ZERO EFFECTS ZERO DEFECTS from PMI

PMI Poster Presentation "ZERO EFFECTS ZERO DEFECTS" igniting India at Project Management PMPC 2016 on 14-16 July,16 @ Nimhans Convention Centre,Blore

One of the greatest dangers to developing countries is the middle-income trap, where crony capitalism creates oligarchies that slow down growth." Zero Defect Zero Effect" Signifies production mechanisms wherein products have no defects and the process through which product is made has zero adverse environmental and ecological effects. Sector Ratio ranging from 6.90% for Service Sector, 1.40% for Agricultural Sector and 1.70% for Industrial Sector, boosting of manufacturing Sector which has performed poorly recording a expansion of barely 1.1% growth in 2012-13 followed by a contraction of 0.7% in 2013-14. Need to increase FDI from 2010-12, the country's stock of FDI just totaled 12% of GDP while the developing country average was 30%. Helps in reviving growth that has continued to slow down and has been running below 5% for the last 2 years. For the massive increase in the growth rate by 4% to GDP,$ 200 billion of FDI would be needed. Low share of manufacturing sector to India's GDP is only 15% as it is been compared poorly to other Asian nations. Lack of ease of doing Business wherein India is ranked 134 out of 189 countries in the world bank ease of doing business index. The world bank report notes that it takes 27 days to start a business in India where as in Singapore it takes two and half days for startup of Business. Lack of Basic Hygiene Facility and Anemic Global Growth leads to Infrastructure Arrears.

At a time when India’s Development pitch caused concern among skeptical environmentalists, Prime Minister Narendra Modi’s "Make in India: Zero defect and Zero effect" remark on Independence day-2014 came as a clear message that the country would not compromise on its commitment towards environmental protection."Let’s think about making our product which has ‘zero defect; so that it does not come back (get rejected) from the world market and ‘zero effect’ so that the manufacturing does not have an adverse effect on our environment" said the prime minister while delivering his maiden Independence Day speech.It has been said that doing the thing right is as important as doing the right thing. India’s journey to prosperity can be a more sustainable and environmentally sensitive if we follow the "Zero Defect Zero effect" concept.

An overarching objective of Make in India: Zero Defect, Zero Effect is to examine the notion of competitiveness from the perspective of a country, a region, a business and an individual. The roles of individual initiative, business strategy and economic development policies in maximizing productivity calls for recasting to fully tap the dormant potentials for productivity improvement & Environment Protection. Productivity is the key to Prosperity, which in turn is an indicator of a country's potential for economic growth in the short to medium term. Productivity in its new manifestation, as a culture of accepting and bringing about continuous achievements incorporating environment concern is an inescapable imperative.

Environment protection is the major challenge being faced by all the countries in the world. No doubt, there has been unprecedented technological development in different fields whether it be in the agriculture, industry business or other service sectors but such technological developments along with them have, side by side, brought about the degradation of the environment. Any kind of development could not be sustainable unless & until the development activities do not take care of environmental protection.

All kind of economic activity undertaken for the development of economy and society will use some kind of resources and have some impact on the environment. Therefore, it is necessary to evolve innovative ways to reduce the consumption of natural resources and develop solutions leading to sustainability of energy use and protection of global environment. As a matter of fact, any kind of development that is directed towards the development of economy and the society at large aims at enhancing the quality of life of the people. It cannot be fulfilled if the environment within which the society exists is deteriorating.

No one can rule out the global opportunities which are knocking the doors of Indian economy but, to capitalize this global opportunity Indian entrepreneur must have to achieve manufacturing excellence and have to carefully work upon competitive enhancement for their respective business. On such tough economic backdrop for business, the urge of ‘Zero Defect & Zero Effect’ from the Prime Minister is more like a challenge. By looking at the overall scenario and the status of Indian manufacturing this can also be termed as thumb rule to live up to the expectations of global opportunity and if the thumb rule is followed then the manufacturing segment of India could bring much awaited growth for the nation.



The wave of liberalization of economy in the world has brought about complexity and competition in each and every type of economic activity. Productivity is the only way to sharpen the competitive edge of every sector in the economy or the nation as a whole.

Competitiveness is a state of being able to outperform others. It is related with the ability to maintain and sustain amidst changes. It is the degree to which a region or nation can produce goods and services, which meet the test of International Markets, while its citizens earn a standard of living that is both rising and sustainable over the long run.

Productivity has to emerge as a new national priority, where the efforts of all converge to accelerate the process of economic growth, protect environment and raise the standards of living of our people. Our business organizations will have to improve their performance to ensure their survival and growth in a fiercely competitive world. This improvement will come about only if we focus on production of zero defect quality goods, in a cost effective environment friendly manner, and this must occur continuously, to create an advantage in the market place, which is what productivity is all about. Productivity, thus, will have to become a mass movement and to be put on the national agenda.

Productivity may be the outcome of various practices, but eventually is the result of a mindset. The crucial ingredient is the preparedness of the human mind to achieve zero defect, zero effect. Basic to this approach is the conviction that even the best can be improved. Therefore, workers, managers, policy makers and others should be ready to continuously and collectively work for inculcating this concept in every economic activity for the prosperity of the society as well as the country. Needless to mention, as we graduate further into knowledge era, traditional methods and principles will become increasingly ineffective and we will have to propagate the concept both at micro as well as macro level to realize a global competitive edge as envisioned by the Prime Minister of India. "Make in India: Zero Defect, Zero Effect" has therefore, been chosen as theme for Research Article submission.

Govt Officials said the initiative is meant to raise quality levels in the unregulated micro small and medium enterprises (MSME) sector, the engine of growth for the Indian economy, driving almost 38% of the nation's GDP and employing 110 million Indians. It's thereby seen as a cornerstone of the flagship Make in India programme, which is aimed at turning India into a global manufacturing hub, generating jobs, lifting incomes and boosting growth.

Officials said ZED will handhold MSMEs across the country in all Make in India sectors, through government-constituted quality control cells, which will also rate them, depending on yearly assessments of their products. Under the rollout plan, as detailed by officials, the focus states that will drive ZED initially are Maharashtra, Uttar Pradesh, Tamil Nadu, Gujarat and Karnataka, which account for 57% of total MSME employment and 59% of the sector's exports.

With the pilot driven by Department of Industrial Policy and Promotion (DIPP) secretary Amitabh Kant and the main scheme led by MSME secretary Anup Pujari, the Centre has roped in Quality Council of India (QCI) for executing the plan and drafted a standard template for assessing enterprises.

"ZED will be for MSMEs what Startup India is for startups," QCI chairman Adil Zainulbhai said. "After all, an MSME is a startup. Even the person who opens a pharmacy is an entrepreneur and must be supported and encouraged." QCI was set up jointly by the government and Indian industry to establish and operate a national accreditation structure and promote standards through the National Quality Campaign.

In his August 2014 speech, Modi had said ZED would primarily look at "making our product which has 'zero defect' so that it does not come back (get rejected) from the world market and 'zero effect' so that the manufacturing does not have an adverse effect on our environment."

Officials said the ZED project was conceptualized in September 2014, immediately after which QCI prepared the first draft of the model. The pilot was launched the next year with selected enterprises going through the entire ZED process.

"The online self-assessment link was activated in July, after which detailed self-assessment reports were sent to 126 companies," an official said, adding that 40 awareness workshops have been conducted in 30 cities across India. In addition, 10 ZED cells that will implement the programme have been launched.

After studying the maturity assessment model to assess, rate and handhold the Indian industry based on quality and environment parameters put together by the QCI, the Centre is now ready for the national rollout, officials said. The initial focus sectors for the programme will be units in food products and beverages, textiles, fabricated metals products, chemicals and wearing apparel. Depending on the assessment, the units will be awarded ratings of bronze, silver, gold, diamond and platinum. A ZED platinum rating implies the manufacturer is of international standard and follows global best practices, they said.

India will go for a technology in the coming days which will be affordable and sustainable with both zero effect and zero defect.

Dedicating the National Institute of Science Education and Research (NISER) in Jatni to the nation, "We should bring such a technology which will have no side effect on the environment, climate, global warming and also on society."

The products of this new technology will also have zero defect, which will be accepted not only in the country but also all over the world as quoted by United News of India, UNI.

WOMEN ARCHITECT "Zaha Hadid" Success Story

The designs of Iraqi-born British architect Zaha Hadid (born 1950) are daring and visionary experiments with space and with the relationships of buildings to their urban surroundings.

• After several small projects, including one for the interior of the Moonsoon Restaurant in Sapporo, Japan, Hadid's first major building was constructed in 1993 and 1994: it was a small fire station, with numerous irregular angles (Hadid has been widely quoted as saying that since there are 360 degrees, she sees no reason to restrict herself to just one), on the grounds of the Vitra Furniture Company in Weil am Rhein, Germany. In 1994 Hadid seemed to be on the verge of a breakthrough: her design for the new Cardiff Bay Opera House in Britain's Wales region was selected for construction. It was to be an unorthodox building, with sharp angles and interior spaces that ran into and through one another rather than falling neatly into separate areas, but it was also planned to be inviting to the user, with an auditorium surrounded by glassed-in spaces that gave views of nearby Cardiff Bay.

• With Hadid an unknown quantity and Britain's Prince Charles in the midst of a widely publicized campaign in favor of neo-traditional architecture in Britain, the design ran into trouble almost immediately. The design competition was reopened, and Hadid's design was once again named the winner, but the project's funder, Britain's National Lottery, eventually withdrew its commitment. Hadid was devastated. "It was such a depressing time," she recalled to Rowan Moore of the London Evening Standard . "I didn't look very depressed maybe but it was really dire. I made a conscious decision not to stop, but it could have gone the other way."
• At the same time, Hadid began to amass a solid core of admirers among her staff, among architecture experts, and among ordinary observers. At the same time the Cardiff project was going down in flames, Hadid designed a temporary pavilion to house an exhibit for the architecture magazine Blueprint at a builders' convention. She had to present the structure, described by Moore as "a thing of flying steel," to a gathering of the magazine's advertisers, most of whom greeted it initially with silence. But an executive from a firm that made portable toilets stood up and said "I think it's bloody marvelous" (according to Moore), and began applauding. The other advertisers joined in, and Hadid gained a moment in the building-trade spotlight.    
• As clients became more and more fascinated with Hadid's plans, some of the plans advanced from theory to reality. She designed the unique Bergisel Ski Jump on a mountain near Innsbruck, Austria, and a parking garage and transit station in suburban Strasbourg, France, that later won the Mies van der Rohe Award from the European Union. In 1998 came the biggest commission yet: the Lois and Richard Rosenthal Center for Contemporary Art in Cincinnati, popularly known as the Contemporary Arts Center.

• The new building had to fit the confines of a narrow street corner lot in downtown Cincinnati, but Hadid made a virtue of necessity by linking the museum's internal and external environments: the outdoor sidewalk continued into the building, where it propelled visitors toward a sleek black central staircase that melded dramatically into the structure's back wall. As viewers ascended the staircase they looked into galleries that completely overturned the usual neutral conception of museum display spaces—the galleries had different shapes and sizes, and each one seemed to present something new to those approaching. "Not many people voluntarily walk up six stories anywhere," noted Joseph Giovannini of Art in America , "but Hadid's space so intrigues visitors that few think of bypassing the experience by hitching a ride on the elevator: they sense they would miss chapters." A bonus in Hadid's design was its economy: the building used only common materials, and construction costs came in at a reasonable $230 per square foot.    
• Hadid's creative fulfillment of a plum commission raised her international profile considerably. Where Hadid had sometimes been considered abrasive and difficult to work with, now she was hailed as a pioneer who had stuck to her vision even while facing difficult obstacles. At times, Hadid ascribed the resistance her ideas encountered to her gender and ethnicity. She also conceded that her work and personality were challenging. "I am eccentric, I admit it," she told Moore, "but I am not a nutcase."    

• Hadid's next major American commission came from Bartlesville, Oklahoma, site of the Price Tower designed by legendary American architect Frank Lloyd Wright. Hadid was hired to design a museum adjoining the Wright building—a choice that made sense, for Hadid was sometimes compared to Wright for her futuristic designs and her visionary rethinking of the relationships between humans and buildings. In 2006 it was one of Wright's most famous structures, the Guggenheim Museum in New York, that played host to a major retrospective of Hadid's work.    
• Indeed, the links between building and environment, and between building and user, loomed larger in Hadid's thinking as her fame grew and commissions poured into her office. "I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples," she told Glancey. A new factory she designed for German automa- ker BMW was laid out in such a way that workers and management personnel crossed paths more frequently.    
• In 2004 Hadid was awarded the Pritzker Architecture Prize, considered the profession's highest honor. She was the first woman to receive the award. In the mid-2000s she finally received a full-scale commission in the British Isles, for a cancer-care building called Maggie's Centre in Fife, Scotland. Highly visible Hadid buildings planned or underway included a bridge in the Persian Gulf state of Abu Dhabi, a movie theater complex in Barcelona, Spain, and several new museums. Greater international exposure seemed assured in a project waiting further down the line: the aquatics building for the 2012 Summer Olympics to be held in London. And she seemed to be outdoing herself with each successive design. "Co-curator Monica Montagut quotes Hadid's statement that 'I still believe in the impossible,'" noted Raymund Ryan in his Architectural Review commentary of Hadid's Guggenheim exhibition. "Judging from this display in New York City, there are few limits to what Hadid might do next."

The Pritzker Prize, and a disdainful press

• Hadid received her career-defining prize, the 2004 Pritzker, at the relatively young age of 53 despite only having a small body of built work. The accompanying headline of the official announcement—”Zaha Hadid Becomes the First Woman to Receive the Pritzker Architecture Prize”—signaled the tenor of the media coverage to follow.
• Never mind the groundbreaking museum she designed in Cincinnati or the wonderfully weird fire station in Weil am Rhein, Germany or confounding design concepts, many profiles of the star architect fixated on her womanliness. A 2004 New Yorker profile introduced Hadid’s work by way of her “remarkably emotive face, which veers from sweetly girlish to volcanically enraged.”
• In a new book Where Are the Women Architects?, historian and architecture professor Despina Stratigakos argues this gendered portrayal of Hadid’s person, and the kinds of questions she was often asked to answer, would have been unthinkable treatments for any of the previous 25 Pritzker laureates.
  

  Clichés like “ball-breaking harridan” and “vertiginous heels,” dot this 2004 article by The Guardian‘s Stuart Jeffries:Zaha Hadid offers a moist, limp hand to shake. She’s coming down with flu. This is a disappointment. Where is the vibrant monster I’d been promised from previous interviews? Where’s the ball-breaking harridan barking abuse in Arabic into her mobile as she wafts into her north-London studio in vertiginous heels, before snarling unpleasant things to her staff in terrifyingly idiomatic Anglo-Saxon?

A role model, but never a mold

While there are many talented, recognized and respected female architects practicing around the world, Hadid was the only one to have so clearly punched a hole in that proverbial glass ceiling. For many rising female architects, losing Hadid is like seeing a beacon in the field extinguished.

“Her loss is devastating,” says Stratigakos, who also heads the architecture department at the University at Buffalo. “You lose heart when you can’t find role models. I worry about how few women architects there are–not just in Pritzker prizes, but in novels, in films… I worry about my students.”

According to a 2014 study by the San Francisco chapter of the American Institute of Architects, one-third of women drop out of the profession citing the lack of role models as a reason. Over 70% of women experience sexual discrimination, harassment or bullying on the job.

But Hadid was a complicated figure, and not exactly the easiest role model. She was notorious for refusing to back down from criticism over her selection of clients or the working conditions of the people who built her designs. And her professional success was tightly intertwined with her force of personality and uniquely groundbreaking ideas—a formula few could hope to replicate.

As Hadid explained to the students in Oxford, she put ideas first—and often before practicality or the wishes of her clients. “I believe in progress, I think if we do enough research, we can push the envelope and get better results… That’s what I like about architecture. It’s exhilarating, but also heart-breaking.”

Two heartaches were the Cardiff Bay Opera House in Wales in 1994 and the ongoing saga of the Tokyo Olympics stadium in Japan. Both were politicized, high-profile commissions that seemed entranced by Hadid’s ideas, then abruptly spurned her for another architect.