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local

I recently hopped across the ditch to Queensland, Australia’s Sunshine State, for the Ideas Featival in Brisbane. We’ve been running a Local Food Challenge on OpenIDEO in conjunction with the festival and state government – featuring inspirations and innovative concepts from our spirited global community over the last couple of months. In Brisbane the OpenIDEO team were joined by policy-makers, food producers, farmers, retailers, researchers, educators, students, innovators and community connectors. Together, over two days of workshops, we explored behaviour change, customer journeys, environmental performance, health impact, community engagement, scalability and business models – alongside feasibility and implementation of the awesome shortlisted Local Food Challenge concepts.
 

Paul Bennett, Chief Creative Officer, IDEO

It was a particularly momentous occasion for me as I met a couple of my OpenIDEO colleagues for the first time after 6 months of working together from across our globally dispersed locations. Our co-founder, Tom Hulme, presented to a full house, asking How Do You Engage Those of the Edge? – celebrating the power of participation. IDEO’s Chief Creative Officer, Paul Bennett, provoked the crowd with Global Problem Solving: Can Small x Many = Big – confronting traditional interpretations of design to reveal how design thinking could be employed to address future social, ecological and political challenges.
 

Attendees were enthusiastic about the cross-disciplinary nature of the workshop teams. While we’re used to working in this way – it was refreshing for others who found it perspective building and got excited at the dynamic networks which formed around specific concepts. Read more on the workshops from our festival buddy, Ben Morgan, over at indesignlive.com And here’s an assortment of festival chit-chat:
 

Festival rock-star & entrepreneur, Robert Pekin, Food Connect: “Gee Whizz! Amazing to watch how local folk have applied their specialist knowledge to adapting these exciting concepts to the Australian context.”
 

Backyard transformer, Ben Grub, Permablitz: ”There’s been a really good cross-section of players. I don’t usually interact with government, media and farmers and it was great to thrash out ideas from an online platform in an energised offline environment.”
 

Ray Palmer, Queensland Farmer with Symara Farms: “It was affirming to note that there’s a growing movement of folks who want to know the story behind what’s on their plate – across various sectors and communities.”
 

Jakob Trischler, Shortlisted OpenIDEATOR: “Awesome to get lively insights on a hot topic from such a diverse group from different disciplines.”
 

Ewan McEoin, Local Food Challenge Australian Lead: “Energy Central. Folks were amped to be building off such a diverse range of concepts supporting local goodness.”
 

Anna Bligh, Queensland Premier: “The Local Food Challenge has just gone gangbusters. You can actually go to the world with an idea and look for answers.”
 

Paul Bennett, Chief Creative Officer, IDEO: “Hundreds of great builds, amazing energy, long days with crazy jetlag but really, really worth it.Our first outreach OpenIDEO workshop was amazing and was powered by all your great input. Thank you all!”
 

Our local challenge collaborator will continue to pursue avenues to prototype a selection of concepts together with local government and those with relevant expertise, contacts and outreach capabilities on the ground. As always we’re keen to translate the stellar skills of our growing, global OpenIDEO community into real world action and change – to enhance resilience at a local level. We’ll be celebrating impact developments over on our newly launched Realisation Phases.
 

On the back of the intensity of the workshops we rounded off our energetic sessions with a spot of fun. We distributed stickers to participants and dispatched them across the gorgeously sprawling riverside area surrounding the State Library, to seek inspiration. The stickers prompted folks to Stick It & Show Us. They were encouraged to photograph their sighting and email it in to a website we’d quickly cobbled together – with a prize offered for the cleverest cookie on the day. Some have continued with submissions from further afield.
 

Check out more highlights over at www.thisinspires.us (With a hat-tip to Candy Chang, whom I’ve featured on Random Specific before, for her ever-inventive public engagement initiatives which inspired us on this.)
 
Related posts:
OpenIDEO: Better Together
Mathare’s Micro-farms and Market Gardens

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Typocentric: Bazaar

March 12, 2011

Last month I had a blast hosting the Typocentric: Bazaar workshop at Delhi’s UnBox Festival. We had global players join local folk to construct typographic forms from objects commonly found in Indian markets – buttons, bindis, decorative mirrors, candles, textile embellishments, match-boxes and more. I had initially proposed the workshop to run over three days which somehow got condensed to three hours – but much fun emerged on this insane time frame. Having graphic designers joined by those with backgrounds in anthropology, education and finance led to a random-specific blend of capacities which kept everyone typo-ventilating throughout.
 

I got a particular kick out of working alongside my gifted former student and pixel-pro, Abishek Ghate, who experimented with constructing typographic forms out of various elements to devise the intense workshop format.
 

We started out by having small groups create Hindi words in Devanagari script out of bindis. For those of you who are in the dark, bindis are the red or coloured forehead markings worn by many South Asian women – often but not always signifying marriage.
 

Bram Pitoyo, Digital Strategist at Weiden + Kennedy, collaborated with others to form Usha (उषा) meaning the first ray of light from the rising sun.
 

Another group took a different path to create the same word. And that’s the arm of Kriti Monga from Tumeric Design – a typographic doyenne – who wears it on her sleeve. Some of you may recall her superb visual journal from Design Yatra which featured in Creative Review.
 

Workings + resolutions for Sakhi (सखी) – an endearing term for a girl, a friend, a confidante.
 

Babe (बेब) – phonetically from English and peppered through Hindi conversations when hotties are on the radar.
 

We then switched to a smorgasbord of elements from local bazaars. The pressure mounted and creativity escalated as teams raced against the clock to follow typographic guidelines while exploring the limits and opportunities that their designated objects presented.
 

Decorative mirrors, often used for textile ornamentation, were used to artfully form the word Chhavi (छवि) which means reflection or image.
 

A team working with matchboxes experimented with multiple approaches to celebrate the name of our hosts: The UnBox Festival.
 

Impressive collaboration from those who worked with coloured buttons to create the name of our host city: Dilli/Delhi (दिल्ली)
 

Decorative flourishes from a group working with gotas – pleated fabric embellishments used to adorn sarees and other traditional clothing.
 

And pyromania ensued to give justice to the word Lau (लौ) or flame, built with candles.

Ghate and I were joined in energising participants by Codesign founder and UnBox spearhead, Rajesh Dahiya – who was a former colleague of mine at India’s National Institute of Design, where he continues to teach typography as adjunct faculty. My Design Observer co-contributor and by now close conference-buddy, John Thackara, had to put up with our fervored racket from his more earnest workshop which took place a just few paces away – luckily I made up for it the next day by swinging us a table at the ever popular dining spot Gunpowder. With it’s scenic view, this was a great vantage point to reflect on the UnBox Festival – where I had also presented as Community Manager on OpenIDEO. It had indeed lived up to it’s promise to encompass work and play across contexts and mediums plus “rethink and stretch design practice through imagination, provocation and stimulation for those interested in social and cultural change.” While many of the conference sessions were focused on more worthy pursuits, we’d like to think that Typocentric: Bazaar ignited a hankering for the handmade, a love of the local, a craving for collaboration – all within the alluring hype of type.
 
Related posts:
Typocentric Bazaar on Flickr
Overlap: Intersection of Desi & Diasporic
Viva Vernacular

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Post-consumption Creativity

February 8, 2011

During my current trip to India I’ve been adding a collection of posts to the REculture blog where we feature the post-consumption economy of repair, reuse, repurpose and recycling in low-income contexts. I thought I’d add some of the highlights here – a wee taste of post-consumption creativity.
 

Siesta Sachets and Remnant REculture: Fabric scraps (lead image) and discarded foil sachets (above) are woven into rope to form bed bases.
 

Repurposed Beauty: Reusing advertising billboard canvases – at a construction site in Ahmedabad and a workshop in Mumbai.
 

Cigarettes and Spirituality: I stumbled on children down an alleyway at Dharavi who had made a makeshift temple out of old cigarette packets.
 

Material Efficiency: Nestled behind a lean-to stall in Mumbai were two ingenious guys fashioning lanterns out of scrap metal and glass. They cut the salvaged glass into small sections to create the lantern casing. Given that Diwali is just around the corner – they’re bound to make a killing with very low material costs. I wasn’t the only one fascinated by their street-side enterprise – a small fan-club had gathered round and were equally impressed with their lucrative venture.

Related posts:
Scarcity Sustaining
Mathare’s Micro Farms and Market Gardens

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Earlier this month I wrote about getting involved in the DREAM:IN initiative which is collecting India’s aspirations as a canvas for creative thinking. It intends to form a dynamic database of dreams gathered in cities, towns and villages across the country. These will be categorised, analysed and shared with business leaders, educators, social entrepreneurs, policymakers and designers to devise transformative and inclusive future scenarios. 101 student dreamcatchers were dispatched across India after training at the Bangalore headquarters. They were divided into 11 teams: Sindhoori (red), Hariyali (green), Asmani (blue), Chandni (silver), Sunheri (gold), Gulal (pink), Firozi (turquoise), Anguri (purple), Santili (orange), Kesar (saffron) and Sweth (white) who set out on colourful journeys by road and rail – capturing on video the dreams of a nation in transition.
 

The teams were provided with various tools to help them consider the search ahead, created by the good folk at Idiom Design. Encouragement was given to seek a range of respondents from migrants to merchants, learners to leaders, athletes to advertisers, drivers to domestic helpers. Within the teams, students were allocated with tasks of spotting, framing and writing to locate, film and record Indians reflecting on their dreams. Mitul Bhat (a usability specialist on Nokia’s MeeGo platform) and I had the task of briefing the Spotters on basic ethnographic techniques and some of the challenges of working in the field.
 

The journey itineraries were carefully planned to cover an expanse of rural and urban locations, covering 25, 000kms in just over a week. Army protection was sought for dreamcatchers travelling in less stable areas of the country. Accommodation was frequently in local guesthouses but also included places like a Jain ashram and sleep was often snatched on overnight train trips.
 

Images from the DREAM:IN blog

Alongside the footage of dreams pouring back into Bangalore, also came stories, photographs and sketches of life on the road. I was particularly excited to run into Team Gulal while they visited Ahmedabad during the Uttarayan Kite Festival. Just as they were enjoying a well deserved lunch break, I chanced upon them and dragged one team member off to the Old City to shoot photographs of her with festive kites. They spoke of capturing some great dreams during their trip – including those of a former silver smuggler who changed his ways and became a security guard. His dream: to protect and serve.
 

The editing team back in Bangalore now have the Herculean task of refining footage and categorising it ahead of the DREAM:IN Conclave next month. This will be supplemented by scenario building tools to assist professionals to translate the dream database into insights which can inform their future strategies. There’s much diversity which has been captured during the Dream Journey. Here’s a few of my favourites so far:
 

 

 

 

 
Related posts:
Where are We Dreaming? (Flickr)
DREAM:IN – Hunt to Harvest, I

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Designerly Desi

January 24, 2011

Pooja Saxena is an emerging communication designer based in New Delhi with a love for typographic form and an aligned fascination with language and linguistics. One to watch for her agility across forms and fonts.
 

Material explorations on Devanagari script
 

Electricals Ltd. is Pooja’s modular typeface based on a friend’s photo taken in Jaipur.

Related posts:
Overlap: Intersection of Desi and Diasporic
Indo-centric: Typo-centric

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This week I find myself in Bangalore lending a hand in the flurry of activity leading up to the DREAM:IN Journey. Challenging the notion that future thinking should be informed by people’s needs – the DREAM:IN initiative seeks to explore what Indians are dreaming about. It intends to create a dynamic database of dreams gathered in cities, towns and villages across the country. These will be categorised, analysed and shared with business leaders, educators, social entrepreneurs, policymakers and designers to devise transformative and inclusive future scenarios. DREAM:IN intends to collide the dreams of a diverse India with the thoughts and actions of leaders across a range of sectors.
 

101 student dreamcatchers have been selected from over 20 Indian institutes of management, design, communication and film. Next week they will be dispatched in groups across 11 itineraries which traverse rural and urban India. Along the way they will be questioning locals about their dreams and aspirations – for family, work, recreation, products and services – and capturing these on video. They are expecting to collect thousands of dreams from across the country. Before heading off they will receive training from a team with various backgrounds including ethnography (I’m pitching in there), education, advertising and cinematography from across India plus Brazil, Italy and the US. This group features professionals from Nokia, Ogilvy & Mather and Parsons the New School for Design. The findings will be returned to the DREAM:IN headquarters in Bangalore to be collated and categorised.
 

In February the DREAM:IN Conclave is a summit which will bring together a selection of students, educators, policymakers, social entrepreneurs and professionals from sectors such as finance, IT, retail, telecommunications and energy. Participants include powerhouse retail entrepreneur, Kishore Biyani and Fast Company’s Bruce Nussbaum. Findings from the Dream Journey will be shared through a series of workshops. These will be used to inform future scenarios via a rigorous design-thinking methodology – with the view to devising concrete projects to effect fresh thinking around delivering products and services at scale.
 

 
From February onwards an open portal will be launched which allows users to upload and categorise dreams by sector – adding to those collected on the Dream Journey. These will be supplemented by scenario building tools to assist professionals to translate the dream database into insights which can inform their future strategies. Drawing on the larger canvas of dreams over needs is expected to fuel enhanced creative thinking. 
 

So with dreamcatchers arriving tomorrow we’re hard at work finalising itineraries, naming teams, refining methodologies and editing presentations. Ironically – there’s little time for sleep – let alone to dream.
 
Related posts:
One Billion and Counting
DREAM:IN – Hunt to Harvest, II

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Wish List Fills Urban Gaps

November 26, 2010

New Orleans remains peppered with vacant storefronts and folks who still need things. Designer, artist and urban planner, Candy Chang, created a participatory public art initiative which provided voice to residents – sharing thoughts about what they want and where they want it. I Wish This Was encourages locals to write their thoughts on fill-in-the-blank stickers and put them on abandoned buildings and beyond. A great way to spark conversations and nudge folks to imagine what their city could be.
 


 
Candy is a sassy, multi-discplinary player who has strung her projects across the globe from Nairobi to Finland, Brooklyn to Johannesburg. She’s got degrees in Architecture, Graphic Design and Urban Planning and has toiled for Nokia and the New York Times.
 

She’s devised some fab initiatives including a neighbourly post-it note exchange, a guide for street vendors in NYC and a spot of sidewalk psychiatry. More recently she co-founded Civic Center – a studio that creates projects which make cities more accessible and engaging.

Image (detail) of Candy by Randal Ford for Fast Company

Related posts:
Collective Reflections
Twitter, Hip-Hop & Smoke-Freestyle

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Same, Same but Different

August 8, 2010



During my last trip to India I was intrigued by the social norms, occupational cues and semi-uniformity surrounding the ear-cleaning profession.

Kaan-saaf wallas often don red head-gear and subtly sport a fresh cue-tip alongside other professional apparatus. This alerts folks to their services without the need for brash announcements of their humble and sensitive trade. More images.

Gotta love those who’s work revolves around enhancing our ability to listen.

Related posts:
Walla: Pavement Purveyors
Disrupting Urination Norms

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Archival Adventures

July 11, 2010


Artist Unknown, Mission School, circa 1849 Image Source

A good friend recently showed me an illustrative version of the Lord’s Prayer in Maori.
I noted that it was credited to the National Library here in Wellington so headed over to see what related items were in their online archive. I came across the piece above – promoting an early mission school.
 

Thomas Kendall, Nuku Tawiti, 1824 Image Source

Alongside Maori adoption of Christianity, the archive also points to colonial attempts to understand local spiritual belief. Early missionary Thomas Kendall made this sketch of Maori gods – which he observed on carvings in 1824.
 

K.P.M. South Pacific Line, 1939 Image Source

Carvings feature elsewhere on the site – here on the cover of a promotion for a passenger ship run by major Dutch company, Koninklijke Paketvaart-Maatschappij. Framing Mount Cook they gave an exotic spin on the antipodean landscape.
 

NZ Railways, Auckland to Rotorua – the Thermal Route, circa 1954 Image Source

Switching from sea-faring to land transport, the Railways advertised its once popular route to my home town of Rotorua from Auckland. Rotorua drew tourists with its thermal activity, thriving Maori culture and welcoming hosts. The advertisement features a tiki alongside the train and Maori carving motifs.
 

Horatio Robely, Arms of Dr TM Hocken, circa 1900 Image Source

The tiki and Maori motifs were used again in this artist’s rendition of the initials of Dr Thomas Moralnd Hocken, who funnily enough headed to New Zealand to escape British winters. I can’t imagine he found much respite in Dunedin. A doctor, avid collector and historian – he donated his sizeable stash of books, maps, manuscripts and ephemera to the citizens of Dunedin in 1910 in the form of the Hocken Library.
 

Charles Hill & Sons Ltd, Models 27-49, 1897 Image Source

Fittingly, it was the good folk at the Hocken Library who had pointed out the Maori Lord’s Prayer to my friend – which I mentioned in opening as prompting my foray into the National Library Collection in the first place. Back home in Wellington I’ve been having a great time trawling the library archive discovering a wealth of local visual history. Hats off to the National Library – for old times sake:
 

Christmas Card, Kia Ora. For Old Times Sake, circa 1890-1910 Image source

Related posts:
A Wind-Swept Walk of Words
Germany’s Historic Hues

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dabba_dhobi_1
What do laundry and lunch delivery have to do with my favoured intersection of communication, culture and creativity? Well, in the case of Mumbai’s Dabbawallas and Dhobi Ghats – quite a lot. Via their respective coding systems, both enterprises are able to track items within their service chain to ensure accurate delivery.
 
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The Dabbawalla service entails collection of freshly prepared meals from the residences of suburban office workers from vast reaches of the city, delivery to their workplaces and the return of empty lunch boxes (dabba or tiffin) to its original home – all for a reasonable monthly fee. Delivering over 200,000 lunch boxes each day to workers who have diverse eating habits (often governed by religion) requires an accurate system – especially as each lunch box commonly passes through the hands of at least six men, in quick exchange, on its path from home to office and back again. Most tiffins are collected by bicycle, sorted into destination groups, then carried together on trains and cycled to the offices of their respective customers. In between they are commonly carried on hand pushed carts and large head-balanced trays – all while jostling with chaotic Mumbai rail and road traffic.
 
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With low literacy being an issue for some of the 5000 dabbawallas, they have devised a coding system using colour, symbols, numbers and a few letters which is painted on the lids of the tiffins to indicate the train lines, hub points and destinations at both ends of the delivery cycle. Each part of the marking can be understood by the relevant dabbawalla as the lunch box exchanges hands through the service chain. In the case that a lunch box gets on the wrong path, the code allows it to be set back on the right track – yielding only one mistake per 6 million deliveries according to economic analysis.
 
dabba_dhobi_4
The Dabbawalla’s have been operating for over a century and the business continues to grow at a rate of 5-10% per year. When I asked about the effects of the economic downturn I was told with a smile that “the stomach knows no recession.” Their innovative localised system has been studied by business schools worldwide and covered by international media including the New York Times. As a brand strategist I also note an additional factor that contributes to their iconic status in the city: the dabbawalla’s signature Gandhi cap. This further serves as a recognition device between workers at busy exchange points and failure to wear one attracts a fine from their registered co-operative association.
 
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The Mahalaxmi Dhobi Ghat is the world’s largest outdoor laundry which processes three quarters of a million items daily from households, hospitals, hotels and schools.
 
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With articles to be washed, dried, starched and pressed coming from distant neighbour-
hoods to this central location – they have also developed a coding system to track and assure accurate return. Many customers dispatch their laundry to local hubs which send in bulk orders to Mahalaxmi. Each laundry hub attaches their articles with a scrap of cloth bearing a code penned in indelible ink – indicating the short-form name of their hub and their total number of articles over the recorded individual item number.
 
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Workers in both systems are proud of the value that their services provide to the megacity. Together they exemplify the virtues of bottom-up innovation and entrepreneurship at play in this densely populated urban centre. Most dhobis and dabbawallas are migrants to the city – but in the words of 65 year old dhobi walla, Jan Mohammed [pictured above]: “There’s no city like Mumbai.”

Related links:
You can see and read more on my Flickr sets of Dabbawallas and the Dhobi Ghats
and I have upcoming pieces on both services being broadcast on Radio New Zealand.

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