Topic: architecture | authors | design education | design entrepreneurship | engineering & technology | fashion & textile | furniture & interior | general | graphic | human resources | industrial & product | landscape | people | reviews | university research | web
Date: 2013 | 2014 | 2015 | 2016 | jan'17 | feb'17 | mar'17 | apr'17 | may'17 | jun'17 | jul'17 | aug'17 | sep'17 | oct'17 | nov'17 | dec'17 | jan'18 | feb'18 | mar'18 | apr'18 | may'18 | jun'18 | jul'18 | aug'18 | sep'18 | oct'18 | nov'18 | dec'18 | jan'19 | feb'19 | mar'19 | apr'19 | may'19 | jun'19 | jul'19 | aug'19 | sep'19 | oct'19
The timber architecture revolution has arrived in Norway. (Almost.) | MSN, 05 nov 2019
Can technology enable and supercharge creativity? | The Drum, 05 nov 2019
Why it is important to design for ecosystems, and not just for users: Simone Rebaudengo, automato.farm, Shanghai | YourStory, 04 nov 2019
Philippe Starck: 'Design Is Going To Disappear' | Forbes, 04 nov 2019
Can design help break our addiction to single-use plastic? | Quartz, 04 nov 2019
Wes Jones on Honesty and Humor in Design | ArchDaily, 04 nov 2019
Dezeen's guide to high-tech architecture | Dezeen, 04 nov 2019
The 37 Most Important Interior Design Moments From the Past 100 Years | Architectural Digest, 01 nov 2019
THE CONSTANT EVOLUTION OF PRODUCT DESIGN AND HOW SEMANTICS STOLE MY JOB... | Yanko Design, 30 oct 2019
Pineapple leather, anyone? Vegans are transforming the way they furnish and decorate their homes | Los Angeles Times, 30 oct 2019
Mohammad Anas Wahaj | 24 oct 2019
Christopher Charles Benninger, India-based US architect and author of the book 'Letters to a Young Architect', while speaking at a World Habitat Day event in Kochi (Kerala, India) advocates that Indian students should not go to US to study architecture citing higher cost incurred and subsequent settling there, but instead, they should spend 8-9 months travelling across India to see the country's traditional architectural marvels and the materials used for their construction. He suggests that architects should make use of the local climate, materials and labour force. V. Sunil Kumar, founder and MD of Asset Homes, says, 'Among the economically-backward people of India, there is a dearth of 2.5 crore homes while lower income group also lacks 3 crore houses.' Read on...
Mohammad Anas Wahaj | 05 aug 2019
People with the twin passion of design and development of new products can transform into design entrepreneurs. They are able to control both the design and business processes. Vijayant Bansal, founder of World University of Design (India), explains what it takes to be a design entrepreneur and explores the shifting landscape of design entrepreneurship in India. He says, 'We are in the midst of a design revolution and increasingly design is gaining a lot of focus...But it's not easy starting from ground zero and working yourself towards achieving credibility, recognition and last but not the least, generating demand. This involves having to create a balance between what we want to create with what the customer wants; what is possible technically and how much of a resource pull will it involve.' Contemporary design entrepreneurship includes new product development, restoring crafts, innovating existing products and providing design services based on new & emerging technologies. Explaining the design revolution, he says, 'Designing is undergoing a metamorphosis, aided by new technologies and digital transformation of today. New and disruptive technologies like Artificial intelligence, IoT, Machine learning etc., are the biggest enablers, disrupting traditional processes and systems, enabling out of the box thinking and new ideas, which in turn reshape the entire user experience.' Universities can play an important role in guiding and mentoring students to pursue design entrepreneurship. Industry experts can also play a role in this and enable students to participate in hands-on training. Virtual products have also expanded the scope of design entrepreneurship with designers engaged in designing and developing games and apps. Design entrepreneurship is the new career paradigm. Mr. Bansal suggests, 'Today the scenario has undergone a sea change, with almost every industry, be it apparel, automobiles, film making, animation, product design or gaming, with design playing an intrinsic role in the entire process from an idea to the end product. It's worth the challenge if financial security and stability are not foremost on your mind and you have the patience and inclination to see through the entire process of making the design-centric idea into a successful venture.' Read on...
The Rise of the Contemporary Indian Design Entrepreneur
Author: Vijayant Bansal
Mohammad Anas Wahaj | 26 jun 2019
Creativity is at the core of art and design. They both are visual and material culmination of varied degrees of human expression. Vibhor Sogani, fusing the lines between design and art, between being a product designer and public installation artist, says, 'At the end of the day, it is all about creativity. People may deem art superior to design but designing is serious business and a very responsible job.' He explains the value of public art for the growth-oriented country like India, 'Since India has so many people and so many public spaces, it is an ideal ground for engaging with them through art. The all-important ingredient of public art is engagement with people.' On balancing creativity and guidelines in commissioned projects, he says, 'We all need a sense of direction. After all, you need to align yourself with something. I think the brief given to me by my client is only a starting point. Thereafter, I am free to follow my vision.' An alumnus of National Institute of Design (Ahmedabad, India) and having worked in the field of industrial design, he is well-versed in the craft of materials as well as technology. He follows both reactive and proactive approaches to pursue his creative work. He suggests that while thinking of an idea is instant, putting it into a tangible shape of art is slow and time consuming. His public art works include Joy in Dubai, Sprouts in New Delhi and Kalpavriksha in Ahmedabad. Read on...
Mohammad Anas Wahaj | 08 feb 2019
India's 'Development Agenda' as outlined by current government includes development of 100 smart cities, 40 million dwelling units, 20 million affordable homes, better infrastructure facilities through the AMRUT scheme, focus on urban development and transformation, slum rehabilitation, and 'Housing for All' by 2022. It is estimated that to fulfil this agenda there is requirement of 75 million skilled people in real estate and infrastructure. Moreover, according to reports there is need of 4 million core professionals (architects, engineers, planners). Shubika Bilkha, Business Head at The Real Estate Management Institute (REMI), explains the key aspects that architectural graduates and planners should keep in while building their skill set in evolving environment - (1) Be Multifaceted: Take advantage of a number of roles- from design architecture, structural or liaisoning architects, to urban planning, property development, sustainable development, teaching or getting involved with disaster relief/re-building communities. Require skills such as engineering, design, supervisory skills, managing people/teams/vendors/client expectations, an understanding of key building/designing/construction/smart technology, strong communication and persuasion skills to communicate their vision. Have much larger role and bigger scope getting involved from pre-design services, to cost analysis and land-use studies, feasibility reports, environment studies to developing the final construction plans etc. (2) Be Business Minded: Understand key real estate and planning concepts and calculations, municipal and local development regulations, legal limitations, the social and urban infrastructure, fundraising/financing and the evolving policy framework. (3) Be Responsible: Consider social and environmental impact of the recommendations. Understand sustainability and implement it effectively. Read on...
Mohammad Anas Wahaj | 29 nov 2018
The idea of coffee table books with thick pages and attractive glossy covers is accessibility, they are reachable and readily readable. Henry Miller said in his book 'The Books in My Life' (1969), 'A book lying idle on a shelf is wasted ammunition.' But this may not be the case with coffee table books as they hardly lie idle. Moreover, Susan Sontag defined her library as 'an archive of longings'. Here are coffee table books on design that stand out in 2018 - (1) Andrew Martin Interior Design Review (Volume 22): With over 500 pages of the latest interior styles and trends, marks out the World's 100 greatest interior designers and showcases their projects on an international level. A must-have for interior designers and design professionals. Martin Weller, founder of Andrew Martin, says that the 22nd edition of the review 'honours alterity', due to the 'astonishing breadth and variety of work' involved. (2) Nina Campbell Interior Decoration: Elegance and Ease (Giles Kime): The book features a biographical essay that runs alongside images of lofty rooms with fabric-matched armchairs, tablecloths and curtains, antique occasional pieces and wallpapered wall panelling, each of which is punctuated with the finest upholstered furniture. (3) Shelfie: Clutter-clearing Ideas for Stylish Shelf Art (Martha Roberts): The idea of 'shelfie' started with Marie Kondo's de-cluttering trend, followed-closely by a surge in the popularity of open shelving. #Shelfie became a hot trend on social media with creatives and interior designers showcasing their shelfs. Martha Roberts brings the social media into the pages of the book. Her shelfie digest demonstrates a fusion of great design, an unapologetic display of personality and a deep sense of relevance to the digitally engaged generation of aesthetes. Read on...
Mohammad Anas Wahaj | 26 oct 2018
Sustainability is evolving into an essential component of fashion and design industry due to environmental concerns. The Brooklyn Fashion + Design Accelerator (BF+DA), a Pratt Institute (US) initiative, is a hub of ethical fashion and design, providing resources to design entrepreneurs, creative technologists and professionals to turn ideas into businesses. Debera Johnson, founder and ED of BF+DA, also established the Center for Sustainable Design Strategies at Pratt Institute and has been integrating sustainability into art, design and architecture programs. She says, 'There are really three things that we're focused on doing. First - redefining the fashion industry around the environment and society...Second - we have production facilities open to designers. Our goal there is to be a local resource for sustainable production and to help educate designers about how to implement strategies around efficiencies and sustainable supply chain...The third and probably the newest part of what we're doing is becoming a research and design center for the integration of technology into smart garments and functional textiles - and, most importantly, with the idea of sustainability alongside it.' Regarding consumer perceptions, she says, 'Consumers need to decide whether they're more interested in saving pennies or saving the environment. Products that are quality are going to cost more. We just have to decide where we stand...At BF+DA, transparency is a big piece of how we do storytelling...' Regarding coming together of technology and sustainability, she says, 'The digitalization is one of them. I also think that biotech is creating really interesting materials in laboratories and not farms...Then you also have things like blockchain to help with traceability...And there's also nanofibers.' Read on...
Mohammad Anas Wahaj | 21 oct 2018
According to the report by Prof. Anne Boddington (PVC of Research, Business & Innovation at Kingston School of Art, Kingston University, UK), 'Future of design education in India', India needs to produce 65000 designs annually to satisfy the capacity of indigenous creative industry. The current production is around 5000 per year. Prof. Boddington is working on the development of arts and design education in India and collaborating with Indian Institute of Art and Design (IIAD). She says, 'Design and Art as a field is emerging in India. There is not only a huge opportunity but also a sense of enthusiasm and can-do attitude in Indians for it. But to match-up to the emerging field, there is a need to train teachers first...A design teacher needs to make the student autonomous and increase their level of creativity and understanding.' She recommends that arts and design education should not be limited to creative fields, but should also become part of all fields of learning. She considers critical listening, research, and quality assessment are part of design and art curriculum. According to her, there is a great potential to create interdisciplinary programs where creative skills will be imparted as a part of foundation courses. Read on...
Mohammad Anas Wahaj | 30 may 2018
Australian fashion designer, Mark Liu, advises creative professionals to recognize the importance of studying STEM subjects (Science, Technology, Engineering and Maths) at school. He initiated 'Zero Waste Fashion Design' concept in which every piece of fabric is utilized in a fitting pattern. This process is contrary to the traditional linear pattern-making, which assumes a flat surface - with little account for the body's curves. Mr. Liu says, 'When you start pattern-making with zero waste, you really have to understand how it works to a really intricate level. Traditional techniques weren't really cutting it. I had to look at the underlying mathematics. And the more I looked, the more I found problems that mathematics had answers to but traditional pattern-making didn't.' He created 'Non-Euclidean' system of pattern-making that uses a technique called the 'Drape Measure' to record the curvature of surfaces as an angle measurement in order to create a more accurate design. Advocating STEM for creatives and designers, he also want 'A' for 'Arts' to be included to make it STEAM. Mr. Liu also supports and mentors students of International Grammar School (Sydney, Australia) emphasizing importance of maths. Ksenija Doic, design and technology teacher at school, says, 'They come into a creative subject thinking, 'Perhaps all I need is to have an idea, or be good with colours, or have an artistic side'. But what mathematics is useful for is the problem-solving part. The students who do maths find it easier to do the tasks at hand, because they have an innate knowledge of geometry, of working out curves and tangents.' Wynton Lambert, a student, says, 'Without some of the stuff I learned in maths, I wouldn't have been able to do the sleeve (of the shirt). It was very technical.' Mr. Liu considers STEAM to be the future and says, 'There’s this nice intersection between art and mathematics, and when they come together that's when really amazing things happen.' Read on...
Mohammad Anas Wahaj | 24 may 2018
Design as a separate field is getting more recognition in India. Policy initiatives like 'Design in India' and 'Make in India' will give design further impetus and assist in creating a thriving design ecosystem. India now have 30 to 35 design schools, most of them came up in the last few years. Prof. Anirudha Joshi of Industrial Design Centre at IIT-Bombay explores the condition of design education in India and suggests ways to make it better and more in tune with industry. He lists prevalent gaps between academia and industry - what is taught in design schools and what a professional designer need to do - (1) Uninentional gaps: Things that left out in design curriculums. Course duration is shorter than what is needed to become a good designer. (2) Lack of industry/hands-on environment: Certain things are best taught in industry setup and academic setup doesn't suit them. (3) Intentional gaps: Design school is not supposed to prepare students only for industry. Focus is on developing thought leaders having theoretical concepts and not just skills and training. (4) Limited availability of design teachers. (5) Lack of strong tradition in design research. (6) Lack of design education infrastructure. There is demand/supply gap in terms of skilled human resources. As the industry is growing, at least five million designers are required as compared to the current approximately 20000 designers. Many sectors like manufacturing, small scale industries, small printing and publishing houses etc, although have need for designers but can't afford one in the present scenario. Moreover, the focus of current designs is more global and there are few instances of designs that are specific to the Indian market. More emphasis should be given to designers that specifically focus on India. Read on...
Mohammad Anas Wahaj | 23 feb 2018
Diversity and inclusion can be key to unlocking new ideas in creative disciplines. Current statistics suggest massive underrepresentation of minorities in design sector. According to the 2016 AIGA (American Institute of Graphic Arts)/Google Design Census, 73% of graphic designers are white, 8% are Asian, 7% are Hispanic, and 3% are African-American. This doesn't mirror the U.S. population, which, according to the 2016 U.S. Census, is 17% Hispanic, 13% African-American, and 5% Asian. Jacinda Walker, chair of AIGA's Diversity & Inclusion Task Force, is working to encourage diversity in design education, discourse, and practice. She is also founder of designExplorr that creates opportunities that expose youth to design. Her MFA thesis, 'Design Journeys: Strategies for Increasing Diversity in Design Disciplines' presents strategic ideas to expose African-American and Latino youth to design-related careers. She provides actionable steps that can be applied for building diversity in design fields - (1) Develop a Diversity Plan: Assess requirement. Set specific goals. Develop strategy. Evaluate. Read 'Designing for Diversity: Gender, Race, and Ethnicity in the Architectural Profession' by Kathryn H. Anthony. (2) Recruit Talent from Different Places: Seek niche online recruiting platforms that cater to underrepresented communities. (3) Hire Diverse Interns: Interns are potential employees. Target minority colleges to get them. (4) Use Diverse Imagery: Use diversity in marketing materials and website to attract minorities. (5) Visit a School to Talk about Design: Design educators emphasise the value of interaction of design professionals with students. (6) Mentor: Regularly meeting high school or college students to provide advice, guidance, and portfolio reviews is a necessary commitment. (7) Job Shadow: Allow students to come into the working environment so that they can observe, experience and learn in a professional setting. (8) Support Minority Business Enterprises: Build relationships with minority businesses and support them. Search them through special directories and databases. (9) Expand your Social Networks: Join various social media networks and explore special groups that focus on minority designs and designers. (10) Travel: Travel extensively and explore diverse cultures. It expands thinking and provides different perspectives. It builds emphathy and enhances creativity. Read on...
10 Steps To Increase Diversity In Design Right Now
Author: John Clifford
Mohammad Anas Wahaj | 27 oct 2017
India's future success will be defined on the basis of how its positive elements like demographic dividend, IT and software, manufacturing, agriculture, government initiatives (Make in India, Digital India, Skill India, Startup India) etc, gel together effectively and grow. Adding to all these, focus on research, design and innovation, will further propel creation and development of new and emerging technologies and concepts. Specifically, Indian auto industry does have R&D capabilities, but it is mostly driven by foreign collaborations and partnerships. Moreover, Indian operations of most foreign auto makers rely on their global development centers when it comes to technological innovations. But the dynamics of the industry are shifting, and companies are mobilizing resources and assets towards design and development also, in addition to manufacturing. The change is also visible in the electric vehicle segment with a strong policy focus. Recent conference organized by NASSCOM and Autocar Professional was directed towards discussing the design, R&D and technology based future of the industry. Sameer Yajnik, COO-APAC of Tata Technologies, says, 'Indian engineers, thus far, have brought together just a few parts of the jigsaw puzzle in terms of vehicle development, but this is set to be transformed. With EVs, ADAS, autonomous, connected cars, et al, there are a slew of technology-driven changes that need to be responded to and India is an excellent place.' Patrick Newbery, Chief Digital Officer of Global Logic, says, 'Design and engineering work best when coupled together, and the Indian start-up ecosystem has displayed a good show of that already...Amalgamating design and engineering, as well as with its ability to innovate and create as a response-stimulus to change, India holds a strong place in developing new future technologies, where even the US would be looking outside to outsource these innovative solutions. There is more likelihood of innovation coming out of such environment.' Current spend in automotive engineering and R&D of Europe is 35%, that of US is 25% and, India's is at 10%. This is expected to triple in next 3 years. Sanjeev Verma, CEO of Altran India, says, 'India holds a very important place in the whole jigsaw and especially can play a great role in designing passive safety and IoT systems...With the whole ecosystem springing up now, the next three to four years are going to be extremely transformational for the development vertical in the Indian automotive sector.' Commenting on design in India, Raman Vaidyanathan of Tech Mahindra says, 'Indian engineering is bound to be more frugal, compared to the rest of the world because of the country’s legacy in being cost conscious. This is very positive as it implies that a good quality product, designed and developed to a cost in India could be produced in the emerged markets, while the reverse is going to prove rather expensive.' The challenge of skilled human resources in design and engineering in India remains. NASSCOM has started a foundation course in integrated product development that has reached 1000 colleges since CY2015. Government, academica and industry has to come up with integrated strategies that need to be applied to upgrade the knowledge and skills of graduates coming out of technology institutes and ensure success of design, research and development in India. Read on...
Beyond Make in India - Design and develop in India now imperative
Authors: Sumantra B. Barooah, Mayank Dhingra
Mohammad Anas Wahaj | 09 sep 2017
Education and learning has to keep pace with the happenings in industry, and equip students with the cutting-edge knowledge and skills, to assure their success in the highly competitive marketplace. Simon Biggs, Education Liaison Officer for Wales at Renishaw, explains how 3D printing is the new technology that is becoming mainstream part of the classrooms for engineering and mathematical learning. Mr. Biggs says, '3D printing is a well-established industrial technology for prototyping and manufacturing, particularly popular with the aerospace and defence sectors. Also known as additive manufacturing (AM), 3D printing is the process of making a solid 3D object from a digital computer aided design (CAD) file...3D printing is a rapid production method with minimal waste material. Its design flexibility means users can manufacture bespoke objects for a low cost...Understanding and using this growing technology can benefit children's learning, particularly in science, technology, engineering and mathematics (STEM) subjects but also beyond these more traditional fields in music, design technology, history, geography and biology...Exciting and innovative projects are also a simple way to keep pupils engaged in STEM subjects, which is a vital step forward in addressing the STEM skills shortage.' Explaining the rise of 3D printers in schools and their use to develop new skills in students, he says, 'The increasing numbers of 3D printers in schools is not only due to the increasing recognition of 3D printing being a relevant and engaging educational tool, but also relates to the number and availability of low cost 3D printing machines...Advances in resources available for teachers and other education professionals are also making 3D printing more widely accessible...Using 3D printing as a production method enables students and pupils to move from the conception of an idea to producing a physical object with relative ease...Interrogating a physical object can make it easier for pupils to spot mistakes in designs. This allows them to gain valuable problem solving skills in a creative, hands-on way.' Read on...
Mohammad Anas Wahaj | 29 aug 2017
Students often take part in initiatives outside of the structured academic curriculum and pursue their independent learning interests. They create common interest clubs, publish magazines, develop websites etc. Architectural education is an area that demands continuous stream of ideas and creativity. Digital world of collaboration and speed sharing, and reaching out to wider audience is giving new meaning to student-driven platforms. KoozA/rch, Bartlett's Lobby, AA Files (Architectural Association's Journal), Yale School of Achitecture's Perspecta are some examples. Sabrina Syed, Co-founder of Volume64, shares the story of their design platform (Volume64) that evolved out of conversations among students. She explains, 'We test different micro-typologies and challenge architectural norms through our drawing experiments: isometric cubes of 4x4x4 meters - coined the CubeLab. In one season, around 50-70 drawings are produced by a constantly changing team of contributors. Our collaborators write, curate, and edit briefs which our team of contributors (regular and visiting) respond to in drawings that get released in 2-week installments, with 5-6 briefs marking a season...The idea of Volume64 was sparked when our co-founder Lloyd Lee attended a workshop on diagrams during his first term at the Architectural Association.' Mr. Lee says, 'What can we do without the decades of practical experience and necessary compromises in architecture? Can there be a space dedicated purely to the experiments and drawings resulting from this line of questioning? Volume64 finally came to light as we continued our conversations from these questions.' Ms. Syed further explains, 'Challenging everyday spaces, and thus questioning the perception of architecture, became the motivation behind Volume64. The idea of a platform developed: To express these small exercises that could challenge existing rules without the limitations of academic or professional submissions...Volume64 is run by a group of students in their final years of architecture education. Currently, our team members are from the Architectural Association, the Bartlett School of Architecture and the Edinburgh School of Architecture (ESALA). Collaboration is at the heart of the platform.' Jonathan Wren, Bartlett School of Architecture M.Arch, says, 'Cross-school collaboration has encouraged very different takes on similar briefs. [It creates] a lot of cross--fertilization of ideas, approaches, and methods that go beyond speaking with friends at other schools, reading about others' work or visiting degree shows.' Henry Schofield, Bartlett School of Architecture M.Arch, says, 'Volume64 is an essential tool for architecture students to not only exercise their ability to think and question but also to share and engage in a dialogue with their fellow contributors, in order to produce productive architectural content that contributes to the critical discourse of the platform...' Read on...
Mohammad Anas Wahaj | 30 jul 2017
According to 'Instructional Design Report 2016' funded by the Gates Foundation, there are 13000 instructional designers in US. The field is increasing in popularity as online education proliferates and the need to translate content into digital forms rises. Designing online learning experiences is becoming essential training employees, mobilizing customers, serving students, building marketing channels, and sustaining business models. Instructional design has deep roots in distance education, human computer interaction, and visual design. ontemporary instructional design sits at the intersection of three core disciplines: learning science, human-centered design, and digital marketing. Following are some lessons and resources for those starting out in the field of instructionl designs - (1) Start with a deep understanding of your learners: Start by developing an Empathy Guide similar to one put together by Stanford d.School or reviewing the free book 'Talking to Humans' by Giff Constable; Conduct observations and interviews with target learners; Synthesize finds into learner archetypes; Test instructional concepts and product ideas by building rough prototypes; d.School 'Protyping Dashboard', Design Thinking process courses by IDEO.org or free resources offered by IDEO's Teacher's Guild. (2) Ground yourself in the fundamentals of learning science: Research on learning and teaching; 'The ABCS of How We Learn', a 2016 book by Daniel Schwartz; 'How People Learn', the 1999 foundational text edited by John Bransford, Ann Brown, and Rodney Cocking; Online Stanford lectures on Education's Digital Future. (3) Determine the 'powerful ideas' you want to teach and build your curriculum using backwards design: For education technology read Seymour Papert's 'Mindstorms: Children, Computer and Powerful Ideas'; Then use 'Understanding By Design Framework' (ascd.org) to structure your curriculum. (4) Go study other great teachers and other great learning experiences: altMBA program by Seth Godin that runs using Slack; Angela Duckworth's delivery of messages on camera; Animations produced by Amnesty International; Interactive lessonas produced on Oppia; Screen-based technologies produced by groups like Paulo Blikstein's Transformative Learning Technologies Lab; Explore multiple approaches from diverse instructional materials available online. (5) Get a lay of the technological landscape, but don't let your LMS hold you hostage: Get familiar with various platform options, particularly with most popular ones - Coursera, Udacity, Udemy, and EdX; Check out the list of global MOOC platforms curated by Class Central; Read some critical perspectives from the likes of Digital Pedagogy Lab or the MIT Media Lab; Check out the blogs of online learning pioneers like Connie Malmud. (6) Don't try to migrate an in-person experience into an online format: Read 'Rethinking Education in the Age of Technology' by Allan Collins and Richard Halverson; Explore perspectives and research of Mitch Resnick and the late Edith Ackermann of the MIT Media Lab. (7) If you build it, they won't come. Understand the fundamentals of digital marketing: Check out blog post of Alex Turnbull (Founder of Groove) that explains 6-step marketing strategy for selling online course; Udemy has also created a great toolkit to help online course instructors market their learning experience. (8) Collect student feedback. Iterate. Share what you learned. Read on...
Mohammad Anas Wahaj | 29 may 2017
Design influences every aspect of human life. Pradyumna Vyas, Director of NID-Ahmedabad (India), says, 'From the minute you wake up and pick up your brush to the time you retire to bed, there is design touching your life every minute.' Sanjay Dhande, former Director of IIT-Kanpur and founder of Avantika University, says, 'Our education, curricula, pedagogy and assessment is all outdated. Avantika University will have courses like liberal arts, body and mind, creative arts and the like. Even economics and management will be taught keeping design in mind.' According to a report, 'Future of Design Education in India' by India Design Council and British Council, 'The market for design in India is expected to touch Rs 18,832 cr by 2020...Only a fifth of the design market is currently tapped.' A design industry survey finds that 57% of design school graduates find jobs with large and medium-sized businesses, with small and medium-sized enterprises employing about 17% of the students. Nearly 13% of D-school graduates work for individuals, 9% work for public sectors and 8% join academic institutions. Apart from the traditional architecture, interior, arts and crafts etc, there more newer design areas for career opportunities - Social Design; Industrial Design; Space Designing; User Interface (UI) and User Experience (UX) [Tangible Interactions]; Doodling. Nandita Abraham, CEO at Pearl Academy, says, 'Today , especially for young people, doodling has become a language and a way of communicating with each other expressively.' R. Sandesh, Associate Professor at Industrial Design Centre (IIT-Bombay), says, 'Design is an overarching discipline.' Read on...
The Times of India:
No more offbeat - Careers in design define our lives
Author: Hemali Chhapia
Mohammad Anas Wahaj | 19 may 2017
According to design experts at 'ASEAN Creative Cities Forum and Exhibition' (Philippines), creative industry plays an important role in a country's economic growth. Some of the experts that participated include Prof. John Howkins (Author of the book 'The Creative Economy'), Nora K. Terrado (Chairperson, ASEAN 2017 Committee on Business and Investment Promotion-CBIP), Paolo Mercado (Nestle Philippines), Andrew Erskine (Tom Fleming Creative Consultancy), Katelijn Verstraete (British Council East Asia), Kenneth Cobonpue (Philippines), Anon Pairot (Thailand) and Colin Sean (Singapore). Ramon Lopez, Secretary of Department of Trade and Industry (DTI), says, 'The goal of the event is to channel these (creative) assets into innovation , employment, trade opportunities, and mobilizing it to drive each of the economies in the whole Southeast Asian region.' Rhea Matute, executive director of Design Center of the Philippines, says, 'We really are committed to develop the creative quotient of the Philippines...This is really an important opportunity by which our designers, our creatives, can branch out beyond our borders to have a more open system of having dialogue with our ASEAN partners in view also of the ASEAN integration.' Moreover, the event was also intended to initiate a movement to have at least one Philippine city to be a member of the UNESCO Creative Cities Network (UCCN). UCCN currently have 116 cities from 54 countries covering seven creative fields: Crafts and Folk Art, Design, Film, Gastronomy, Literature, Music and Media Arts. It's goal is 'to promote cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development.' Following are some takeaways from the forum: (1) Working in the creative industry is a lucrative career. (2) The road to success is challenging yet fulfilling. (3) Always look around you, and be original. (4) Standing up with your decisions. (5) Government plays a big role in developing the creative industry. (6) School plays an important role, too. According to Colin Seah, Singapore-based architect and Ministry of Design's Founder and Director, 'At the school level, I'm not saying you need to train everyone to be a creative but if you introduce design education at an early stage, then what you do is two fold - you unlock any potential for people who may be seeking these professions. Secondly, you train and educate people who will eventually become patrons and consumers...then it becomes a cycle. You have good creatives, and you get people who can pay for creatives.' Read on...
ASEAN Forum - Creativity is the driving force in economic growth
Author: Romsanne Ortiguero
Mohammad Anas Wahaj | 26 oct 2016
Design is critical for national and industrial competitiveness. Prof. Sanjay Dhande, former director of IIT-Kanpur and chief mentor of design-centered Avantika University, explains the value of design in India's competitiveness for manufacturing and service industries, analyzes the evolution of design education and suggests how India can further develop design education to impart skills and training, and nurture creative talent that keeps it at the cutting edge of innovation and design. He says, 'By incorporating design, which by and large shapes our ideas better is inherent in our every act. We design, we create experiences to make the life of individuals more comfortable, information readily available, work more efficient, spaces more convivial, and in turn making peoples' life more meaningful...The government of India has initiated a consultee approach with industry and designers to develop the broad contours for a combined vision towards a design enabled Indian industry.' National Institute of Design was first setup in 1961 by Government of India based on the report on design education developed by American industrial designer duo Charles Eames and his wife Ray Eames. Since then, to fulfil the demand of growing design professionals, number of institutes have come into existence over the years, giving rise to a thriving design ecosystem. But to maintain high quality of design education is an obvious challenge. According to Prof. Dhande, 'Though with a faster-changing world even the standards in design education are very high. And the question remains around how can we remove the loopholes and sustain a high-quality education from a conventional structure?...There is a growing need to eradicate the redundancies in the traditional course curriculum. A strategic streamlining of the education structure which offers practice exposure encourages focussed learning is much required.' He suggests continously evolving and innovation directed approach to design education, starting with admission process, practical learning, quest for right faculty, learning environment and a specialization focus. He concludes, 'Innovation is essential to be able to adapt to, for creating that difference in Indian design education to help students work better in unpredictable market conditions and intense global competition. Incremental improvements by themselves will not do and hence the listed points will help address improve the quality of design training in India.' Read on...
Mohammad Anas Wahaj | 20 jun 2016
Designers need continuous flow of creative ideas and motivation in their work. Sometimes they reach a state of creative block when they lack internal motivation and inspiration to generate ideas. In such situations an external source of inspiration would be of assistance. Following are 8 online resources for designers that can provide the spark of creativity and rekindle inspiration - (1) Designspiration: A design portal that has architecture, typography, illustrations and print. Features the work of global artists and innovators. (2) Dribbble: A hub for creatives to connect, share and inspire one another. Includes typography, website design, logos, illustrations and graphics. Designers can also be hired through the site. (3) Awwards: Recognizes best designed website from around the world. Jury comprises of renowned designers, bloggers and agencies. It rates websites and gives score comprised of different elements, including creativity, design, content and usability. (4) Siteinspire: Has some of the best filtering of any design portal. Can choose from multiple categories, and follow designers and their work. (5) Smashing Magazine: Includes editorial and professional resources for designers and developers. Have blogs from designers. (6) The Best Designs: Includes web design works of best designers. Helps find, connect with and share work with other designers. (7) Behance: Have archives of graphic design, photography, interactive design, art direction, illustration and more. (8) Adobe Kuler: As color is one of the most important aspect of design, Adobe Kuler can help one share, create and browse color schemes from designers and users around the world. Read on...
Business 2 Community:
8 Incredible Online Resources for Creative Design Inspiration
Author: Brittney Ervin
disclaimer & privacy