AXIMAZ - Chiaroscuro 2022 Edition

Presents 2022 EDITION OF SPADE SOUVENIR

2022

Late Dr. K. C. G. Verghese

“To make every man a success and no man a failure”

On the special occasion of our Chancellor’s Birthday

Dr. Mrs. Elizabeth Verghese

ABOUT HINDUSTAN

HINDUSTAN INSTITUTE OF TECHNOLOGY & SCIENCE (HITS), is a leading prestigious and recognized institution in India, located in Chennai, Tamil Nadu. Commenced in 1985, it offers a wide spectrum of Undergraduate, Postgraduate, Diploma, Research & Doctoral Programmes in diverse fields of Engineering, Technology, Architecture, Management, Law, Fashion De sign, Aviation, Applied Sciences, Allied Sciences, and Arts and Sciences. . HITS is a part of the most illustrious Hindustan Group of Institutions which caters to the academic needs of over 15,000 students and was recognised as Deemed to be University by UGC in 2008.

Towering as a portal of learning, HITS is aesthetically landscaped to house 8 Academic Blocks, 14 Centres of Excellence for Research, state-of-the-art Workshops and Laboratories. The learning community comprises students from several foreign countries besides those from India. HITS has curved a niche for itself through established global collaborations with Institutes and Industries to promote Faculty & Student Exchange Programmes, Joint Re search, Consultancy Projects, Conferences, and Guest Lectures.

HITS received Category-II status from MHRD which empowers HITS with Aca demic Autonomy. The technical courses at UG and PG levels are approved by AICTE. NBA has certified five undergraduate programmes offered by Aeronautical Engineering, Automobile Engineering, Computer Science and Engineering, Civil Engineering, and Mechanical Engineering under Tier 1 category. HITS has been awarded many Patents, Funded Research Projects from leading organizations like Department of Science and Tech nology (DST), Defence Research and Development Organization (DRDO), Naval Research Board (NRB), and many others.

ACKNOWLEDGEMENT

We begin the acknowledgements by extending our deepest grat itude to our respected Dean of SPADE - School of Planning Architecture and Design Excellence, Dr. Sheeba Chander, who has constantly steered and supported us in this undertaking which has aided us in the successful completion of this issue.

Furthermore, to all the faculties of SPADE our gratefulness for their unre lenting guidance and assistance in ensuring that AXIMAZ : Coherence in Design is a grand success.

The credit for the success of the magazine goes to the students who have had a hand in building this magazine from scratch. Through this issue we showcased their academic and non academic works such as photogra phy, paintings, poems and more, thereby boosting their enthusiasm to continue pursuing their interests and hobbies. . We are grateful for the thought-provoking conversations with various esteemed members within the community and allied fields with whom we have had the opportunity to interact and learn from thus enriching our career paths.

Last but not the least we would like to extend our thanks to the editorial team who has worked tirelessly to bring this issue of the magazine to life. Our heartfelt thanks to them and to everyone who has been a part of this wonderful journey with us. This magazine, and by extension, this symposium, would not have been possible without the combined efforts of everyone in volved, hence alluding to this year’s theme AXIMAZ: Coherence in Design.

EDITORIAL BOARD

AXIMAZ

PREFACE

Coherence is an inalienable part of the whole design process in ar chitecture. The final design essentially is a product of an individual mind but only through association, mutual respect and understanding of experts from allied fields, working wonders for ensuring high quality of the end prod uct.

“Coherence indicates harmony, unity and integrity between one’s vision & mission as well as the individual’s desires and discipline”

“COHERENCE IN ARCHITECTURE’’, the quality of being logical, consistent, and forming a unified entity, which has a direct impact on how system de sign should be approached logically. These system design decisions must be justified and follow a logical progression. It all comes down to whether or not something is understood and makes sense. A coherent system is clear and simple to comprehend. We will be able to create more resilient and adaptable systems by emphasizing coherence over consistency. In a hierarchical fashion that descends to the natural structure of materials, complex large-scale masses are built up from tightly interacting subunits at many different scales.

Welcome to the souvenir of the School of Planning Architecture and Design Excellence, as part of the annnual Symposium - Chiaroscuro 2022 -”Aximaz -Coherence in design”. Presenting to you a wide range of thought-pro voking articles, intriguing sketches, captivating photographs & interesting designs all done by the students of SPADE and a series of notes on the speakers who enlightened us on the various topics, along with special in terviews, curated by the Editorial Board with coherence.

KAMALI S (EXECUTIVE EDITOR)

EDITORIAL

In the English language Coherence has more than one meaning, our interpretation of it is a group of segregated or different units when joined together add value to the individual and to the group making sense as a whole.

This year’s theme aims at an inclusive approach of the various facets of SPADE: Architecture and Interior, Communication and UX Design. We have attempted to commemorate the past year by capturing its hues and horizons portraying the myriad of moments for the years to come.

This magazine gives you an insight into SPADE’s way of life, the creativity of our peers, various activities and competitions showcasing their works and innovative ideas.

Being in a pandemic for the past two years has caused people to re treat into their own private cocoons. The inability to go into the out side world has resulted in the ability to live day after day without the need to. In turn, the world has been driven us farther apart rather than bring us closer to one another. This brings us to this year’s theme - co herence as an attempt to rekindle the spirit of working together.

I take this opportunity to extend my thanks to all my editorial team mem bers for their untiring effort for bringing this magazine a reality. I am grateful to all the designers who spared their time for the interviews included in this issue. This magazine would not have been possible without the coherent effort of all the people involved, and with that said I present this year’s long-awaited issue from SPADE ‘AXIMAX: Coherence in Design’.

AXIMAZ

VIDYASAGAR M (EDITOR-IN-CHIEF)

EDITOR-IN-CHIEF

EXECUTIVE

Year, B.Arch

SECTION EDITOR

PRANESH R U MALINI VEDAVALLI R

Year, B.Arch

SECTION EDITOR

RIYA ANTONY

B.Arch

SECTION EDITOR

MESSAGES

- page

YEAR AT SPADE (2021-22)

18 - page

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WITH

SPADE ACED

23 - page

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Dr. Mrs. Elizabeth Verghese Chancellor

It brings me great excitement and joy to see the students of the School of Planning, Architecture, and Design Excellence (SPADE) take on the responsibility of organizing their Annual Symposium AXIMAZChiaroscuro 2022 on the theme of coherence in design.

Coherence is vital for the design and also in the world. The multidisci plinary arena of SPADE has coherently accommodated diverse ideas for years and it is no surprise that the students, despite working towards different goals and horizons, still manage to come together and do ex cellent contribution towards the development of the department. The constant effort and interests of students and professors are the driving force that produces exceptional works and triumphantly emerges into the world.

I wish all the students and faculty members of SPADE to bring out their best for this event and to make it a huge success. I also wish that they take these memories and lessons along with them for all future endeav ours and attain success everywhere.

Dr. Anand Jacob Verghese

Pro Chancellor

It gives me great pleasure that SPADE, HITS is organising AximazChiaroscuro 2022. “Coherence in design” is an apt theme for the symposium in today’s day and age, where the collaboration and symbiosis between architecture, design and allied fields is increasingly pertinent. This symposi um will help us understand and appreciate the much needed coherence between them and expose students to various allied fields on architecture and add more knowledge in related subjects and develop skills in them.

The symposium spanning across two days will cover different aspects of ar chitecture and design and related fields through the myriad events, lectures, keynotes, and other activities. The stellar line-up of speakers from different parts of the country is bound to provide unmatched exposure to the world that constitutes and adds value to make any design a wholesome one.

Chiaroscuro has always been a wonderful platform for students to exhibit their passion and talent, and HITS consistently focuses on such holistic devel opmental opportunities for students.

My best wishes to SPADE for Aximaz - Chiaroscuro 2022’s grand success.

Dr. S. N. Sridhara

Vice Chancellor

My heartfelt congratulations to the School of Planning Architec ture and Design Excellence students for resuming the offline symposium after the pandemic. It never ceases to amaze me how imaginative and creative the symposium becomes each year. The theme of this year’s symposium, “Coherence in Design,” is highly intriguing, and I can sense the students’ excitement.

AXIMAZ- “Coherence in design”, is a relatable theme in the current era as everyone is trying to find life in a new dimension. I feel happy to in troduce SPADE students to all of the potential platforms and versatile design palettes which facilitates to pick their career and shine brightly in the future.

I wish the students and staff members the best of luck in their efforts to make this event a big success. I believe, such events are highly valuable and enlightening for today’s younger generation who want to experi ence fascinating design aspects that lead to excel in their life.

R. W. Alexander Jesudasan

Pro Vice Chancellor

Every year, the students of SPADE astound me with their intelligent yet interesting symposiums. Similarly, this year’s symposium AXIMAZ- “Coher ence in Architecture” appears to be far more fascinating than in previous years. Hosting an offline event after a couple of years inside the walls of HITS is a huge accomplishment.

Each student has a different perspective and area of expertise. We take great pleasure in stimulating those remarkable minds to think deeper about their favourite subject and the options that are available to them. “Coher ence in Architecture” conjures up images of all the unimaginable types of design. I hope that this initiative benefits every single student as there is a great boom in the field of Architecture in recent times.

I congratulate the students and faculty for their altruistic efforts in organizing this massive event. I wish this event every success. Kudos to the team AXI MAZ.

Mr. Ashok Verghese Director

With their annual symposium “CHIAROSCURO 2022,” the School of Planning, Architecture, and Design excellence has once again achieved the peak. As an enthusiastic spectator, I was curious about the event, and the theme for this year’s symposium, AXIMAZ-”Coherence in De sign,” caught my attention.

Delving into the topic the students have become more aware of all the allied fields of design and in doing so they have understood the need for inclusiveness. All the variables count in the digital world, likewise the in clusion of different ideas will ensure coherence in the physical world. The students of SPADE have exhibited the skill set the competitive world of design asks for and I hope that they all will reinvent themselves whenever they come across a change.

Now our world is not just limited to the indoor and outdoor because of the digital realm. It is evident from the efforts taken by the students and faculty of SPADE that we will be able to find coherence between these different worlds. My heartfelt congratulations for everyone who has ded icated their time and effort into making this ambitious idea possible.

Dr. Aby Sam Director

I am overwhelmed to note that the students of School of Plan ning, Architecture and Design Excellence (SPADE) is organising an An nual Symposium “Chiaroscuro 2022” with the theme ‘Coherence in De sign’. I am delighted to state that all the previous editions of this annual symposium were so meaningful to the students and have exhibited ex cellent team work and organising capabilities.

‘Coherence in Design’ is a most appropriate theme for students who think that their profession thrives on new thinking & design principles. As we start a new beginning after the pandemic, we are coming together with more fervour and joy than ever before. I am extremely delighted to see the amount of work and unwavering dedication that our stu dents have contributed to the event’s grand success in the past edi tions which I am sure, they will continue for the grand success of 2022 edition.

It always gives me great joy whenever the School of Planning, Architec ture and Design Excellence (SPADE) holds an event as it is always very unique and creative. I extend my best wishes to the students and fac ulty of Architecture for successful conduct of this annual event. I hope that they make wonderful lifelong memories and it gives them more insights to the new design principles, practices and technologies in the real world architectural practice by listening and interacting with the eminent resource persons invited for this event. I offer my best wishes to the grand success of “Chiaroscuro 2022”.

Dr. Pon Ramalingam Registrar

It is my pleasure always to be a part of this year’s Annual Symposium, AXIMAZ –“Chiaroscuro 2022” - Coherence. I am pleased to note that the students and faculty work together for the success of the event. To organise such a large event a success, it requires endless work and immense organizational capabilities.

Just as the name says Coherence, it is simply the art of better understanding of each with his career and life. Our students here have exhibited their solid dedication to wards the Symposium and made it a success! I thank the management for handling all toils of the day.

I take this wonderful opportunity in congratulating the students of SPADE, for the initia tive taken to such Annual symposium to enhance the exposure of the students.

Dr. Angeline Geetha

Dean (E&T)

“Design is intelligence made visible” – Alina Wheeler

I am delighted to note that the students of the School of Planning, Architec ture and Design Excellence, Hindustan Institute of Technology and Science are organising “CHIAROSCURO” the annual symposium of their department under the theme “AXIMAZ - Coherence in design.”

Coherence is harmony, unity and integrity between our vision and mission. Creativ ity is the power to connect the unconnected. The secret to creativity is designing often. Hence coherence in design brings out the creative spirit in you.

SPADE, a department that is always vibrant and agile, has one more reason to bring out the best in their students. Through this symposium, we wish the team to come out with concepts and creatives that will create a world class impact. All the very best to the SPADE Team.

Dr. Sheeba Chander Dean (SPADE)

I am very delighted that that SPADE, HITS is conducting AximazChiaroscuro 2022 with the theme “Coherence in Design”. The importance of partnership between architecture, design and allied fields is ever increasing, making the theme of the symposium a much needed and able one in the current status quo.

This symposium is aimed to impart knowledge on the symbiosis between them and the various exciting opportunities that exist for students in architecture, design and allied fields. Across the two days of the symposium, multiple innovative events have been planned to provide the students with rich perspectives from experts through lectures, keynotes, and from getting hands-on in the workshops and contests.

I am proud of my students for their hard work and professionalism in organizing Chiaroscuro, which has been a significant extra-curricular avenue for students to exercise their enthusi asm, leadership and passion. I congratulate the faculty members and students of SPADE for conducting an event of this scale in an innovative manner.

I welcome students from all over the country to take part in Aximaz - Chiaroscuro 2022 and wish the event to be a grand success.

Ar. Vergis Oommen

Distinguished Visiting Faculty

I am grateful to have had the chance of getting to see the students of SPADE in their preparations for the Annual Symposium AXIMAZ- “Chiaroscuro 2022” with a stupendous theme of Coherence in Design.

Over the years I have observed that the Symposium excels exponentially in terms of creativity and passion of students to make it an iconic and memorable event.

I am very delighted to see that all students are participating enthusiastically and this has clearly been translated into the final output. I wish the students and faculty of SPADE the very best for this stellar and joyous event and I am eager to attend many more such events.

Ar. J. Sudhakar HOD (SPADE)

Design has been the unifying factor in creation of new ideas and solutions in the field of architecture, interior, fashion and communication.

This year at SPADE we take a fresh look at how design can provide a better quality of life, better experience in our residences, offices and digital environments that make us work effectively and enjoy the living experience.

It is my pleasure to be a part of the annual event of SPADE AXIMAZ - Coherence in design. I wish the students for a successful event that may bring them exposure and add value to their design education at SPADE.

Dr. T. Sudalaimuthu

Coordinator (IQAC)

My best wishes to the students and faculty of SPADE for taking the initiative to shape their knowledge bank with the latest tools and techniques. This year’s annual symposium “Chiaroscuro 2022” has an interesting theme, COHERENCE IN DESIGN, letting the students know more about the diversity of the field.

Together the different design disciplines have framed a symbolic theme “Coher ence in Design” to represent the multifaceted nature of the postmodern world we live in. Like a balanced diet that fuels the human body the right proportion of human intervention in the limited landform will result in Coherence. Far into the future, the students of SPADE will have contributed to many design projects that capture the theme of this event.

Dr. Praneetha Varma

Honorary Secretary IIID, CRC

SPADE is organizing their annual symposium CHIAROSCURO 2022 entitled ‘AXIMAZ’ with a relevant focus on “COHERENCE IN DESIGN”.

Now, more than ever we need to focus on the development of buildings and ur ban spaces that are cohesive and recognise the importance of our social, cogni tive, and emotional well-being needs also, besides form and function.

My appreciation goes to each and every student involved in giving this principle of design due deliberation and attention and is sure discussions will be productive. I commend the fabulous work by the SPADE team which has animated ‘Coher ence in Design’ My best wishes to make this event a great success.

Ar. C. R. Raju

President, IIA

I am delighted to learn that SPADE is conducting an annual symposium called AXIMAZ, under the theme: Coherence in Design.

The students of SPADE have worked tirelessly to bring this event to success after a year break from the offline normality of life. After being encapsulated in our own bubbles due to the sweeping pandemic, it is essential to bring back coherence in our world. As it is said, “The whole is greater than the sum of its parts.” I hope this event is a huge success and I wish the aspiring designers good luck.

HOW SPADE ACED

The School of Planning Architecture and Design Excellence(SPADE), HITS has completed 28 years since its formation in 1993. Over the past 28 years, the School has evolved and grown into a School of unique thought through all the academic, technological and pedagogical milestones. SPADE has ranked as the top 27 Architecture institutions in the NIRF rank ing by the Ministry of Human Resource and Development, India in 2022.

The school offers Bachelor of Architecture- B.Arch, Bachelor of DesignB.Des (Interior Design/Communication Design/Fashion Design) as un dergraduate level programmes. SPADE also offers the postgraduate programmes like M. Arch, Master of Architecture (Executive / HousingExecutive), M. Plan, Master of planning (Urban Planning / Transportation Planning) - and M. Des, Master of Design (User Experience Design) apart from Ph.D Programmes

SPADE is committed to nurture creative, analytical and technical skills to the learners who carve out to be socially responsible citizens, with a vision to “To impart quality education in architecture, planning and design and holistically develop the future generations to transform built environments with cutting-edge and sustainable solutions”. At SPADE, students explore learning beyond the classroom where learning meets fun. Today, the school is one of the most sought after institutions in Archi tecture, Planning and Design programmes.

It has stamped its global footprint through collaboration with many pre mier foreign universities. SPADE is also involved with several on-going ac tivities in the city and country associating itself with renowned organ isations. The school takes pride in its great network of alumni who are actively involved in the development of SPADE.

A YEAR AT SPADE

SPEAKERS

AR. SANJAY MOHE

FOUNDER, MINDSPACE ARCHITECTS

Ar. Sanjay Mohe was born and brought up in Mumbai , graduating in architecture from Sir JJ College of Architecture in 1976. After working with the eminent architect Charles Correa, he founded Mindspace in 2004 along with Vasuki Prakash and Suryanarayanan. Architect Sanjay Mohe frequently gives lectures in architecture schools across the coun try.

Striving towards a more sustainable approach towards Architecture, Mindspace revolves around the five elements of nature: Pritvi, Jala, Tejas, Vayu and Agni. Climate and context are the two main factors around which their designs are centered. Mindspace believes that de sign spaces should be responsive to local climate, making climate and context the two main factors of their work.

The human mind perceives its surroundings in five different ways — sight, sound, smell, touch and taste. For a complete experience of any space, the built form has to cater to all five senses superimposing upon each other, but not overpowering any. This is the principle followed by Architect Sanjay Mohe while crafting masterpieces with building mate rials. He believes that architecture is beyond the cosmetic and about the soul; it is about falling in love with an idea and fighting relentlessly for its realization.

RAHUL

USER EXPERIENCE MANAGER, AMAZON

Rahul B is a senior user experience designer practicing the craft of design for over 8 years. He holds a postgraduate diplo ma in design for digital experience from National Institute of Design.

He has worked for several large and small firms where he got the opportunity to work on many different prod ucts across domains from product planning to deployment.

His strengths are visual design, user research & analysis, pro totyping, documenting and sweating on meticulous details. He has a great ability to work with multiple stakeholders across all lev els to deliver on key priorities. He champions the customer’s voice in all forums.

AR. SUSHMITA A J

FOUNDER, AWFIS SPACE SOLUTIONS

ALUMNUS - SPADE

A graduate of Hindustan Institute of Technology and Sci ence, Ar. Sushmitha founded AWFIS Space Solutions. With over 12 years of experience in space planning management, sustaina ble architecture and expansions on managed aggregation mod el and operator model with exposition and RE cost analysis.

She is an engaging and steadfast leader, mentor and coordina tor with a track record of steering improvement projects, build ing cross-functional teams by fostering innovation and op timizing a result oriented environment and accountability.

She is a IGBC accredited professional and a member of the council. She is passionate green champion and strives to create an impact on the energy/environment and supporting a conscious and sustainable growth in the field.She also holds a post-graduate degree in environ mental law.

AR.

JONATHAN MATHEW

UX DESIGNER, MICROSOFT

Jonathan Mathew an experience designer at Microsoft working on the Microsoft cloud. He worked on various fronts to design the future of web browsing to ensure it is safe, secure and productive. Graduating with a masters in Interaction design from IDC IIT Bombay in 2019.

During his tenure there, his passion towards Design Theory and Spec ulative Design ( Design Fiction ) led him to be a strong advocate of Technology for Social Good. As part of his graduate programme at IDC IITB, he worked on Designing Inclusive modalities to help Children with Special Needs, engage and participate with digital mediums through Open-source ML tools.

He loves objects, especially Evocative objects trying to understand their interaction with us and co-authored a small paper about it as well.

AR. FAISAL MANZUR

PRINCIPAL ARCHITECT, FAISAL MANZUR DESIGN STUDIO

Ar Faizal Manzur, an alumnus of SPADE - School of Planning Archi tecture and Design Excellence is now the Principal Architect at Faisal Manzur Design Studio established by him. His motto is “Traditionalising the Modern” and his team work towards bridging the gap between modernism and traditionalism.

From a young age he gravitated towards architecture and interior de sign, analyzing and subconsciously observing every detail. When pass ing by a construction site he used to emphatically observe the progress until completion. Infusing this passion he made a successful career out of it. His favorite designers include Sabyasachi, Andre Mellon, Studio Gencquel, Ernesto Bedmar and Geoffrey Bawa and his own mother whose sketches and paintings with a variety of colours and textures.

His advice to aspiring entrepreneurs is to keep alive the passion for de sign and develop the grit and gumption to run a successful practice and improving their communication skills to have better client designer interactions for which he gives utmost importance.

AR. SHEILA SRI PRAKASH

FOUNDER, SHILPA ARCHITECTS

Established in 1979, Shilpa Architects broke barriers by establishing the first architectural firm led by a woman. Sheila Sri Prakash is an inspi ration to women all over the world. A sustainable architect, she brings together performing arts and architecture with relevance to context, culture and tradition.

Her design philosophy combines Architecture with social and cultural impact, human psychology, preservation and conservation of heritage, holistic spatial planning, and the impact on urban dynamics and en vironment. The first Indian woman to be a part of the World Economic Forum’s Global Agenda Council on Design Innovation in 2011 as one of the 16 international experts in design and innovation for her signature work in artistic, cultural and heritage architecture she formulated the Reciprocal Design Index, a sustainability matrix linking the parameters of sustainable design in terms of environmental, sociological, and eco nomic impact.

Instrumental in establishing the Indian Green Building Council in 2001, their LEED platinum certified office is designed to influence the well being of users and is an exemplary example of their philosophy. Today, Sheila Sri Prakash is amongst the most influential female architects in India and the world.

DEENADAYALAN P

LEAD DESIGNER, KONE ELEVATORS

ALUMNUS - SPADE

Deenadayalan graduated from Hindustan University and then pursued a masters degree in industrial design from Indian Institute of Technology, Delhi. He has worked in key desing positions in various manufacturing and technological arenas.

His combined interest in industrial design and architecture has helped him grow his experience into expertise in the industrial design sector. Many aspiring engineers and designers look up to his work and career experience. Having worked in the industry for more than 17 years he has experience in working with state of the technology that is used in the manufacturing of high-end products such as elevators.

He is the reciepient of Prestigious Red dot Global design award winner 2022 for best elevator designs. In the field of industrial design he has worked on diverse range of projects starting from automotive to Con sumer electronics products to Elevators.

AR. BENNY KURIAKOSE

FOUNDER, BENNY KURIAKOSE & ASSOCIATES

Benny Kuriakose made his mark in architectural conservation and the design of new buildings, taking his roots from the vernacular ar chitecture of South India. He is known for designing structures which are built from natural materials such as timber, stone and brick. He has practiced mostly in Chennai and Kerala. He runs a consultancy firm in Chennai.

Kuriakose seeks to achieve sustainable architecture through vernacular and traditional practices. He believes in the logic behind vernacular architecture being climate responsive, and using locally available materials to create pro jects that have a simplistic beauty. Sustainability and cost-effectiveness form the most important factors in arriving at the final design.

The sustainability aspects of his buildings varies. Although modern materials such as cement and steel are used, their use is limited and it is mostly natural materials that are prominent in his buildings.

SREENAG B R S

PHOTOGRAPHER, SREENAG PICTURES

A career in photography was always Sreenag’s goal, and hence his venture into photography began at a young age, much before col lege. He was the 3rd generation in his family to make their living using a camera.

With a fiery passion for design & architecture, he combined it with his skills as a photographer when he started his practice. He also read comprehensively on the subject, being one of the few in the country to specialize in architectural photography, winning numerous awards for the same.

Sreenag is a firm believer in knowledge-sharing, so apart from the busi ness of photography, he teaches photography at colleges and to the general public as well. Sreenag Pictures, founded in the year 2005, is an award-winning photography company, specializing in the visual doc umentation of architecture and interiors, through photography, video and 360 imagery.

They have a wide range of experience from small, specialist enterprises to multi-billion dollar corporations owing to their consistency and the promise of great photography, always on time.

R V

R.V. Ramani is an award-winning filmmaker, cinematographer and a teacher, presently based in Chennai. Although graduating in Physics from Mumbai University, his passion for photography made him choose photojournalism as a career. He then graduated from the Film and Television Institute of India, Pune, specializing in Motion Picture Photography.

Today he is one of the leading documentary filmmakers in India, with many independent films to his credit, who has established a unique style of his own, making impressionistic subjective documentaries, as innovative experiences exploring various aspects of expression. His first short film, Saa (1991, 16mm, 30 mts), as Cinematographer, was an ex periment with form and content, exploring his own rhythm, in the flux of rural and urban rhythms.

Ramani has traveled widely, his films and retrospectives have been pre sented in various platforms. He regularly gets invited to conduct film making workshops, Master classes or as an Academic consultant at many Institutions in India.

DIALOGUES WITH DESIGNERS

DR. THOMAS SCHROEPFER

CO-DIRECTOR, SINGAPORE UNIVERSITY OF TECHNOLOGY AND DESIGN

Professor Thomas Schroepfer obtained his doctoral de gree and master’s degree with distinction from Harvard Uni versity. Beginning his academic career at Harvard’s Gradu ate School of Design, he was appointed Assistant Professor of Architecture in 2004 and Associate Professor of Architecture in 2008.

His work investigates the increasingly complex relationship be tween design and technology in architecture. He has been rec ognized as a creative leader in the industry and is a prominent keynote speaker at international conferences, symposia and work shops. His work has been exhibited at important international ven ues, including at the Venice Architecture Biennale, the World Archi tecture Festival, and the World Congress of Architecture. He is also the author of numerous publications on architecture and design.

Professor Schroepfer is the recipient of various esteemed awards includ ing the The Chicago Athenaeum and The European Centre for Archi tecture Art Design and Urban Studies International Architecture Award; the President’s Design Award, Singapore’s highest honour accorded to designers and designs across all disciplines; the German Design Award; and the Asia Education Leadership Award.

1) The global population growing steadily resulting in the demand for housing and infrastructure. How could cities effectively manage popu lation density without depleting the existing green belt?

This is a pressing question in Singapore and there’s more than one an swer to it. How can one continue developing and not compromise the ability of the built environment? Additionally, there’s always an empha sis on greenery, leading to a garden city model. The goal is to produce a high density urban environment that can coexist with nature.

One way to produce green features is in the section of the building. But in Singapore those parks and greenery are folded into the third dimension. This is a 3D system thinking. The hybrid between landscape architecture and architecture, results in a high density model that can coexist very well. If it is well planned, it can benefit both the parties.

Singapore is a good example. Here, once infrastructure has become obsolete, it has been transformed into green spaces. It doesn’t have to be newly formulated space, it can also be designed in such a way that it adapts to the existing city, such that the greenery and built environ ment can coexist.

2) Conventional techniques and materials are still dominant in the industry of building construction. What should be the designer’s approach in tackling environmental factors through the use of innovative technology?

I’m giving a few directions here. There is interesting research happen ing regarding materials. The traditional palette is concrete, steel and so on. There’s a new revival of timbre structures. For example, in Japan, even high-rises are built entirely from timbre. This is a positive outcome as wood is a natural material and hence the ecological footprint is much lower than manufactured materials.

Bamboo can be a reinforcement alternative to steel. There is also an interesting hybridization between traditional and modern materials. In order to to bring down the impact of such materials we need to look at existing buildings because existing buildings are the greenest.

We should also build in a way that it has high flexibility, that is it should be able to adapt. Additionally, there is fascinating research about cir cularity; to recycle materials, rather than creating new materials.

3) There are many allied subjects such as landscape architecture, urban planning, climatology, etc that are crucial to the design and functioning of a built environment. How should the students equip themselves for the multifaceted nature of the industry?

There’s a lot of crossover between architecture and other disciplines. Today’s problems faced by the world, cannot be solved by one disci pline. Today’s education has to have depth. As today’s architects we work with people from various fields. This starts from universities and so as universities we need to adjust to this need.

Here the first year is a joined year, in which foundational knowledge is given. Only in the second year, there is a specialization. And in the third year, everyone comes together to solve real world problems. This is a very good model.

In my team I have ecologists, planners, urban planners, architects and landscape architects… because in research we have to cover all bas es. So this is the most promising way to equip ourselves.

4) Do you think future cities could make use of land effectively if the areas are further segregated into smaller zones with all necessary infrastructure and amenities?

In my opinion, moving forward, yes cities have to be more compact. Now we are eliminating the distinction between nature and the urban realm, so there is this sub-urban development which is not great be cause of the ecological footprint. There’s also traffic because of the long distances and so on.

So coming to a decentralized way in which we can eat, work and play within a certain radius is a much better option. And as far as these dis tricts are concerned, a mixed use district is more promising than a strict zoning. Purely residential areas or purely commercial ones can become immensely boring and so a healthy mix of uses, programs and zoning is a better model.

5) Designers are now expected to handle multidisciplinary projects. How could academicians reshape the course curriculum for enabling the students for collaborating with different design disciplines?

This builds on the earlier question. A good curriculum provides both. As an architect we learn the language of other disciplines around us. It is essential that we understand each other and this should start from our education: a good mix of courses that offer a deep disciplinary knowledge and also enable us to come together and tackle real world problems. This is a good model to pursue as we understand the com plexity of a real world problem where we have stakeholders- we have clients. We should be able to deal with this and provide good quality solutions. So this should be included in our education and the modern design field.

AR. JELLE THERRY

DESIGN DIRECTOR, RAMBOLL STUDIO, Singapore

Ar. Therry seeks to thrive in a progressive, team-oriented design environment. Realizing functional, meaningful, and intellectually en gaging landscapes is a personal expectation and standard of his. He joined Ramboll in 2018 where he works together as a team of different nationalities, regardless of business units, to create new and liveable places. While no one solution fits all, they consider local context, cul ture, and geographics when designing a solution for a specific place.

As a Design Director at Ramboll, he has been leading, designing and overseeing the construction of many large urban design and park de velopment projects across the Middle East and Asia Pacific (MEAP) region. Some of the items in his portfolio include: Punggol Digital Dis trict, Unicorn Island, Jiangxi River Chengdu, and Jurong Lake Gardens.

Ar. Jelle Therry’s experiences of working and studying abroad have taught him the true value of teamwork, because good ideas can come from anyone and everywhere, and it is only through listening to others where ideas can be pieced together to form a coherent, custom-built visioning for the client.

Within the studio we call this the repair of water balance. There is a certain amount that goes through the soil, that evaporates, as runoff. In a natural system you can calculate the runoff coefficient while in urban context we don’t have infiltration anymore , little bit of evapo ration going on and a lot of runoff. Water we have today disappears into a drainage canal and is lost.

But in urban system, there’s a lot of runoff we have a vision. Our cit ies should be a sponge, hold the water in to design from an urban point of view. Listen to the landscape this is number one and project your new development on it. When we think of new developments we need to think of where the rainwater will get connected and go. How can we harvest it, how can it be made accessible, cleaned, how can the space be made more valuable as when floods occur water causes lot of damage.

Water and nature go hand in hand and we can create amazing spac es with it. The future the way we see it is through horizontal treatment of water and bringing it into vertical treatment, starting with the green roof, green facades, which can be thought of for collecting rainwa ter. Nature is giving you lot of possibilities to design with it.

2) How can large scale open spaces and high-rise buildings function coherently to enable social interaction?

In Singapore, every morning I take the MRT to the office for a 8 to 12 hour workday. On the way, I barely see any trees. The thing about human beings is when we get stressed or when we’re not healthy or when we’re not comfortable - we dream about a space with nature.

When we want to escape the urban jungle and go on a holiday we tend to go back to nature. It makes us feel better, it enhances the place we live in. Additionally, it makes investment and property value goes up.

Nature is benefiting for cities too. We should not look at it as giv ing pockets of green spaces but a network of green spaces through parks, garden spaces, realigned boulevards and giving nature a way into a city and through these spaces we get closer to birds, butterflies and bees making us better people. We believe that every aspect of urban development needs to get us closer to nature.

1) Development of urban areas have resulted in the decrease of water permeable surfaces. How should open spaces in cities be designed to balance urban hydrology?

3) We have seen the use of prefabricated pavilions in response to the demand for vaccination as a result of the pandemic. Can the use of temporary structures like pavilions in open spaces provide more flex ibility to solve design problems that arise in the future?

I will share my opinion on it. Temporary structures benefit the place you and I live in. It is a place where communities come together you get to learn about your neighbours enhancing community thus cre ating a sustainable and resilient city. Of course, temporary structures make for better spaces.

They can or cannot be modular structures and we can talk about sustainability as in they shouldn’t introduce more carbon into the at mosphere and should serve as a carbon sink, they could utilise green roofs which also give a rich biodiversity. We need to discuss more about these temporary methods are and how they could contribute to our planet and be smart about it. Yes, I believe we need temporary structures in a community point of view.

4) If technology could reduce the amount of time people of the future spend in travelling between places reducing the amount of time spent outdoors. Do you still think they will benefit from the green spaces?

Yes, we need green spaces inside and outside the city else they be come concrete jungles. During covid many people pulled back to the rural areas, why because there is no healthy space inside the city. While technology helps us connect with people, do our work it doesn’t make us healthy or help us stay healthy.

During the quarantine period, while staying in the hotel it was a night mare we cannot see trees, sky, or get fresh air. As humans we need to go out and technology wont change that. If I gave you 1000$ to stay in the jungle for a week you may take it, but you won’t be able to survive because humans have become used to getting everything at their doorstep and have become domesticated pets and we need to bring the wilderness back into us.

We need to have that possibility to go into the wilderness but also have an environment which is structured and controlled where we can Netflix, call our friends. We need to be able to go to a park, pa tio, or balcony with a lot of greenery where we can dream away free from the constraints of technology.

5) How can universal design principles be incorporated into massive open spaces such as public parks and public squares?

What we do is we try to listen very carefully to the place itself to under stand the context and how to beautify it and make it an experience. How do I add pieces of history into that place with integrating certain landscape elements? There needs to be that exploring of these green spaces, we need to be able to have a sneak peek so that the value of the place increases while maintaining spaces where nature remains in its true form.

We need to think about these spaces to be resilient and as fun spaces such as a nature inspired program etc. These will increase the value of the place we live in and when we have a park or garden in 200m radi us it improves the way the city is built.It needs to focus on accessibility nature community building and retail development as well and needs to be a layered approach. How these layers connect and dissect also needs to be looked at and made as a connected system.

A great example of this is the Bosco Verticale in Milan with a vertical forest and is a beautiful architectural statement. It is an amazing idea in a nature and water management point of view and we need to have a system thinking rather than individual elements.

6) How to make spaces more inclusive and accessible?

65% in 2050 will live within the city and people are going to live longer. So we need to think about how the younger and older community can live together independently. Stacking programs one above the other by introducing public spaces like supermarkets, restaurants at the ground floor accessible to all. If the medical facilities, age homes or play niches above it housing specifically dedicated to 50-90 age group then we allow the landscape over it to get nature closer to you then we do not burden the government to build old age homes. In troducing kindergarten or creche in a building with old age facilities will allow for older members to take care of their grandchildren easily.

This also helps them be happy and decreases their loneliness which has become a major issue. By providing a simple bench in a garden we allow people to connect and when we combine this community building we leave the world a little better than what it was. As archi tects we need to keep in mind that we need to design keeping in mind that we need to leave the place a bit better than it was when we started.

AR. BIJU KURIAKOSE

FOUNDER, ARCHITECTURE RED, CHENNAI

Ar Biju Kuriakose co-founded architectureRED in Chen nai along with Kishore Panikkar, and brings crucial sustainable planning, urban design and internationals expertise to the firm.

Under the mentorship of Prof. Akhtar Chauhan, he completed his un dergraduation at the Rizvi College of Architecture, Mumbai in 1997. He then went on to study Urban Design in New York and has a Mas ters in Architecture and Urban Design from Pratt University, New York. He went on to work in various prestigious firms in New York in cluding Design + Urbanism and Terrance O’ Neal Architects. Hav ing been an associate with FXFOWLE, a leading architecture design, planning and urban design firm based out of New York, he led the design efforts for many of the firm’s large scale planning and urban design projects, including developing the master plan for Hunters Point South in New York, a 500 acre Dubai Waterfront among many others.

Ar Biju is a USGBC LEED accredited professional and holds sustainabil ity and inclusivity with high regard. He is frequently invited as a guest speaker in many architecture schools including SPADE and planning conferences and seminars across the country.

1) How do you ensure the finished work is a reflection of your firm’s collective ideas without losing the coherence of your vision ?

At the beginning of the project, it is essential for us to communicate well the project’s intent. By intent, I mean the relevance and context of the design to its surroundings and within itself. Once there is a clear idea, we involve our client, weaving them into our design develop ment. After this it’s a rigorous process wherein we present it to the construction team and make sure to periodically monitor the con struction to ensure that every stage pertains to the conceptualization of the design.

2) You’ve often mentioned the works and philosophy of architects like Juhani Pallasmaa, Charles Correa, Peter Zumthor, Laurie Baker. Do you think there’s a timeless quality to their ideas that still resonates with you ?

They look at things very holistically, which is fundamental. Architec ture is seen as a mediation between the world and our minds. Juhani constantly talks about this.

Whether it’s Correa’s work or Juhani’s writing, architecture is a way to understand the world and help shape the built environment, tak ing it beyond the realm of just the building. We are critiquing it, how it’s relevant, how it fits, how it changes the context, and tackling the meaning of sustainability with a larger narrative.

It becomes a learning process, it’s about the self and the world. It is important to understand the world and in turn, articulate our vision for the project. They have a great influence on the way I work and more importantly, the way we see the world.

3) An interesting idea that you’ve ingrained in us was the creation of ground at different levels. Do you believe that this idea will be the solution to retain a relationship with the outdoors irrespective of the floor level?

When I talk about ground. I talk about ground as a context and not just the physical ground itself. We are very conscious when we inter vene on a site on how the nature of the ground transforms. As a result, it changes the way we live. No matter how high we go, eventually we come down and the ground becomes a natural social space where everybody comes together and interacts, and we transition to the outside world, negotiating with the context.

3) An interesting idea that you’ve ingrained in us was the creation of ground at different levels. Do you believe that this idea will be the solution to retain a relationship with the outdoors irrespective of the floor level?

When I talk about ground. I talk about ground as a context and not just the physical ground itself. We are very conscious when we inter vene on a site on how the nature of the ground transforms. As a result, it changes the way we live. No matter how high we go, eventually we come down and the ground becomes a natural social space where everybody comes together and interacts, and we transition to the outside world, negotiating with the context.

The most valuable resource that we have is land and we convert it into a private space for vehicles. We don’t look at it as a natural con gregational space for social activities to happen. We can create multiple grounds , reestablishing the relationship with the context and this can be created at any floor and allows us to create a stronger relationship with the outside world. We don’t like the idea of being boxed in. We want our buildings to breathe and people to engage with the context even if it is just coming out to a terrace, experiencing the wind, light, rain etc. While we claim to live in a highly social world, the way we build is very introverted and the fundamental nature of sustainability comes from social sustainability.

4) How does the understanding of human psychology play an important role in paving a successful path in architectural practice?

Our job as architects is to understand how people live. The most es sential is the need to observe things. When practicing, we are not ob sessed with the world of design rather the design of the world. We are concerned with the design of the world and have to negotiate with it. When I say negotiate with the world, it is to understand the critical issues that we face as a community.

When I do housing I have to understand what the challenges housing as a typology faces. It is not just about resolving the brief, we need to be conscious of the issues that it faces. A large part of this happens through observation. It is important to understand people, how they engage with the space and for that we don’t need to be an expert in psychology.

What we do as an architect is our intuitive response to what we un derstand about the world. A lot of what we do in architecture is in tangible. We try to dissect the space and analyze how the person is affected by the space which may cause them to behave in a particu lar way whether it be the scale, the materials, the way light falls and so on.

What we do as an architect is our intuitive response to what we un derstand about the world. A lot of what we do in architecture is in tangible. We try to dissect the space and analyze how the person is affected by the space which may cause them to behave in a particu lar way whether it be the scale, the materials, the way light falls and so on.

These observations form you as an architect. In turn, we use the pro ject to demonstrate our understanding and give answers to the larger issues that we as a society face.

5) Do you think bureaucracy is delaying the growth of urban areas even after massive strides in technological development?

We believe that very efficient bureaucracy will help steer us through and transition into a technologically driven society much faster. India is quite challenging in nature; with its huge population, the transitions are not going to be easy. What is critical is to put the right processes in place which is missing in india.

When living in a city, I have a state in it and when major interventions are made in the neighborhood I need to be involved in it. We need to put systems in place which allow these processes to go about faster. We are always in a hurry, which is understandable but we need to en sure that as we develop, we build in these processes on the way and that is a tough and time-consuming task.

I frequently work with chennai corporation and there’s a lot of change happening. There is an awareness and a conscious effort to make these processes better and we need to be more patient as a society.

We need to ensure people’s involvement in the building process which will result in long lasting and efficient solutions. We are all part of the bureaucracy and have a share in the blame. The public needs to constantly advocate for the right process in place.

CHARUVI AGRAWAL

FOUNDER, CHARUVI DESIGN LABS, NEW DELHI

Charuvi Agrawal is an avant-garde multi-media artist based in Delhi best known for technological enabled large scale physi cal artworks, animated short films, TV shows and immersive experi ences.Her paintings and miniature sculptures have garnered rec ognition and awards in high-profile exhibits from a very early age.

Her work has been featured in various publications and earned prestigious film screenings at the South Asian International Film Festival (New York), One World Film Festival (Ottawa), Indian Art Summit (Delhi) and many more. She has been honored twice at “Limca Books of World Re cords” and at the age of 23 she was facilitated at “Incredible In dia @60” festival in New York by Coca-Cola as one of “the emerg ing 10 who would transform the global artistic landscape.”

Her biggest achievement is the 3D Animation film Shri Hanuman Chalisa, made in 2013 and which received many awards and also made a 25-foot Bell Sculptor of Lord Hanuman of 26,000 bells. Her initiative today has become a think tank & great inspiration for growing designers from all over India.

1) You have a diverse body of work. On one extreme there is animat ed films and immersive technology and on the other extreme there is sculptures and art installation. How does your ideas transcend into different mediums?

Multiple mediums allow for ideas to transcend uniquely. An installa tion brings about the grandeur and magnificence of a deity while the same deity is seen as a hero in a film and as an omnipresent god in an immersive medium. I have always wanted to experiment with me diums, more than I have wanted to experiment with ideas, and with technology constantly evolving, my experiments will become even more varied.

2) How did your perspective on art evolve over the years?

Art is a representation of ideas, philosophies, emotions, histories, dreams, and unique relationships. With time, some of these facets change. Some disappear, some morph, some evolve and some re main the same. The same has been my perspective on art.

All facets have evolved with my own experiences, ideas, philosophy, and emotions. There is a new love for evolving styles and an even greater love for some older ones. One thing is for sure, new mediums need to be explored and it is great to see most artists experimenting with multiple mediums.

3) There have been many art movements in history (romanticism, impressionism, surrealism, etc). Amongst them which art movement had a profound impact on you?

Interestingly as a student of art, I would say all movements have been an inspiration to me. From cave paintings which were in a away the earliest narratives expressed in the form of cell animation to baroque where one could sense heightened emotions to cubism wherein its like a 3d dimensional puzzle.

I have to say that each movement has had a profound impact on me and my senses and it would be very hard for me to pick a favorite.

4) As an artist it is important to be able to collaborate with professionals from different fields. How do you ensure that there is coherence in your workflow?

The best way is to ensure that you have the same wavelength from day one. I have never collaborated with any artist who I did not re spect or who was not on the same page as me or about the project. Furthermore, it is always helpful if artists are naturally humble towards others. Arrogance comes naturally to many artists and at times it’s a virtue. But while collaborating, its virtues are diminished substantially.

5) Art is not limited to a certain physical medium as it used to be dec ades ago. The digital realm is currently the popular platform in the artistic field. Do you think the physical disconnect with the medium will affect the art?

Not at all. Physical art influences the senses in very different ways as does digital art, the same way a sculpture influences differently than a painting. Digital art is evolving and is still in the very early days. Physical art has been around for thousands of years and its legacy is immortal.

6) How important is art appreciation and subjective opinion for the growth of an aspiring artist?

To appreciate art is to be at a higher plane of existence. It is an arro gant statement to say but it does show you a window inside a perso na. An aspiring artist needs to understand art in every way, in order to find their own space and evolve accordingly. Moving ahead with blinders is ok if you are Michelangelo, but even he was an artist who appreciated the movements of the time.

7) As Leonardo Da Vinci stated “Art is never finished, only abandoned”, likewise there is no definitive end for an artist’s career but an artist can have one dream project that would feed their hunger for art. Can you please share with us if you have one such project in your mind?

As I have moved into the animation arts, my dream project is to actu ally write, conceptualize and direct a large-scale animation and CGI film with an entirely Indian tone to it. It would be an art experiment for me, more than a film and so no producer would ever fund it per se. Hence, it is my personal project and we actually have already started the initial work on it.

8) Creative blocks are often the antagonists of an artist’s journey. How do you manage to get past these hurdles?

Keep at it and don’t take breaks. If you feel that you need a break, you are already on the losing end of the battle. It’s a marathon and pacing is what is needed, not ever stopping.

9) How does one transition from being an artist to a successful entre preneur?

Keep making and experimenting with art, and learn from one’s mis takes. Keep good people around you and selfish people extremely far away for the latter are in true abundance. Sooner or later, as your art becomes more refined, opportunities will come. Lastly, I cannot em phasize enough, the factor of luck. Hence, work towards being lucky.

AR. MOHAMMED SABEEB

PROJECT MANAGER, TORNADO GROUP, ABU DHABI

ALUMNUS - SPADE

Mohammed Sabeeb is now the Technical Manager for the Unit ed Arab Emirates-based Tornado Group specialized in Construction Industry . Sabeeb is responsible for Engineering and Technical as pects of Construction, from inspections through project handover. Prior to holding this position, Sabeeb served as Deputy-Techni cal Manager and Project Architect at same organization. Since 2015, Sabeeb has worked as a Junior Architect, an Architect, and a Project Architect for a number of prestigious firms in the UAE.

Sabeeb’s thesis named “Floating Recreational Hub” was selected as the best thesis project in University Level, and he earned the highest grad in the Fifth Year exams. In addition to focusing on project responsibilities, Sabeeb promoted a positive attitude and tireless enthusiasm among his team members in order to get new inspiration and inspire others.

Sabeeb obtained bachelor’s degree in architecture from Hin dustan University and a master’s degree in construction pro ject management from Heriot Watt University, United Kingdom.

1) How did interaction with students fromyour senior batcheshelp in your university life?

In particular I would like to mention two of my seniors, Mr Swadhi Shibin & Mr Binoy Mathew. We met while working for a symposium and be came friends. The considered me as one of their own, helped me with my design and I also helped them research for their thesis which helped me get a better understanding of how the final year goes about. I also worked with them in Dubai and interned under them in Trivandrum as a student.

2) Time management is of prime importance for architecture students. Could you please share any particular experiencefrom university years that shaped the way you approach time management?

It is a constant struggle and is my top priority as they say “time is mon ey”. We need to think of the 3 basic principles ; time, cost and quality. I think of it as the three points of a triangle and our tasks at the centre. If we need to make time our priority we compromise on quality and cost. In handsight we can always manage time better though.

3) What were your expectations of the architecture programand how different was that from your actual experience at SPADE?

SPADE exposed me to various cultures and people also through sym posiums, trips and it strengthened my confidence. I was completely unaware about architecture and it was suggested to me by my brother in law as it does not have physics and maths.

I then wrote NATA and got in. So I did not have any expectations how ever my experience was good and college life is really important in building our career.

4) Every practicing architect emphasizes having our style indesign but as a student were you able to stick to a specific style?

No I did not have a particular style as a student. I vary the style with every design project and based on the client requirements .

5) An individuals reason for pursuing a career in design and architecture may not stay consistently the same over the years. How did your interest towards this field evolve over the years?

Within architecture we have so many fields today andsomeare passion ate to do design and pursue only that over their career. I prefer to do not only design and I also delve into construction management , pro ject management and currently I am a technical manager with many junior architects and draftsmen working under me.

6) How do architects and engineers differ in the way they perceive the art of building construction?

When architects and civil engineers work together on a project, archi tects think of how the client experiences the design on a long term ba sis while the engineers focus on finishing the work. I would like to share one experience on a villa project, there was a difference in ground level and proposed swimming pool level. While brainstorming design solutions, my colleague suggested to make it as a feature wall having water overflow from the pool.

7) As a student, how should we prepare to communicate andconvince clients ?

We communicate with a lot of clients and allied professionals. First and foremost we need to understand the client and their requirements, based on which I propose solutions. Whilesome clients do not under stand the technical aspects others indulge themselves in the design process.

8) Would you suggest sticking with a single thrust area forevery design or should we adapt accordingly for everydesign?

Nothing is permanent. Based on every client and consultant I employ different strategies and bring forth a unique solution.

9) Entrepreneurship is a game changing factor for architects. How did SPADE impart entrepreneurial skills into you ?

While the curriculum at SPADE did not really give entrepreneurship skills, the atmosphere and peopleI was surrounded by certainly helped.

10) Are high rise buildings the only solution for architectstomeet the growing demands of the world ?

No, high rise buildings are not the only solution. My academic thesis fo cused on building a recreational hub in Goa and I chose a form which would allow for further extension. Most of the world is covered with water and in my opinion we need to extend our thinking and build on water also rather than overusing land resources.

ONLINE INTERVIEW SESSIONS

THE DECK OF WORKS

MUHAMMED AMAR NAVAS

Year B.Arch

MOHAN KUMAR.V.S

Year B.Des CD

COLLIN JOHNATHAN STEVE

Year B.Des ID

SHRUTI SINGH

Year B.Arch

MOHAN KUMAR.V.S

Year B.Des CD

(Interior Design)

R A R Y W O R K S

ACADEMIC

DESIGN

MUHAMMED AMAR NAVAS

DESIGN

HEMANT NIMJE

STUDY

SANDRA ELIZABETH SAM JASON AAROMAL MEHUL JAIN MANOJ POOJA

VERNACULAR STUDY

DINESH ABISHEK VIVEKANAND GOUTHAM PARTHIV

SEM 6 LIBRARY DESIGN

JAYASURYA

B.Arch

BHARANIDHARAN

SEM 6 LIBRARY DESIGN

CENTRE FOR WASTE MANAGEMENT

THESIS

MANOGNA

B.Arch

SEM 10 THESIS

FORESHORE ESTATE

SOUNDARYA S

M.Arch

AARTHEE

B.DES ID

SEM 2 RESTOBAR

B.DES

DIGITAL ILLUSTRATION

B.DES CD 2nd Year

FINE LINE ART

DIGITAL ILLUSTRATION

FINE LINE ART

3rd Year

DIGITAL

LOW-POLY

M.Sc UX

APP DEVELOPMENT

NISHANTHINI R

M.Sc UX

KABILA ANBALAGAN

APP DEVELOPMENT

PROFESSIONAL AUTODIDACTS

Family occupations are usually unique, special, and worth preserv ing. The majority of the craftsmen are claimed to have learned their trade from their forefathers and had it ingrained in their DNA. However, are they professional? Is certification required for all professions? Despite our love for artists and their hard-won abilities, can’t we embrace them as a profes sional path without a formal education?

A similar issue exists in the field of building science. Are only architects who have good qualifications considered professionals? When we go back in history, we do find several outstanding self-taught architects who created amazing structures. Yet, that was in the past. It’s difficult to detect a skilled self-taught architect in today’s competitive world. Nowadays, a scrap of paper is worth more than a lifetime’s worth of effort.

People may wonder how you can trust someone and offer them a project that will endure for years if they don’t have a degree or a diploma. But, it isn’t the goal of this discussion. Practicing architecture without a degree does not imply that he or she has a fundamental understanding of the profession. A year of consistent practice is far more effective and efficient than five years of academic study.

After graduation, a person who enters the field as a newcomer will face the same challenges as an autodidact does. When you enter the working world, you will realize that both of them are in the same predicament. At the end of the day, it’s your knowledge and skills that will pay your expens es, not your credentials.

However, we must not belittle the efforts made over five years of hard work with professional guidance. The self-taught architects, on the other hand, lack professional direction. As they struggled with their own particular inter

Kamali Sasikumar

UNHEALTHY SUGARCOAT ON DESIGN

In the stone age, the wheel was invented to serve the purpose of transporting meat or fruits for a distance. As time swept by, our inventions were no longer intended to serve only their sole purpose due to the advent of art and its importance in everyday life. Even today, the major historical records of people’s lifestyle and culture exists as different forms of art.

The phase that helped transition from the cave paintings to the engraved hip flask, was a result of the socio-economic conditions that gradually rose to prominence in the late 16th century. If the products used by the privi leged and the poor were of the same value, the market would lose its fair share of customers, so ornamentation was introduced in every product— from scarfs to shoes.

Artists picked their brushes to record the lives, wars and cultures of their time, and the later generations produced art that captured a different perspective of the past. This inertia to revert back to the past is not needed to ingrain a sense of purpose in the current generation, because we don’t engage in century long battles with our neighbouring countries.

Now we have a social framework that no longer feeds on the differences and has helped us all escape the curbs of ornamentation. Art and design can live in their own realms without fighting for a spot in the market of man ufactured products. Our teapots, wallets and briefcases are the products that speak of our freedom from the past and its ornamentation. Factories and machines are more efficient than before, making the efforts of the designers reach our desks, but many craftsmen and artists are out of work due to this reason.

A space for these overlooked artists in the design fields would eventually result in the mass manufacture of traditional arts, leading to the exploita tion of their craftsmanship. For the global village we all belong to, art and design cannot be mixed to form a non-volatile composition for the market. Every stride in the industry is directed towards minimalism and clutter-free design, setting up the pedestal for the essential and not the embelishment.

Vidyasagar M

Year B.Arch

AXIMAZ

CREW

CHIAROSCURO 2022

AXIMAZ CHIAROSCURO 2022

N S O

With best compliments

With best compliments

With best wishes from Ar.Vinoth Shanmugam

Visiting faculty at SPADE