Professional Documents
Culture Documents
4, Indian Design and Design Education (Autumn, 2005), pp. 11-22 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/25224015 . Accessed: 02/06/2013 23:58
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past/present
associations.
It
of a sari
is considered chair
of jewelry or an
the innovative
carpenter,
bedpan?which
the modern
world
Even
calls design?is
in this twenty-first reason
in India.
is familiar
schools.
and industrialproduction, although the Society admitted all design ers including graphic designers, exhibit designers, textile designers,
and animators.
was called the Society of Industrial Designers of India founded, it was done to emphasize the relationship between design (SIDI). This
extremely detailed canons and highly sophisticated structured trea tises.Ancient India had Shilpa Shastra for sculpture, Natya Shastra for
dance, Vaastu guish on Sangeetha Shastra between The Ratnakara for music, Since Vishnu Indian Dharmottara culture no by did for art, and not distin treatise prac for architecture. applied Shastras art and are
design.
studied
new
2005 Massachusetts Institute of Technology Design Issues: Volume 21, Number4 Autumn2005 11
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Systems of Education
To start, the complexity be clearly and tice must
is not just unity in diversity, but also the simultaneous telescopic existence of the past traditionswith the contemporary: thebullock
cart beside illiteracy the beside spacecraft, software the burkha1 supremacy. beside Miss Universe, and such In the field of education,
beginning
of five
years.
that thepupils learn the dance/music in addition to thebasic educa tion in a modern school, while in the past the gurukul provided
comprehensive is in crafts, apprenticeship, to generation, While learning, from caste education. Another continuing on-the-job are passed learning training. tradition Through texts. areas of / community-based, the skills almost these and knowledge orally
from generation
always two
without continue
systems
the most
pervasive to
education college
fields,
primary
schooling over
graduation,
education
Although
the needs of its British rulers, India has not been able to replace this systemwith a better alternative inmore than half a century of
independence. Period: Basic Education and British
Pre-Independence
Macaulay's
Art Schools
In the early introduced nineteenth art schools century to India during at Calcutta, the colonial rule, and Britain Bombay Madras,
(in that order), that tried to include craftdesign in the curricula. But these art schools run by British principals were intended only
to 1 2 Muslim Burkha isa black cloakworn by women inpublic places. Sanskrit The genericmeaning ofguru in is "very gurumeans high." Presently, venerable spiritualteacher,as Hinduism expects a trueteacher to be. Gurukul is because the "the guru's family" literally with pupils inthis systemused to stay his family. the guru like 3 Swadeshi literally "belongingto one's own country," to a pre-indepen refers dence nationalist movement, favoring and boycotting home industries foreign goods. 12
cies. They ruined local creativity and design talent. In the name of
improving "native taste," such schools imposed Western techniques
produce
"copyists"
to serve
various
colonial
government
agen
to the confidence
culture and and always no arts. made
decorative taught
applied
at the colonial
art schools
violated
Indian
thinkers
in a
psyche
for independence,
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the struggle
able not only for itsprinciple of nonviolence, but also for its inclusion
of social is a key and educational reforms in its goals. ideology. As Economic caste-based self-reliance craft learn component in swadeshi
ing began to sufferdue to the onslaught of industrial production, Gandhi himself and other Indian intellectuals started experimental schools and innovative pedagogy. Gandhi called his education Naya Taalim (new training), and established his schools in a decentralized
in remote others in crafts, villages was where people needed poet training most. Notable who among Nobel his design. laureate Rabindranath an well experimental before Tagore,
way
Bengal and
university of
Santiniketan
favorably
school.
lines of util parallel .... The and mingle building of truth and of learning were beauty?is the
integrated decoration
painting,
followed
freedom
of learning, place
in the under
physical
Most
event was
spring Tagore
festival commu
faculty
participated
together.
While to mass
more towards a
important
craft production.
With is as
twenty-three
contemporary
as mass
production,
showing
promise
R. L. Bartholomew,ed., Nandalal Bose: A Collection ofEssays [Hew Delhi: Lalit Kala Academy,1980), 53.
brought in touch with materials. The discerning art criticHerbert Read called this "education through things,"while India's "great soul" (Mahatma)Gandhi advocated this as thepedagogical principle
of "learning by doing."
by being
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Education
educa was the
education, Design
higher
education
latest to arrive in India.After Independence in 1947, India focused on rapid scientificand technological development. India's largestdams,
largest core industries, and scientific organizations at started with
help from the best foreign expertise available. Space research and
nuclear research programs were established premier technologi
cal institutions such as the Indian Institutesof Technology. The then Prime Minister, Pandit Jawharlal Nehru, had the vision to see the importance ofmodern design and architecture in thedevelopment of whole cityofChandigarh as a model of cityplanning and design the
architecture, and Charles and industry and the economy of the country. He invited Le Corbusier to
Ray
Eames
to recommend
a program
the country.
with a restudy of theprob important to a good life,and "to follow it lems of environment and shelter; to look upon thedetailed problems were being attacked for the of services and objects as though they
first time; actual to restate to solutions explore between "India, to these problems symbols which was in theory of India." a fertile where and in prototype; the evolving "America, Drawing tradi the
field,"
a tradition-oriented decisions?in
society
reaction,"
that
evaluating and
factors.
In order society,
of a traditional
a conscious
effort must
of India. They greatly admired, the process of evolutionary design stated: "Of all the objects we have seen and admired during our visit to India, the Lota, that simple vessel of everyday use [to carry
water], 5 Charles and Ray Eames, The IndiaReport of (Ahmedabad:National Institute Design, 1958), 1-18. stands out as
revolutionary
Eameses
will appraise and solve the hoped "that an attitude be generated that
problems dignity, of our and love coming times with served the same tremendous service, that the Lota its time."5
perhaps
the greatest,
the most
beautiful"
and
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The first major, full-fledged industrial design institutiontobe established in India on thebasis of the India Report's recommenda tionswas theNational
to say
Institute ofDesign
no design in India
atAhmedabad
courses
in 1961.
earlier.
is not
education offered
in India
educational of design,
as commercial
art, architecture,
is a landmark in molding
education in the most the disciplines of design
itselfas a
one
contemporary under
roof. The pioneering educational philosophy established during the 1960s at theNational InstituteofDesign is so successful that all
I
am describing here is not thepedagogy of one design school, but of design education in general in India,with localized variations to fit
the structures of individual institutions.
four
were made
foreign Gui
changes
experts
Bonsiepe,
The Question
There is an art education that modern
of Influence
notion, was a largely prevailing was in the West, colonial greatly this. Art rulers, that and in India design gift of the British in India
erroneous
education
influenced
misunderstood
learning
in India.
Kam laChoudhry, Reportof theReview Committeeon FutureDirectionsand ForwardPlanning forthe National Institute ofDesign (Ahmedabad:National Institute of Design,1989).
(originally called theNational Design Institute)which pioneered design education in India may reflect some of the best aspects of design pedagogy from many parts of theworld, but was not exclusively influenced by any particular foreign school. It is
West and, in some cases, used some curricula in association with a
of Design
true that the early Indian founder educators had been trained in the
visiting foreign expert. But theywere conscious of the difference in the Western and Indian realities right from the beginning. They
examined the curricula and outcomes of the great design schools
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in order categorical
what
not
to do
to do.
This
is not
influences.
There have
sources, way
and
they always
been
particularly
assimilated
the Vorkurs
preliminary
of the Bauhaus. India followed Mahatma Gandhi's remark: "I want cultures
of all lands flown about my house as freelyas possible, but I refuse tobe blown off Notable among the design schools my feetby any."8 which have had a strong association with India were the Bauhaus inWeimar, the Hochschule fur Gestaltung in Ulm, the Kunst Gewerbeschule in Basel, theRoyal College ofArt in London, and
theCranbrook Academy ofArt in world's best Michigan. Some of the were and thinkers invited to visit to teach at India designers design
the newly established design schools or to work on an Indian design
project of longer duration with Indian design teachers, and freely exchanged ideas. This model worked extremelywell, particularly in
the beginning on modern The bullock years. India. There is a superficial demand most Western for Indian cultural realities influence prevails. In the end,
cart which
is the second
important
means;
the pressure
cooker script
for cooking
to suit modern
processes,
their education
conventional
learning
in
streams
ing systems, so the firsttask of the Indian design school is tonullify thepedagogical shock bymaking the student unlearn old things and
before he or she learns new things and new ways.
old ways
Educational Philosophy
The 8 9 M. K. Gandhi, Young IndiaJournal (Ahmedabad:publisherunknown,1921). Idli isa popular south Indiansnack ricepaste. prepared fromfermented early visionaries of Indian design education, notably Gautam
Sarabhai
through
client), adopted
of creating a series
within the student a concern for the quality of his or her physical
environment and for its relevance to human needs. After
the approach
16
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know and learning to do," which soon became the credo of design education in India. He firmlyestablished the principles of action The focus of learning for the student isnot on acquiring knowledge about a specific design discipline or subdiscipline, but on having
for this approach. The first and foremost principle is the "focus."
of discussions among Indian thinkers,Sarabhai aptly modified the earlier pedagogical principle of "learning by doing" to "learning to
adequate opportunities (a) to think forhimself or herself, (b) tohave his/her ideas questioned, and (c) tobe able to intelligentlyquestion
the ideas of others. second principle concerns the "scale." Avoidance of The
massive
size was
advised because
Sarabhai believed
faculty
and of unmanageable
growth and maturation system instructional
The third principle regards "discipline." He proposed the provision of opportunities forgrowth and maturation rather than
the continued maturation dominance in students was of disciplinarian as teaching. the ability Growth to discover and for described
themselves towhat use they could put the knowledge theygained, and to accept responsibility for such use. Many of the disciplinary
measures contrary attendance to reinforce usually prevailing at Indian Enforcing lest because educational such grading institutions as compulsory are to this principle. in classes, an measures and
excessive
testing,
authority
of its failure
Learning education than also realized that it is more important principle, "to teach
learn" vary
this broad
greatly and
prevailing discussion.
Lecturing
to a minimum.
Much
students to design are
in India is project-based;
intuitive new creative approach forms, new freely with original,
empirical,
problems and
materials
processes,
Workshops thus are given prominence at NID and other Indian design schools. But Indian industry complains that the graduates do not fit into theircorporate culture, which is rigidly structuredand
hierarchical. at design After school all the "unlearning" his the student had school to following rigid, overstructured undergo or college
thinking.
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rather
designers.
Making
Design
of the Professional
educators consider the essential characteristics of a profes
sion to be the practice as required by its society, and maintaining very high professional quality inwork and conduct. Professional education
teachers
knowledge who
Practice
is thus
made
relevant, such
the teaching
significantly. the
important, and
practice
his/her
work
become
the relation
ing innovation and of curbing originality in the student,who might simply tryto imitate the teacher.
The founders recommended professional as practice either
to teachers,
because
infrastructure
Currently, design
for institutional
practice
private
lum time schedules; disparity between student skill levels and the skills demanded by a specific project; and problems of incompat
ibility between An curricular alternative requirements to student and professional project opportunities. participation in institutional
in implementation:
nonmatching
curricu
craft,
cottage-
or home-based.
sectors
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Therefore, practical.
separate
design shows
education that
for each
Experience to address
education as an
to teach student
approach?a in any
solutions
even though the approach should work for any production level, tools employed may be different.
As more knowledge formed which areas led to emerged in the world, This more specializations enon tional is evident Indian fragmentation. medicine. system phenom at
given
situation.
The
same
design
of allopathic a holistic
of Ayurveda,
is
perhaps mean
is an act of to choose
educators
believe
that, ifwe
faculties
to compartmentalization.
courses
Figure1 A basic design course exercise by the author a as an industrial design student,following between two method of transitions logical and a point located inspace. end forms
Foundation Course
Projects Courses
Production Experience
Although
starts with application skill in
generalization
learning as which
the basic
ityand include technical as well as conceptual integration (Figure work is considered important in the 1). The documentation of field
acquisition of indigenous or knowledge, as well as in estab
projects,
progressively
students'
after
are considered
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some innova
course, and the
the space-form-structure.
of motivating
the student,
prediploma presentation required at theNID is quite significant.11 Indian design educators currentlyare tryingto cope with the perceived inadequacies brought by changing times, such as the lack
of a theoretical developmental computer The of designers: aesthetic knowledge issues, base appropriate and interface in design, inputs design. require base; creative, varied some types with a environmental in design concerns, management,
strong
base;
and
conceptual
institutions
required,
institution
Documentation
of Traditional
Practices
and
Research
true challenge
developing to
lies in addressing
country. One
the
of the most
Back in the 1970s, the author first proposed the "barefoot designer"
concept This India as a solution to impact such a vast which are several in urban population have not with been design.12 made in in the the required until policy-level now. Although all of them percent major changes there are located
design
schools leaving
country remaining
now,
centers,
eighty
in villages
One
of India's
is its enormously
by word
of mouth,
the Indian
of such
communications
product
20
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aspirations;
traditional
future materials,
techniques,
design (from
institutions
materials in India.
Thus,
important and
to find new
unique
Cross
Cultural
Interaction
as a team aspect
achieving
This where
of design
education rooted
life is deeply
very fruitfuloutcomes of collaboration have been the design of GADI (Ground-level Assistive Design for India), produced jointly
with Canadian students and teachers; and a future car for India
3 Figure car for India. The "Palki2010," a future Thiswas a collaborativeprojectbetween of the studentsof theNational Institute Design,Ahmedabad; the IndianInstitute ofTechnology, Mumbai; and TokyoZokei Daigaku.
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On the other hand, short teaching inputs by visiting foreign faculty usually are nothingmore than a brief exposure. Since foreign faculty
take time in grasping the Indian ethos, such
teaching
inputs
work
par with the best design schools in theworld, and have excellent
design teachers. Yet the number is dismal in of design proportion schools and the number needs. indus of trained Ironically, designers the reason to the country's makers nor
is that neither
the policy
trybelieves the Indian designer to be crucial to the acceleration of designers to design for them, or produces
abroad. Here is a good context: example the most of how expensive in the Indian sells brand more India, the country's development. Indian industry even car than commissions foreign can
are driven
by hired
the owner
in the back. The owner thus has to suffer less legroom, leaving the best part of the car tohis driver.
Until and effective and there policies design students is more awareness and will at the parliamentary this situation to provide costs level, will are made institutions because implemented, be forced
continue to overseas
education in the
Indian
education
the least
22
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