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6 About Indian Institute of Entrepreneurship With an aim to undertake training, research and consultancy activities in small and micro enterprises focusing on entrepreneurship development, the Indian Institute of Entrepreneurship (IIE) was established in the year 1993 in Guwahati by the erstwhile Ministry of Industry (now the Ministry of Micro, Small and Medium Enterprises), Government of India as an autonomous national institute. The institute began operating from April 1994 with the North East Council (NEC), Governments of Assam, Arunachal Pradesh and Nagaland and SIDBI as its other stakeholders. The policy direction and guidance to the institute is provided by its Board of Management whose Chairman is the Secretary to Government of India, Ministry of Micro, Small and Medium Enterprises (MSME). The Governing Council of the institute is headed by Chairman, NEC and the Executive Committee is headed by the Secretary, Ministry of MSME, Government of India. The institute is located at Lalmati, Basistha Chariali, 37 NH bypass at a distance of 5 kms from the Dispur Capital complex, 10 kms from the nearest Railway Station and 30 kms from the LGB Airport. Interactive Design Study | Rontholi Jewellery Cluster Nagaon | 2011 | Arpit Agarwal
About Assam and Nagaon Popularly called as the land of the red river and blue hills, Assam is the gateway to the northeastern part of India. Assam is a northeastern state of India. Its capital is Dispur, a city located on the outskirts of its largest city, Guwahati. Located south of the eastern Himalayas, Assam comprises the Brahmaputra and the Barak river valleys along with the Karbi Anglong and the North Cachar Hills with an area of 30,285 square miles (78,438 km²). Assam is surrounded by six of the other Seven Sister States: Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura and Meghalaya. These states are connected to the rest of India via a narrow strip in West Bengal called the Siliguri Corridor or “Chicken’s Neck”. Assam also shares international borders with Bhutan and Bangladesh; and cultures, peoples and climate with South-East Asia. Assam is known for Assam tea, large and old petroleum resources, Assam silk and for its rich biodiversity. Assam has successfully conserved the one-horned Indian rhinoceros from near extinction, along with the tiger and numerous species of birds, and it provides one of the last wild habitats for the Asian elephant. Assam was also known for its Sal tree forests and forest products, much depleted now. A land of high rainfall, Assam is endowed with lush greenery and the mighty river Brahmaputra, whose tributaries and oxbow lakes provide the region with a unique hydro-geomorphic and aesthetic environment. FESTIVALS: There are several important traditional festivals in Assam. Bihu is the most important and common and celebrated all over Assam. Durga Puja is another festival celebrated with great enthusiasm. Muslims celebrate two Eids with much eagerness all over Assam. DEMOGRAPHICS: Total population of Assam was 26.66 million with 4.91 million households in 2001. Higher population concentration was recorded in the districts of Kamrup, Nagaon, Sonitpur, Barpeta, Dhubri, Darang and Cachar. In 2001, the census recorded literacy in Assam at 63.3% with male literacy at 71.3% and female at 54.6%. The major religions are Hinduism, Islam, Christianity, Sikhism, Buddhism, and Jains. CLIMATE: With the “Tropical Monsoon Rainforest Climate”, Assam is temperate (summer max. at 35–38 °C and winter min. at 6–8 °C) and experiences heavy rainfall and high humidity. The climate is characterized by heavy monsoon downpours reducing summer temperatures and affecting foggy nights and mornings in winters. Thunderstorms known as Bordoicila Interactive Design Study | Rontholi Jewellery Cluster Nagaon | 2011 | Arpit Agarwal 7
Page 1 and 2: RONTHOLI JEWELLERY CLUSTER NAGAON I
Page 3 and 4: Contributors Arpit Agarwal Bijju Mu
Page 5 and 6: About The Design Clinic Scheme Desi
Page 7 and 8: Introduction Design Awareness Progr
Page 9: About National Institute of Design
Page 13 and 14: Cityscape | Nagaon Area of the dist
Page 15 and 16: Kaziranga National Park Bordowa hou
Page 17 and 18: About Assam Jewellery The art of je
Page 19 and 20: About Rontholi Jewellery Cluster Th
Page 21 and 22: Rontholi Jewellery Cluster Products
Page 23 and 24: Dhansira Kharu Doog Doogi Interacti
Page 25 and 26: Match Box Midang Gam Kharu Interact
Page 27 and 28: Variation Of Traditional Jewellery
Page 29 and 30: Raw materials, tools & equipments R
Page 31 and 32: Fishnet wires used for stringing be
Page 33 and 34: Tools & equipments Scissors Plier W
Page 35 and 36: Stone for sharpening of tools Buffi
Page 37 and 38: Jewellery Making Process Flow Mould
Page 39 and 40: 12 13 14 15 16 17 After the La is s
Page 41 and 42: Process Flow of Enamelling/ Meenaka
Page 43 and 44: Process Flow of Gold Foil Setting 1
Page 45 and 46: Nagaon Rontholi Jewellery Cluster T
Page 47 and 48: Jewellery Units Visited: Unit One:
Page 49 and 50: Unit Six: Artisan: Shri Tapan Bania
Page 51 and 52: Unit Twelve: Artisan: Shri Jeetu Mo
Page 53 and 54: Unit Sixteen: Artisan: Shri Deep Mo
Page 55 and 56: Unit Twenty-One: Artisan: Shri Abon
Page 57 and 58: Rontholi Jewellery Cluster Supply C
Page 59 and 60: a. Study of existing Product design
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Randomly inspired Meena not of high
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c. Existing status and opportunity
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e. Scope for operations and process
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Work Stations Interactive Design St
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Wax Lamp Working in the open shed I
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g. Details of market and competitio
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Traditional Assamese jewellery from
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i. Description of ergonomic and env
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Packaging by artisans Packaging at
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m. Scope of design intervention for
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CONCLUSION The visit to Rontholi Je
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A Five-Day Design Workshop Interact
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List of Participants Sri Dipak Bani
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Participants filling the registrati
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Presentation on kinds of jewellery
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Interactive Design Study | Rontholi
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Problem Suggested solution Problem
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Artisans are used to create powder
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A metal dye with engraved design Si
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The meena is applied on the surface
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Pictures of artisans during the mee
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A snap shot one of the pages of mee
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During the workshop artisans were s
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Waste fabric New packaging design I
Page 109 and 110:
Page 111 and 112:
Variations Interactive Design Study
Page 113 and 114:
Page 115 and 116:
Page 117:
At the end of the Need Assessment S
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