Proud to partner with RF Youth Sports that is set out to revolutionize grassroots sports in India
Inaugural football season has kicked off across 8 cities with 1000+ participating schools & colleges
BRITANNIA - partner of the month
And the award for "Partner Of The Month" goes to .... for featuring us in Britannia's in-house magazine.
Have you tried this best ever bread that tells you what it is made of, loud and clear, by design
Lean Check - Elephant & a Start up
Hospital-acquired infections result in over 100,000 patient deaths every year* LeanCheck is India’s first system with a mission to reduce hospital-acquired infections significantly through a holistic approach.
Elephant is happy to support this start up.
FINGER LIX - Ready & Accessible
Highlighting food that is ready & accessible
Using design, adding enriching experience and communicating the delight. Check out our latest intervention with finger licking food Start Up !
yes. we are excited to work with start-ups. especially if they happen to be a crack team of marketing consultants we enjoy working with!
Here's to every success... from Team Elephant to Team FINGER LIX!
Want to join Elephant?
Want to join Elephant? Read these super tips by Vinita Jakkal who landed herself a place in our team!
Vinita Jakkal
As most of young designers dream of starting their career with the top studios but dreaming is not enough says Vinita Jakkal, a Post Graduate in Graphic Design from MIT Institute of Design, who is currently working with Elephant Design, Pune. She shares the tips, which may help you make your dream come true.
If you really want to get placed in your dream company, you need to be on your toes from the very first day of your college. Dreaming is good but doing nothing for that dream every day is not. No matter how philosophical or boring it sounds (even I felt the same when I was in college) but it’s a truth that I learned over past 6 years of my design experience.
Start by choosing the company with a must do basic research on company portfolio, it’s market reputation and most importantly what you want to learn from it. Also understanding the scope for individual growth and aspirations.
Your design portfolio is going to act as a mirror for you and your skills. So be thoughtful while choosing a work. Only select the best & unique, as viewer will be interested in the quality and not the quantity. Now a days everyone is techno savvy so try to make an online portfolio or your own website.One of the most important part is showcasing the design process of your work.
If it is a face to face interview, along with your resume & online portfolio try to present some of your best physical models or works as well. It will add interest for the reviewer.
When you aspire a dream opportunity, it can come to you in any form and at any time, so do not wait for vacancies of studios. Just participate in public events, contribute on global or national level design platforms so that many studios can notice your work and rest assured if you are good at your skills, they will pour you with opportunities and offers.
Also, be confident about your work while presenting. Try to highlight the process & thought behind any creativity and specially avoid saying that I have chosen this colour because that’s my favourite one.
When you’re trying to sell yourself as a conceptual person, you need to be able to validate your decision-making because interviewer want to see how you think and that you understand the purpose of design from a business & end user perspective.
Studios always want people with multiple skills. So sell your skills correctly!
So Best of Luck peeps.
http://www.creativegaga.com/articles.php?act=details&aid=371
Nuts anyone?
Story, naming, packaging & visual assets for a start-up.
Can't wait to bite into it? Don't wait. BiteASAP.
Tata CLiQ - Branding in Ecommerce
And this is how a contemporary ecommerce brand gets launched!
Tata CLiQ selfie moment of Mr Cyrus Mistry, Mr Noel Tata & Mr Ashutosh Pandey.
Brand naming, brand identity, visual language, visual assets by Team Elephant!
Symphony partners with Elephant to makes ‘wall-mounted’ air cooler
Key function of design is to improve life for its user and CLOUD from Symphony does exactly that. Team Elephant designed CLOUD, world’s first Wall Mounted Evaporative Cooler that frees you from monstrous air cooler boxes that block windows.
CLOUD uses innovative details and clever packing that enables a fully functional, remote operated cooler including water tank right up there on the wall! In a red ocean cooler market, this design effort is a great example of “Human Centred” product innovation. The cooler draws hot air from top of the room and sends down cool air exactly as desired. The product is a power saver as it consumes about 10% of the power that air-conditioners require and is designed with robust construct in engineering plastics that are recycle grade.
Symphony has filed for a global patent for this unique product, making it the first air cooler company in the world to file for a global patent.
http://www.thehindubusinessline.com/companies/symphony-makes-worlds-first-wallmounted-air-cooler/article8556455.ece#comments
MTR foods - new identity, packaging & story
About the refreshed MTR visual identity:
MTR, the brand with the outstanding legacy, global outlook and millions of happy consumers was looking at realigning its visual identity to the core purpose of rooted transformation.
We decided to retain the basic visual equity of red roundel with white fence and worked on improving the typography for ease & clarity in reproduction across variety of substrates & sizes. We created a bold sans serif brand-mark for cleaner & contemporary presence. We also reduced the picket fence elements around the logotype to de-clutter the identity. Natural ingredients being the core of all MTR products, a fresh green was added to the roundel to announce meaning & mission of the brand.
About the packaging strategy & design:
With changing roles within new family structures and new working patterns, women are not burdened by the need to prove their expertise in kitchens. They see their role as a family manager & look for ways to keep the family happy & healthy. Buying ready to cook, ready to eat & even ordering-in food is seen as a great way to ensure quality time with family. They are open to experimentation & introduce their family to new cuisines with ease. But they want to do this with knowledge. They want to be aware. They want to know the source, the ingredients, quantities, accompaniments, consumption occasions? basically everything.
So when we were given the responsibility of designing packaging for the entire range of MTR products, we decided to dive deep into finding out what the changing consumer will be delighted with.
With a portfolio as large as 140+ products, first thing to do was to discover what works as an equity for MTR and preserve or even enhance that. Next step was to question & evaluate existing information architecture & remove redundancies to make way for cleaner, user-focused bytes. Though it sounds like the most obvious thing to do, we brought in a strong product nomenclature that would catch the eye and remove any ambiguity. We decided to retain the strong red associated with the brand and build upon that by devising a colour code for each category for ease of purchase. We created three strong visual pillars for the product portfolio ? pure authentic, confident contemporary and everyday celebrations. These moods were created within the master visual template to further accentuate the brand expertise and its involvement at every need and stage of the modern consumers' life. Since products like Sambar are available in multiple formats like masala powders, ready-to-cook mixes & ready-to-eat meals, we brought the category descriptor right up followed by the consumption occasion & announcements like time for cooking, whether anything needs to be added etc. A product shot is one of the most important factors for an impulse purchase in foods and our team planned each shot meticulously, keeping in mind time of the day, occasion and accompaniments. Authenticity was built through right serving sizes, ingredient depiction and serving bowls.
Since there is lot of curiosity about food from other regions, we have added a very interesting background of region of origin for every dish. It is a subtle addition, but one we hope will be discovered to the delight of consumers and strengthen the brand's expertise pan India.
http://www.campaignindia.in/Article/401709,mtr-foods-adopts-a-new-identity.aspx
Sanjay Sharma – CEO, MTR Foods, said, “Today’s consumers have evolved quite a bit – both in terms of their food preferences as well their consumption patterns. They prefer Indian food but perceive it to be cumbersome and time-consuming. Our brand is the flag bearer of innovative, easy-to-make, nutritious and authentic-tasting products that take away the time dimension from cooking and make Indian food more accessible to consumers."
He added, “However, as a brand we needed to change to reflect who our key consumers are today. While the new brand identity better represents where the company is today, our detailed growth strategy will make MTR ready for the future. This is the new beginning for MTR Foods and we are confident that the changes we have undertaken and our new brand identity will make us a part of our consumers’ everyday lives.”
Ashwini Deshpande, co-founder and director, Elephant Design, noted that the re-branding exercise involved defining renewed purpose, creating visual identity and packaging communication, evolving portfolio strategy and packaging design for over 120 products, sold as 350 SKUs.
Packed for the season
It feels good to see your products assembled, packed for the season, up there in the stores and most important people using them to make their lives better. Elephant team at manufacturing plant gets into the last mile.
Life of a Problem
Life of a Problem
Extract of my talk this Monday at Elephant about Design thinking and its role in problem solving. Based on 3 stories from authors unknown, stitched together to highlight critical nuances in innovative problem solving.
By ASHISH DESHPANDE, Director, Elephant.
Ask a room full of Designers; if they thought themselves as problem solvers, almost all will raise their hands. However, quiz how many are problem creators? Some hands may go down. Then if one were to ask, how many are problem spotters, what would be the answer?
One day, a fox trundling along a jungle path came across a rabbit typing away on his laptop. Intrigued, the fox asked the rabbit, "What's up?"
"I am writing a thesis on how a rabbit eat foxes", said the rabbit.
"Obviously, you must be joking." said the fox with disbelief.
"Not at all" said the Rabbit and invited the Fox to his burrow to prove the point.
A while later, the Rabbit emerged from his burrow licking a piece of Fox bone.
The scene repeats itself with a wolf and then with a Bear.
The Bear rolled on the jungle floor laughing at the very thought behind Rabbits thesis. Rabbit again nonchalantly invites the Bear into his burrow to prove the point and introduces him to the Lion. *
(*The above story is a summary effort based on http://shortstories.co.in/corporate-lessons-part/. Author unknown)
The genesis of any problem solving lies in problem spotting and for designers’ problem identification is the key to problem resolution. Many a times, like our fox, wolf and the bear, we fail to see the problem. We fail to generate empathy with the situation to spot the problem.
And what happens once you spot a problem, where does the solution lie? My math teacher would have said," Answer lies in the question itself!” However, sometimes the answer requires a catalyst from out side, to help bring the solution to surface, as became apparent to the herd of 17 camels awaiting their fate.
These 17 camels belonged to a successful tribesman from the sands of Arabia. Nearing completion of his life journey the tribesman wrote a will dividing his wealth of 17 camels amongst his 3 sons.
After their father’s demise, the 3 sons read the will. Their father had willed 1/2 of the 17 camels to the first born, 1/3 to the second son and 1/9 to the youngest. The sons wondered on how to meet this strange request by their father and not sure how the division would take place. Soon their bewilderment turned into arguments and quickly into quarrels. The village elders fearing more trouble referred the siblings to a local Saint.
The wise man thought for a while, then called the 3 brothers and told them that he would like to give them one additional camel. Now the 3 brothers had 18 camels. The eldest could take home his share of 9 camels, the middle one got 6 and the youngest was content with his 2 camels. Since 9+6+2=17, there was still one camel left which was promptly given back to the Saint.
Many a times, the solution to a problem lies outside. We need to add to be able to divide. In design, realigning existing set of elements may not solve all problems. Sometimes value needs to be added to bring about a workable solution.
The obvious solution is not always the best solution. Some one famously said , " Most problems are created by a solution". If Ratan Tata (past Chairman, Tata Motors) had focused on a better scooter his solution would have been different. Instead he chose to create a safer, comfortable transport solution and NANO was born. Most of the times, our restricted understanding forces a solution. If we change our perspective, our context changes and so does our solution.
Once a talented carpenter walked into a rich landowners farm. The landowner was in a dispute with his younger brother over share of their ancestral land. Seizing the opportunity of a good carpenter having walked his way, he was quickly hired to erect a strong fence between him and his brother’s land along the river that flowed between their properties.
"I never want to see my brother’s face. Build a fence that will isolate him from me." Saying this the landowner traveled away to a distant place on work. The carpenter was sharp to pick out the problem between the two brothers and set out making a fence. On his return, the elder brother was amazed to find an exquisitely carved fence waiting his sights. However, our carpenter had created small bridges inside the fence stretching across the river.
The younger brother thought that his elder brother had created special bridges for connecting with him and eagerly walked across to embrace him and ask for forgiveness. The elder one though flustered, was moved by the event of his younger brother coming over. In short, the dispute dissolved as emotional bridges were enabled by a solution that was not the obvious. *
(*The above story is a summary effort based on wonderful stories shared on http://www.rajivbajaj.net/ Author, Unknown)
Design is all about feeling, thinking as well as doing. In a manner of process, design begins by sensing a problem or spotting an opportunity to inflict change.
Some solutions are apparent and common sense, but when dealing with issues like disruption, differentiation, wicked problems, part of solution may not lie inside the box. There is no end to the change a solution can bring about. There will be possibilities and spin offs. The way one changes the perspective of looking at a problem will always result in a different end to a problem solution.
Design effort is always towards being receptive to an emergent problem, adding positive value to the process leading to a solution and changing the context to look in a new light helps see new solution enabling a novel lifecycle of problem resolution.
Elephant is India’s Best Design Practice (ET-Brand Equity 2012-2014 ranking) with a multi-disciplinary experience of 27+ years having presence in India & Singapore and has been transforming brands, organizations & businesses using Design led Innovation.
ASHISH DESHPANDE is an Industrial Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, he is a keen Design Thinker, a member of India Design Council & Jury for India Design Mark. He has worked on several design programs, notably, Titan Eye+, Ceat Tyres, Axis Bank, ICICI Bank, Symphony, Paperboat and works on medical & healthcare devices amongst others. Recently, Ashish spoke on Design with Context : Design for Real Needs, at the International Design Congress, 2015.
Innovation for the road
Innovation for the road: how design works with new business & technology
Roadside auto repair is a huge unorganized business in India. How do innovative business modeling, technology and design create radical impact?
By Partho Guha, Director, Elephant
Roadside auto repair shops are mostly run by small entrepreneur mechanics, located in every nook and corner of Indian roads. They tend to serve neighbourhood car & two wheeler owners for simple and quick repair jobs. With the advance of auto industry these small-scale entrepreneurs are constantly redefining themselves and finding their unique proposition. Overall there are a huge number of road size auto repair businesses facing tremendous challenge in staying relevant in today’s market.
Repair Mechanic business is neighbourhood oriented. They are small scale operations where the owner usually is the chief mechanic playing multiple roles like procurement of parts from market, accounts, trainer, liaison and such.
Autoji, is a young start up with a vision to create a differentiated business by making these auto repair shops to reinvent and be relevant. Taking up the role of being their support in re education, in-time doorstep supply and marketing their services. It is a technology based, scalable model to upgrade this demanding business.
Elephant worked on a Design led process to create “Autoji” along with R Sriram of Next Practice Retail & the AMG team. The team lent a language to the value proposition, brand, communication framework and design of retail space & expressions.
The process began with a deeper understanding of the auto repair shop and eco system. The team spoke with several repair shop owners, workers, fleet repair workshop owners, existing retail to look at gaps in the needs, gaps & aspirations.
The final solution was a combination of tongue in cheek, street smart identity that lent respect to the service and was bold enough to be looked upon as a reliable service & supply partner, enlarged toll free connect, an application, a delivery van and an efficient supply space.
Trust was build through a series of icon-based communication. Many repairmen have low education or are used to local language & scripts. Using strong sense of visual icons and local script helped connect with the main customer base.
It is important that the language that is used and facilities for service connect with the key user segment.
The retail proposition was kept simple and functional with a emphasis on organized appeal, appropriateness and lower cost proposition. Autoji is a good example for how design can be an enabler for the business and is not a cost heavy investment.
“Design is not always about fancy store fit-outs, flashy neon lights & marbled floors. Design is about creating a user aligned business proposition, its is about new, relevant and differentiated service offering that uses technology as a enabling platform. Core focus remains the user.”
Elephant is India’s Best Design Practice (ET-Brand Equity 2012-2014 ranking) with a multi-disciplinary experience of 27+ years having presence in India & Singapore and has been transforming brands, organizations & businesses using Design led Innovation.
PARTHO GUHA is a Visual Communication Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, he regularly conducts workshops on design thinking & strategy. Partho is a passionate painter and divides his time between design process application, design led business strategy & roadmap and innovation.
How does Design affect business ?
How does Design affect business ?
"Design is as much craft as it is insightful thought."
Like we say at elephant, doing a cool design for "limited edition" is alright, but what can we do it for a mainstream product that sells in excess of a million every single day!
Britannia breads packaging needed to reflect the positive & healthy change in recipes. With misconceptions around brown, wheat, whole wheat & so on, we wanted to give each variant a distinct identity so that consumer is fully aware of what she/ he is picking up. With a conversational tone and cheerful illustrations, this sure is a welcome change for these loaves… about 1.5 million of them are selling like hot breads now...
Bready affair...
Centre of Excellence, Elephant, Team, Pune.
Battle of Greens
Battle of Greens: Different approach
Are designers, architects waging a lone battle when it comes to Green Products & Practices? With Paris agreement looming large, it is a good time to do a reality check on how businesses should approach the problem.
By ASHISH DESHPANDE
“Design, if it is to be ecologically responsible and socially responsive, must be revolutionary and radical - Victor Papanek
Victor Papanek, was rebel with a cause. An Austrian designer, he relentlessly campaigned for designers and product manufacturers to make their articles relevant, meaningful & sustainable. This father of responsible design was even critical of the design fraternity, beginning his seminal book, Design for the Real World with, "There are professions more harmful than industrial design, but only a few… following up with ... by creating whole species of permanent garbage to clutter up the landscape, and by choosing materials and processes that pollute the air we breath, designers have become a dangerous breed."
Though designers are crucial to the creation of products & environments, they do not constitute the sizeable decision making machinery in corporate juggernauts. Whipped into being morally responsible many designers have fallen into line, however do they have control?
The Paris Agreement on climate change saw 195 nations give it a nod. However, notably 5000 businesses from 90 countries have agreed to align and support the global agenda towards a properly sustainable & low carbon world. This is a recognizable outcome of COP21 and will call for a fair bit of transparency framework and practices to be adopted. Against this backdrop where do producers of products and services stand today? What is the degree of practice shown by business concerns today that is environment friendly and sustainable? As designers, it is important to take a hard look at the playing field.
Who is thinking Green?
In my entire retail & product design experience & career across clients, across domains, I rarely encounter clients with genuine concern for sustainability. Mostly, it has been designers and architects, who bring the focus on sustainable development or Green Design into play. Corporate structure necessitates several point of views getting channelized into the decision making process. Designer’s concerns have a tendency to lose itself in a deluge of constrains from all stakeholders. MNC’s and large corporates take the cause of Green Design based on requirements of statutory regulations, audits & company law compliance reports. Others do it to satisfy & earn green point awards like Energy Star, Design for Environment, Watersense certifications by EPA, EPEAT, Greenguard-UL, GRIHA or LEED certification, more propelled by market driven competitive spirit than any genuine concerns. Green concerns have always been secondary. Most producers are motivated by long term monetary savings, or operational benefits that green products bring to their business.
The “green & good for environment” part is a by-product of fiscal decisions. So, the priorities today can be stated as;
· Operational expense savings
· Company law regulations, environment policy mandates
· Competitive advantage
First is the prime mover for “Green decisions” in corporates. The second is a legal necessity and the third is the story. However, all require a Design Thinking approach to make the impact stick with people, deliver monetary & habit change and be good enough to bear the “green edge”.
Design is one such asset capable of enabling a “green edge” within a production setup, provided Design teams start dropping their blinkers and business leaders open their minds.
Stepping beyond singularity
Design teams tend to stick around creative ideation as their strength. A large part of this creative energy goes towards focusing on the Product or Service, form, function & experience. A product or services are interaction cores of a larger engine that makes solutions happen. Design needs to enlarge focus beyond the fuzzy elements of product solutions. Rarely do Designers concern themselves with manufacturing processes, materials with reference to its impact on our environment. Most follow the producers set up as an overriding constraint to design. It is interesting to bear in mind that a product or service is not alone. It comes heavily loaded at one end with manufacturing systems and on the other end with logistics of market access, retail & consumption. A sum total of this value chain is the impact of a “Design” on environment.
This value change can no longer afford to be linear in thought process and remain in isolated silos of excellence, rather play like a football team with a unified objective.
Creators & producers need to proactively look beyond ideas into product optimization, cleaner production, life cycle assessment, cradle to cradle, extended responsibility and environmental impact assessment as part of their design process & tools, both in development & route to markets.
Existing development process leading to incremental impact
Avoiding white Elephants
Green Innovation will happen, provided the thought is holistic and across the value chain. Newer practices will add up to the expenses, however, eliminating waste, sharing resources may be light weight methods of lowering costs and offsetting any new“green” expenses without business disruption.
It is sad to see that most “green energy” transport solutions today, are the most “expensive” transport solutions. Herein lies an opportunity for “creative” approach towards ensuring both “green” (environ & monetary) returns on investment made.
Many a times policies can be binding, like take the case of restrictions on use of thin plastic grocery bags. Prior to the bags coming in market through grocery chains and standalone shops, cloth & paper bags were prevalent. Years after restrictions were executed, the industry has not been able to promote alternatives. Paper bags are laborious to manufacture, not sturdy & have their own issues, cloth bags have not become re-popular. The industry has invested huge into plant, materials, machinery & markets that prevent it to see a linear solution in sight. Solutions at present are incremental or too expensive and need a creative thought from a different viewpoint. This calls for a mind & process shift by creating a new development process based on Design Thinking.
So, Industry focus must shift and businesses can start investing in co-creative development teams to make the future greener. New areas of focus for redevelopment can be one or all of the ones stated;
· Power & Energy (Reduce consumption, Green source, increase efficiency)
· Resource consumption and waste (localize, Reduce, Share, Reuse)
· Production materials (low carbon rating, low pollutants)
New development process based on Design Thinking leading to Radical impact within Resource limits
Mahindra Reva’s e2o is a good example. The design team went beyond the traditional indulgence of vehicle design into adapting efficient green production process, unconventional materials, solar charging and regenerative braking technologies and even new ownership programs to make buying affordable. The effort resonates of all round contribution at various levels & verticals. However, the car still leans on government policies & subsidies and has not yet managed to make the end price attractive for making box office hits. Reva since inception has been a green focused business and so it is not surprising. It will be interesting to see the learning from recent projects making their way into the diesel guzzling SUV platforms from the Mahindra stable (recent diesel SUV ban in Delhi, NCR area). That will be a remarkable example of “green impact”.
The way to do this is to work with cross-functional teams as a start point with Design Thinking as a primary enabling tool & framework for development. This presents a new challenge for designers as well as an opportunity to create more relevant, holistic & eco-friendly solutions. Moving focus away from traditional playgrounds for design development teams to new areas for innovation is a route with guaranteed success in the “Battle for the Greens”. Though, Design Thinking may “no longer be a competitive advantage” for companies, as questioned by Tim Brown, CEO, IDEO (HBR Post), design & design thinking are still good enough to ensure a “greener” tomorrow.
No better time to start the change, than now!
ASHISH DESHPANDE is an Industrial Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, he is a keen Design Thinker, a member of India Design Council & Jury for India Design Mark. He has worked on several design programs, notably, Titan Eye+, Ceat Tyres, Axis Bank, ICICI Bank, Symphony, Paperboat and works on medical & healthcare devices amongst others.
Asia Meet: A Dialogue in Bangkok
Asia Meet: A Dialogue in Bangkok
The Design Alliance Asia recently held an “Asia Meets” event in Bangkok. The meet saw a sharing of thoughts and discussed the flow of design in Asian countries. Design team from Elephant reflects on a few insights learnt from the meet.
Designers In conversation
ASHWINI DESHPANDE, ANAND PALSODKAR, MAYURI NIKUMBH, SHRISH TILEKAR, PRASAD KENKRE, PARTHO GUHA & ASHISH DESHPANDE
STATE OF DESIGN IN ASIA
Anand:
As I think about state of Design in Asia at a larger level, one wouldn't agree more with Thomas Friedman when he says that 'The world is flat' and perhaps becoming flatter as we head towards the future.
Prasad:
If one utters the word design, none of the Asian countries actually come first to our mind. Mostly European countries like Germany, The Netherlands are strongly associated with design. Design as a field in Asia still largely remains misunderstood to the vast amounts of population. “Design is vast and covers everything from ceramics to aeronautics is Design”.
Shrish:
Since the Asian culture is deeply rooted with history of several years, it vastly differs in religion, language and beliefs. Most of the design, hence, is a result of very long evolution within each of these diversities. This evolution and diversity of design is very evident in all its forms, like architecture, town planning, products and so on.
Partho:
The economy in South East Asia is presently in a depressed state and design profession and projects are affected by it. Design projects around real estate development are on the rise and interesting design projects are happening there. Asian Designers are quite evolved in terms of new principles and expressions in the cutting edge of design. Be it use of Design Thinking process or innovation in social media expressions, Asian
Designers are more vibrant and much extent leading the world.
Mayuri:
If one considers professional design practiced by Asian designers, the scenario is very promising and there are clear indicators of intense & original thinking, well-set processes and excellent execution being carried out. However, design percolating in everyday lives and its environment, is still a dismal situation. There is an absence of sensitivity towards the visual landscape. There seems to exist a parallel set of worlds, where design on one hand is shiny, digital and larger than life world heavily influenced by modern Orient and on the other hand there is the imagery and essence inspired by traditional elements, architecture and practices.
Ashish:
There was a period in Asia when internal consumption was limited, mainly, due to poor economic conditions. Countries had to look west for technology & markets. Today, Asia is changing. Asian markets are strong & local consumption can sustain economies. Most Asian countries gave up their habits, customs, and traditions in the period between 1950-1990 and aligned themselves to the developed world. However, there is a noticeable shift seen. Design in Asia seems to be aligning itself back to its roots and the results are astonishing.
Shrish:
While it is great to see and experience such diversity in design, at times it can also become very selfish. It gets too restricted to a particular type of people or a section of the society, while in its true sense it should be enjoyable by all. Coming from cultures with such deep roots, we often lack the vision to look beyond all these boundaries to create a holistic and global design.
Ashwini:
Design as an organized, professional activity or service is nascent in most of Asia. In places it has taken shape from strong cultural art such as calligraphy or traditional materials such as bamboo or handloom textiles. However, all the mass produce design took its inspiration from the west, which as that part of the world was a front-runner in industrial development.
INFLUENCE OF LOCAL CULTURE
Mayuri:
It was heartening as well as inspiring to see a lot of influence of local culture and traditional forms in modern day design. The Arabic typography projects shared by Designer
Tarek Attresi, drew a lot of inspiration from local calligraphy & markings, yet is global & contemporary. Traditional objects from local culture creatively inspire designer Pham Huyen Kieu’s, Haki Craft objects.
However, the corporate work done is very much global in approach & appearance. The bank branding done by Color Party, Thailand or the
products designed by NDD Design, Taiwan are truly global.
Ashish:
Yes, Design inspiration can stem from traditions & customs. However, in Asia, it also draws from local needs & economic conditions. That is why many times to make economic sense, design needs to have a universal appeal. Design & Designers in Asia tend to play a dual role. You see this prominently in Colour Party, Thailand or NDD Design, Taiwan work. However, William Harald Wong, Malaysia museum design draws sensibly from local folklore & crafts. The same can be said about the Book project shared by Subrata Bhowmick.
Shrish:
Evolution is still continuing around the same factors like traditional habits, religion. The original essence of the design is maintained to a certain extent making it very local and specific to particular region or country.
Prasad:
Design needs to solve problems. If a designer does not understand the culture of the people for whom he or she is designing, then it is sure to end up creating more problems. Understanding local culture, language, lifestyle of people and its nuances is critical. A designer fails if he is Insensitive to this and does not make a genuine attempt to actually understand culture and the people in context of the problem.
Shrish:
Though the problem would remain the same it is simply astonishing to see various solutions we would have in different parts of the country or the continent. These solutions are derived form the local culture, behavior and beliefs of people. The long-term solutions that would require a global and holistic approach often get neglected resulting in local design and design approach.
Partho:
It is still a challenge for Asian designers to align their solution to the cultural ethos and principals. Most of the culture led design, incorporates certain traditional motif and patterns in their solutions very successfully.
Anand:
Profession of Design has always functioned as a reaction to the needs
& aspiration of people, markets and technology. Aspiration of people is still largely driven by what happens in the Western world.
Developed countries have always been on the forefront of technology and design. Design in Asia seems to follow “the west”.
Leading brands today develop their markets based on the 'economy' of the geographies and design simply caters to that. So in such cases, I see very little or no influence of culture or region on Design in Asia at least as far as Industrial Design goes. Not sure if this is a point of concern or not, but it surely is reflection of The Flat World.
Ashish:
Let me take a few examples. The Rattan chair designed by late Irvan Noe’man, BD+A which received Good Design Mark, Japan and the Bhoomi pot series designed by Elephant, India are good examples of Industrial Design drawing influence from local crafts, customs. Freeman Lau’s chairs and much of the package design work by KL&K, Hong Kong are classic contemporary interpretations of regional crafts and customs.
Anand:
In 50s, Honda developed a motorcycle ('step through' segment) for SE region catering to the local needs of traditional clothing (read culture), muddy &
bad roads and affordability. This was a huge success. Today after many years the segment is still very popular, albeit people who do not dress traditional, have smaller families and road conditions are far better than in the past.
FUTURE OF DESIGN FOR ASIA
Shrish:
The problem of integrating local design with global approach must be taken up very seriously and in a very effective way.
Prasad:
Design in Asia has slowly but surely started getting recognition. Increasingly more and more governments have started noticing the changes that design can make. They are actively promoting design like the example we saw at TCDC in Bangkok. It also very strong in Hong Kong through Hong Kong Design Centre and various organisations & activities. This is a Positive step.
Mayuri:
The future of Asian design is on the right path of becoming a strong element in the DNA of big corporates. However, there is a need to stay rooted and retain our identity in design expression wherever possible. There are of course cases when design solutions are required to be more universal or westernized but eventually Asian designers are predominantly designing for Asian consumers and we need not ape western concepts blindly. Each Asian country has its own unique quirk and character. Designers here are trying their best to retain or imbibe these in their design solutions. If we keep at it, Asian design can really make its own mark and be recognized for its own brand of design, else the boundary between design sensibilities across borders and continents will keep merging and Asia will be seen as cookie cutters!
Ashish:
Asia presents a brilliant opportunity for designers. Take example of Hugh Hu of NDD Design, Taiwan, who has been curating design efforts by local Taiwanese Designers to draw from traditional habits & crafts to design objects with new meaning. Staying rooted with new meaning is one of the path.
Shrish:
As a result of being Asian, I see design making a great mark in the world. Asian design ranges from very complex and intricate designs to a very minimalistic design approach and this variety is gaining popularity worldwide. Strong traditional and regional influence coupled with a global approach will make the proposition very interesting and unique. This approach to use the power of design to create change may start a revolution that will affect the lives of each and every person in Asia in a very big way.
Prasad:
However, Design in Asia should focus on solving developing world problems e.g., Lack of Sanitation, maximizing with limited resources. Designers underestimate the Power that Design can make if it solves a single Problem. The implications are humongous as millions of people can be effectively affected by a single design intervention.
Design in Asia is definitely moving forward, albeit at a snails pace and lots still needs to be done to make design gets its due.
Partho:
The learning from the west is more or less complete and now there is a lot more respect for culture influenced design. Keeping with the overall cultural progression of Asian societies, expression around traditional mixed with western is emerging. Other cultural expressions like Music, Cinema, Painting, Writing in Asia is following a similar path. Overall Asian design is maturing and ready to take on a new path, which is culturally deep, technologically expressed and relevant to modern way of living.
Elephant is India’s Best Design Practice (ET-Brand Equity 2012-2014 ranking) with a multi-disciplinary experience of 25+ years having presence in India & Singapore and has been transforming brands, organizations & businesses using Design led Innovation. Apart from being a thought leader in the field of design, especially in emerging markets, Elephant has made significant contributions through design to Paperboat, Symphony Appliances, Bennett University (TOI Group), Axis Bank, City of Pune, Britannia, MultiX, V Wash, VOOT and even social initiatives like Pune Bus day, Sakal Group amongst several others.
The Missing Esslinger
The Missing Esslinger
As they say, the search continues, yet the journey stemming from an inspiration has yielded results.
By ASHISH DESHPANDE
Hartmut Esslinger1 caught my imagination during NID2 days, way back in mid 1980's. As students, we would spend hours at NID's Resource Center (library), reading rare periodicals like DESIGN, ID and FORM. These magazines were our windows to Design in the western world (remember, there was no Google, those days). Esslinger & his firm, FROG, represented the epitome of design flow. He was enigmatic and the work being done by frog was an inspiration. Young FROG, a student initiative by FROG was to be ogled & drooled over, and the little haiku3 quotes were the seeds for our day to day philosophy & debates.
As students, we would wait for the next periodical to arrive with the latest FROG creation. We dreamt of designing Skate Boots, Computer Work Station’s, Walkman's, all fired up by the 6 month old news provided by the “customs approved , imported & late arrival edition” of ID, Design or FORM magazine.
Stepping out of NID, armed with a graduate diploma in Industrial Design, I quickly discovered that there were no Skate Boots to design. There were no Macintoshes or Walkman's in India. India presented a different opportunity to look at design, playing to an unexplored field of functional needs of a developing nation. We had basic concerns about water, energy, health , hygiene, productivity that needed attention. Design business had to survive in a fledging economy by proving itself. The “Esslinger dream”quickly became an enigmatic inspiration of what an ugly Elephant4 could transform into one day.
27 years later, I was recently invited to speak at International Design Congress, 2015, at Gwangju, Korea. I scanned the list of key speakers and found Dr. Hartmut Esslinger, founder, FROG5 was speaking on day 2. This got me super excited. Listening to Esslinger was the closest, I would come to my Esslinger dream as a student. I grabbed my 2kg copy of Esslinger's latest book Design Forwardand lugged it all the way to Gwangju. The thought of listening to Esslinger live, getting my copy of his book autographed sentKimchi6 textured goose bumps all over me. I even included a quote by Esslinger in my talk at the conference.
Dr. Esslinger never arrived. No one explained. I re-read a few lines from his book after two days of carrying his book in my back pack and set it down into my luggage for its journey back to India.
May be, I thought, the journey is still incomplete. It began 30 years ago as an inspiring dream, morphed into co-founding anElephant4. Till today, the search continues for the missing Esslinger.
Maybe, one day,
"The old pond,
a frog jumps:
Plop!” – Bashô 7
the sound waves & ripples might lead our Elephant to find the Frog.
1. Dr Hartmut Esslinger, Industrial Designer, founder FROG
2. NID, National Institute of Design, Ahmedabad, India
3. "Haiku" is a traditional form of Japanese poetry
4. Elephant, is India’s premier design consulting firm
5. Frog, is a global design and innovation firm founded in 1969 by industrial designer Hartmut Esslinger
6. Kimchi, a vegetable side dish in Korea
7. Haiku Poem by Bashô quoted by FROG
ASHISH DESHPANDE is an Industrial Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, he is a keen Design Thinker, a member of India Design Council & Jury for India Design Mark. He has worked on several design programs, notably, Titan Eye+, Ceat Tyres, Axis Bank, ICICI Bank, Symphony, Paperboat and works on medical & healthcare devices amongst others.
Recently, Ashish spoke on Design with Context : Design for Real Needs, at the
Trophy Design: Sublime interplay of craft & emotion
Trophy Design: Sublime interplay of craft & emotive sensibilities
What is the reason to give trophies at events? Some learnings from our past and a few examples from our present.
By ASHISH DESHPANDE
“When I won in 2003, never in my wildest dreams did I ever think I would win Wimbledon and have my kids seeing me lift the trophy, so this is pretty surreal.” – Roger Federer
I am sure it was the level of the game, the competitive spirit, ability to win that mattered the most to the world numero-uno tennis champion; however, the trophy represented a chiseled memory of all that effort in an iconized form.
The word trophy is derived from the Greek word Trapaion, which represented spoils of the battle collected by the victorious. TheseTrapaions were proudly displayed at the battle field and even back home to celebrate & etch into memory, defining moments of a battle or an event. The trophies in this period were battle arms, body parts, amphoras, columns and in later years, Chalices. Hunting trophies were animal heads adorned on plaques and hung on walls.
The word trophy coined in English in 1550, was derived from the French trophée in 1513, "a prize of war", from Old French trophee, from Latin trophaeum, monument to victory and many were dedicated to Gods. Chalices were given away since 1600’s as trophies at sporting events.
The Loving Cup at Wimbledon is a cup shaped trophy, a human figurine iconizes the Oscar awards. The FIFA World Cup is another famous trophy, designed by Italian Artist, Silvio Gazzaniga, who described the trophy thus, "The lines spring out from the base, rising in spirals, stretching out to receive the world. From the remarkable dynamic tensions of the compact body of the sculpture rise the figures of two athletes at the stirring moment of victory."
A trophy today, represents a miniaturized sculpture, an exclusively crafted, unique embodiment of emotions, brand values all brought out through immaculate craft work, materials and finishes. A trophy design represents the dual nature of design wherein, design as a craft, and design for emotive response takes precedence.
There are a few other themes under which trophies are designed for a variety of intentions;
Activity Icon
Overdrive Awards, celebrates excellence in the automotive world. The trophy iconized the gear-shift knob in an elegant poise. The shaft that bears the knob is more human in expression than mechanical. The trophy was originally conceived in brass but later versions have been created in aluminum investment casting, with shot blast finish. The crystal is polished, faceted glass.
Overdrive Awards
Pursuit of Excellence
Nobel laureate and founder of the Grameen Bank, Dr. Muhammad Yunus was conferred the “Person of the Year” award by Sakaal Group. The award trophy embodied the prestige through a lotus, representing quest for knowledge in mud and a crystalline bloom that reached out for the sky as a symbol of excellence. The trophy was handcrafted in copper sheet and the glass crystal is hand polished.
Theme Building
Brand values and themes need to be distilled to celebrate those who strive hard to achieve the values through their work. Many of these are professional achievements or corporate motivators.
The Suzlon One Earth award represents sustainability concerns. The award encompasses a fragile Earth represented by a transparent globe surrounding by a hand-crafted universe of all that we stand for in this world. The trophy is crafted in copper with engravings representing a humanized effort.
Mobility Vision is a program to design a transportation solution for emerging economies. The trophy highlights the logo of the completion, a visionary eye. The trophy is machined using aluminium block, shot blasted and anodized for the final finish & effect.
C Mission trophy
The “C-Mission” Compliance Award is an annual recognition of those who excel in legal compliances by Legasis. The trophy form is indicative of excellence and precision towards 100% compliance while 3-dimensionaly projecting the “C-Mission” brand logo.
Form factor and materials play a key role in evoking the right response from the beholder of the trophy. Design plays a key role in establishing keen understanding of theme, brand play, materials, finishes & production processes.
ASHISH DESHPANDE is an Industrial Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, he is a keen Design Thinker, a member of India Design Council & Jury for India Design Mark. He has worked on several design programs, notably, Titan Eye+, Ceat Tyres, Axis Bank, ICICI Bank, Symphony, Paperboat and works on medical & healthcare devices amongst others.
Intimate Hygiene: Story of a package brand & dispensing solution
Intimate Hygiene: Story of a package brand & dispensing solution
What makes an intimate hygiene product connect to women? Evolving touch points for the product system, where perception, communication & feel are critical.
By ASHISH DESHPANDE
With mass urbanization, longer commutes and longer hours away from home, personal hygiene issues are no longer a rarity nor taboo in urban India. There is a growing acceptance of new age grooming needs and solutions are being sought to take care of all eventualities.
However, there has been very low awareness on intimate hygiene and the fact that regular cleaning products are not suitable for the purpose is not known. Also, most women reached out to curative solutions when they faced issues and they were not even aware that there were preventive products. With years of strategy & action by FMCG majors, sanitary pads have managed some visibility at the shops. But intimate hygiene products are nascent in India and retailers were not willing to allocate any display space to these products.
How does one get modern urban woman’s attention and communicate that intimate hygiene is an essential part of her everyday grooming? What does design do to contribute to her intuitive yet informed decision-making mind?
We interacted with potential users, women who were able to make their own grooming choices based on their needs. The central idea of these interactions was to understand their sense of comfort, apprehension and engagement. They were open to new ideas, however, there was complete lack of awareness about de-merits of using regular soap & water, changes in PH balance during cleansing for maintaining hygiene of vaginal & uterine parts of the body.
A medicinal bottle structure was considered an embarrassment, as she would not want to wrongly communicate any medical condition.
Design research team keenly looked at her bathroom to understand the kind of products she was using. They deducted that women would be comfortable if the product matched aesthetics & usability standards of their other products like conditioners, body lotion, hand-wash etc.
Outer packaging also needed to play triple role of;
1. Attract
2. Engage
3. Educate the right set of values.
The design team created ideas that explored colour, form, communication & materials. Ideas were repeatedly tested with user groups to understand comprehension, apprehensions & acceptance.
The form of new bottle dispenser design is asymmetrical yet smooth. It is intuitive the way it is held and aligned for use. The form is focused towards a woman of elegance standing tall and with poise. The bottle cap is like a crown quickly moving the product from a curative to a personal grooming category.
It was pertinent to make the brand come alive for the smart & confident woman who makes informed choices. Brand logo is clean, contemporary & no-nonsense.
Cuing reliability & efficacy along with personal-care codes was an important decision that the design team took. While staying within feminine pinks, pastels were avoided to get away from any undue cues since this product has no unnecessary additives like colour or fragrance. Brand palette was dialed up with a dense magenta. Metallic substrate and silver added to the expertise & efficacy.
In terms of communication, the team decided to focus on PH balance of V-Wash, the single most point of distinction to educate the user with a simple & easy to understand infographic.
ASHISH DESHPANDE is an Industrial Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, he is a practicing designer, a keen Design Thinker, member of India Design Council & has been a Jury for India Design Mark. He has worked on several design programs, notably in consumer appliances, medical & healthcare products, packing & display structures, furniture amongst others.
Service Design : Looking at Clues
What does the mini bar tell you about service design? A peep at how the hospitality industry could focus on customer experience.
By ASHWINI DESHPANDE
At some point, in some city, most of us have landed up checking into a hotel at an hour when one is too tired to order & wait for the room service, but could do with a tiny sip & snack.
All hotels know this. And so they have the mini bars! Yes. Those tiny refrigerators that hold juice boxes & soda cans and also the cookies & chips in the vicinity outside. And then there would the most un-miss able list of all the items with prices that look like you could have bought five of those in that money.
It seems Siegas, a German company, first invented a mini-refrigerator in the 1960’s. Some luxury hotels in US used the mini fridge in some of their suites. However, it was Hong Kong Hilton Hotel, which first institutionalised this idea in the mid seventies. It was based on a unique user & business insight. It made such sense to the guests that the hotel is supposed to have recorded 500% increase in their in-room beverage sales in just a few months. Every hotel followed suit and it soon became a standard fixture in all hotel rooms across the world.
Now, this solution has its own problems. Recording, tallying & collecting money against the sales has been a source of concern for most hotels. There have been various ideas to counter thefts or record consumption accurately. This includes weight sensors & infrared sensors. However, sensors can only record removal of an item from the fridge. They are not a proof of consumption by the guest. It is a fact that at the time of checkout, guests are always in a hurry. It becomes impossible for hotels to get the mini-bar checked before a guest departure.
During a recent stay at Icon Hotel in Hong Kong, to my surprise, everything from the mini bar was free and was replenished every day. It was a sheer delight, which the hotel possibly managed in less than 20 HK$ a day out of the 2000 HK$ they were collecting per room night. Just last week, my travel bag & me, we found ourselves at a luxury 5 Star in Mumbai. And the surprise? Yes! Not a pleasant one. The mini bar was empty!
Adonis Hotel, is a boutique hotel experience designed by Elephant, that focuses on the needs of travellers centered around business, journey & stay
Adonis Hotel pictures from www.hoteladonis.com
Well, this note is not just about mini bar. But about solving a wicked problem such as this one by using service design principles.
First & foremost, service design needs to be centered about users. Always.
Besides the core experience, service design must take cognizance of before & after scenarios. For example, if a spa experience is being designed, the team needs to look into how the service would be reached & booked, how the user would get there, how he or she would park & identify the outlet and what will be the residual memory after the user has left the spa. This may start with an app and end with a branded product range to carry home or a loyalty program that offers discounts or an exclusive blog; depending upon where the competencies lie and what seems most valued by the users.
This brings me to the other important factor of team competencies. Empathy towards the user is very important, but a service must be built with empathy to service giver as well. There is no point in designing an experience if the team cannot be trained & motivated to deliver it. Impromptu dance by Hard Rock Café staff resonates only because they are motivated to deliver it well, day after day. So the experience is best co-created with all stakeholders.
No matter where, people are bound to look for a tissue only after they wash hands. So sequencing of events & imagining every possible scenario from the users’ perspective is an essential component of building a great service.
And finally, it is important to have an open & experimental mindset while designing a service especially, if it has to be pleasantly differentiated. Indigo airline’s I O U notes are a great solution to take care of awkward anxiety of passengers towards balance amount from the food orders.
So, what does the mini bar tell you about service design?
Elephant is India’s Best Design Practice (ET-Brand Equity 2012-2014 ranking) with a multi-disciplinary experience of 25+ years having presence in India & Singapore and has been transforming brands, organizations & businesses using Design led Innovation.
ASHWINI DESHPANDE is a Visual Communication Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, she is a prolific speaker at several international conferences & workshops on design. Ashwini has been a jury Cannes Lions, Design for Asia & Spikes Asia Awards. She is a subject expert on Brand Identity Programs, Package Design & Colour Trends and known for her highly effective work for Britannia, Paper Boat, Nirlep, Gillette and Daimler Auto.
Smart City: Exploring the Myth
What is Smart City: Exploring the Myth
India PM, Narendra Modi, announced his vision of Smart Cities across India recently. There is also an announcement of 98 cities that will benefit under this initiative. Smart city concept explained through a series of info graphics
By ASHWINI DESHPANDE
Indian Government’s definition of Smart City focuses on improving the conditions of Indian cities to make them more livable and friendly. This also includes improving infrastructure facilities and creating better environment for investors. While there will be large budgets allocated for the development, public participation and citizen voice will form the backbone of this initiative.
Policies & government initiatives always mean well, however, it is very difficult to communicate the extent of an initiative to ordinary people. Government programs are mostly verbose with a healthy sprinkling of legally safe lexicon. People need to understand these programs, their benefits and extents to be able to participate. Communication needs to be broken down and abstract concepts iconised to put across simple & quicker understanding.
How does technology simplify our lives? Demystifying technology and applying to examples from our daily lives communicates the usefulness of its application.
Others have done it ! Why can’t we do it? Info graphics helps create a picture of key benefits of smarter living in other parts of the world.
And finally, how does all this smart thinking, smarter living in smart cities, change my life as a citizen. It is important to talk to people and put across their thoughts on how smart cities will affect various facets of their day to day living.
Elephant team worked with Sakal Media Group to create simple communication & infographics that explain the concept of Smart Cities along with a case study & voices of prominent personalities on their vision of Smart Pune City.
Elephant is India’s Best Design Practice (ET-Brand Equity 2012-2014 ranking) with a multi-disciplinary experience of 25+ years having presence in India & Singapore and has been transforming brands, organizations & businesses using Design led Innovation.
ASHWINI DESHPANDE is a Visual Communication Designer, Co-founder & Director at Elephant. An alumnus of National Institute of Design, Ahmedabad, she is a prolific speaker at several international conferences & workshops on design. Ashwini has been a jury on Spikes Asia, Design Lion Cannes and Design for Asia Awards. She is a subject expert on Brand Identity Programs & Package Design and known for her highly effective work for Britannia, Paperboat, Nirlep, Grandmaster, P&G and Piramal Industries.