The design solutions:

There were three design solutions offered as alternatives to IOC. Each one reflecting a certain style of designing, and each style in turn, representing a certain sense of purpose distinctly associated with that particular style. Of these three solutions - traditional, modern and post-Modern - presented in the form of models to the company for them to be able to visualise the projected outcomes, the one selected by IOC for implementation was the post-Modern one. In the words of the designer, the post-Modern design was based on "an open, dynamic form in order to go along with the futuristic aspirations of the company."
It is widely known that post-Modern design represents an attitude towards precision and purpose, but not in a driven industrial sort of way. In stead, it is an idiom of design that admits outside sensibilities with less reservations, this by itself connoting an attitude towards change. With its roots in the post-seventies' movement called Memphis, post-Modern design had sign posted, through its protagonists such as Ettore Sottsass, Peter Shire, Natalie Pasquire and others, a note of protest against the orthodoxy of the prevailing design culture of the rectilinear that had swept the Western world since the twenties. Which is why some of the key design features of Vision 2000 display a move towards the curvilinear.
Adopting a post-Modern style for IOC's revamped corporate image was going to send out a signal of unorthodoxy in an otherwise undifferentiated environment of staticness that had come to mark the corporate-industrial scene in India. IOC now desired itself to be projected as a 'futuristic' corporation "poised at the cutting edge of technology, and up-to-date in appearance" apart from being a 'friendly' corporation.
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