the end of the 11th century,
the Kachhawaha clan established their kingdom at Amber.
They were one of several powerful Rajput kingdoms, such as
the Chauhans of Ajmer and Ranthambore, and the Rathore
clan of Marwar region. The early Rajput states engaged in bitter
internecine clan wars, but with the rise of the Delhi Sultanate,
their energies were directed at safeguarding their territories
against the marauding Muslim troops. When imperial power
at Delhi passed to the Mughal emperor Akbar, military and
matrimonial alliances were forged between the centralized
power at Delhi and the Rajput kingdoms, ushering in an era
of cultural and social synthesis that had a great impact on
the art and architecture of the region. In the 18th century, the
capital of the Kachhawahas was shifted to Jaipur, the ‘City of
Victory’ located to the south of Amber. Constructed under
the supervision of the then ruler Sawai Jai Singh II and
Vidhyadhar Chakravarty, a Bengali scholar and engineer, the
city is one of north India’s finest examples of urban planning.
Surrounded by a crenulated wall pierced by seven gates, the
city’s plan is based on a grid of nine rectangular sectors,
believed to represent the nine cosmic divisions of the
universe. The grids are linked through a pragmatic system
of main streets, intersected by pedestrian lanes leading
to workshops and occupational colonies. Also figuring
prominently in the plan are the spacious market squares
operated by traders and artisans who migrated to Jaipur due
to the tax benefits and other economic incentives provided by
Sawai Jai Singh. The Jaipur of today is a melange of the modern
and the living memories of the city’s feudal past.
Economy & Knowledge
Field Work - Design Intent
People & Objects
Material & Technology
Location & Politics
Ba
n
Crafts of India
&
l
ba
am
ti
Parba
RANJAN
JAIPUR
U t t ar P r adesh
Alwar
Jhunjhunu district:
Shekhawati, Mandawa,
Jhunjhunu, Udaipurwati,
Crafts of India
Politics & Design
Lachhmangarh
Sikar district:
Merino wool
Sikar, Ramgarh
Sawai Madhopur
district:
Ranthambore
Terracotta of Sawai
Madhopur
Mitti – mud
Stone work
Marble
Banks of the River
Banas
Poverty - Empower
Caste Politics - Organise
Strategy - Product Diversification
Markets - New Local & Global
Organisation - Community
Alwar district: Alwar
Tonk district:
Other stones
Makrana, Bhainslana,
Jhirri in Alwar district
Bansi Pharpur in Karauli
district, Agra, Jodhpur
and Lalitpuri
Wood – safeda
Kota
Tonk, Malpura
Kota district: Kota
Wood and lac turnery
1
Blue pottery of Jaipur
The low temperature glazed pottery of
Jaipur is accorded the name ‘blue pottery’
due to its predominantly blue patterns. Wheel
turning and moulding techniques are used
in combination—the necks and bases are
wheel-turned, the body is shaped in a plaster
of Paris mould and the separate elements
are joined. The surface is then engobed, a process involving
the application of a clean white coat on the sanded and dried
object so as to make the surface smooth, white and blot free.
The patterns, largely florals rendered in the Persian style,
are painted on in metal oxide pigments (mineral pigments)
and the whole object is given a glass glaze. During the firing,
the pigments develop the characteristic brilliant shades of
turquoise blue, pale green, yellow and red-brown and the milky
glaze turns transparent. Since the presence of water can cause
the object to collapse during firing, blue pottery is dried at
various stages during its production. The pottery is finished with
a transparent glass glaze. Generally, women perform the task
of grinding the pigments while men undertake the throwing
and moulding of the pottery forms, the painting and the
firing. According to local legend, Maharaja Sawai Ram II was
watching his kite-master compete with other challengers when
the thread of the imperial kite was cut by that of two brothers,
Churamani and Kaluram, who were potters and had coated their
kite string with the blue green glass-like dust of their pottery.
The maharaja was impressed and gave them posts in the
School of Art and settled them in the Goonga Mehra ki Gali in
Gangori Bazaar; it was thus that blue pottery came to Jaipur.
Production Clusters
Jaipur district
Products
Traditional:
Surahis – narrow
necked pitchers
Cylindrical jars
Contemporary:
Ashtrays, Flowerpots
Lamp stands
Beads, Ear studs
Buttons, Doorknobs
Mirror frames
Plates, Tiles
Soap cases
Jugs, Mugs
Coffee cups
Paperweights
Incense burners
Tools
Thapki – beating tool
Patti – metal strip
Chaak – potter’s wheel
Silbatta – traditional
grinding stone
Inset Coaster. Contemporary
products like coasters and mugs are
being made with improved glazes
and reliable structural qualities.
ACCESS
Jaipur is 262 km from Delhi and is well connected by road, rail and air.
Alwar is 150 km from Jaipur, Bagru, 35 km and Sanganer, 12 km.
A blue glazed vase of Persian origin;
the influence of this style on the
indigenous blue pottery is obvious.
Bhatti – kiln
Sandpaper, sieves
Moulds, brushes
A locally developed turquoise glaze draws
on the blue tiled mosques of Central Asia.
2
Crafts of
JAIPUR
Blue pottery of Jaipur
Kundan jadai – gem
setting
Meenakari – enamel
work
Lac ware
Razai – quilt making
Bandhej and leheriya
COHANDS
DC(H)
NID
– tie-resist-dyeing
Block making
editors: Aditi Ranjan I M P Ranjan
Mapin
Block printing of Bagru
and Sanganer
3
footwear
Handmade paper
32 States
516 Craft Clusters
Handmade in India
books
Felt products
Sanjhi – paper stencils
A torus-shaped flower vase.
4
Mojari – leather
Bahi – clothbound
The surface of this vase is marked with
the leher, wave pattern, a motif that is
shared with many crafts in this arid region.
1 At Udaipurwati, Jhunjhunu, a craftsman
creating the striated lac bangles that simulate
the wrap resisted leheriya textiles.
2 Sheet metal is manually cut into thin strips that
are then inlaid in wood to create the famous
tarkashi of Rajasthan.
3 A block maker demonstrating the carving
process at his workshop in Jaipur.
4 Amber Fort Complex. The palace rooms are
richly decorated with mirror work, coloured
glass, carved marble, murals, mosaics and
stained glass windows.
Mapping the Creative Resources of the Nation
Terracotta of Sawai
Madhopur
Stone work
Katputli – puppets
Wood and lac turnery
Gota work
The untraditional motifs of this vase are derived from
the representation of the lotus flower in the local
miniature painting tradition.
Tarkashi – metal inlay
in wood
N/RJ 082
N/RJ 083
Brass cooking utensil, sheet
formed with cast handles,
Dhenkanal, Orissa.
022
Brass, heat forged
serving vessel,
Jhajpur, Orissa.
Bell metal casting,
ritual vessel,
Imphal, Manipur.
Dhokra, lost wax casting,
grain measure,
Ranchi, Jharkhand.
Bell metal, sheet
formed ritual vessel,
Jhajpur, Orissa.
©© 2010 M P Ranjan : Urban & Rural Divide:
Copper spitoon, sheet
formed and embossed,
Ahmedabad, Gujarat.
Copper container, cast,
embossed, chased and
pierced work,
Srinagar, Jammu and Kashmir.
Brass sheet formed
water pot,
Dhenkanal, Orissa.
Bell metal cast charakku,
large cooking vessel,
Thiruvananthapuram, Kerala.
Vision Plus 2010 - Ahmedabad
Bidri wash basin, copper and
zinc alloy with silver inlay,
Hyderabad, Andhra Pradesh.
Brass, heat forged
serving vessel
Patrapur, Orissa.
023
Urban and Rural Divide
Opportunities for Digital Inclusion
Prof M P Ranjan
Design Thinker & Academic
Ahmedabad, India
[email protected]
www.designforindia.com
www.ranjanmp.in
©© 2010 M P Ranjan : Urban & Rural Divide:
Vision Plus 2010 - Ahmedabad