The Gyaan Project

In this episode of The Gyaan Project, Kedar Nimkar sits down with Manisha Pande, Editorial Director at Newslaundry and the writer and host of TV Newsance, to break down what news really means in today's noisy, polarized India.Manisha walks us through the basics of journalism, the inner workings of newsrooms, the rise of TV anchors as circus masters, and the business model that makes Newslaundry one of India's only ad free, subscription driven independent news platforms. She also unpacks fake news, misinformation, disinformation and propaganda, and shares practical tips on how to design a healthier news diet.Whether you are a journalist, a student, a designer, a content creator or simply a citizen trying to make sense of the news, this conversation will sharpen the way you consume information.About the guestManisha Pande is the Editorial Director at Newslaundry and the writer and host of TV Newsance, a weekly satirical critique of Indian television news. Previously with DNA and Business Standard, she has won the Ramnath Goenka Award and the Laadli Media Award for her reporting.Chapters(00:00) Introduction(03:03) What is news?(06:36) Roles of different journalists in the news ecosystem(11:35) What is Newslaundry?(16:56) Why critique news and not just report news?(21:34) How do you define misinformation, disinformation and fake news?(25:49) What travels faster in India?(32:22) How to read news?(40:29) What is the future of independent news?Reference readinghttps://www.thegyaanproject.com/https://www.youtube.com/@thegyaanprojecthttps://www.instagram.com/thegyaanprojectpodcast/https://www.instagram.com/manisha.pande/https://www.newslaundry.com/author/manisha-pande This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryAmit Das, SVP of design at Urban Company, has spent years understanding how Indians actually live with their appliances. In this episode, he breaks down what designing for India's plurality really means, from durability and shared usage to what premium looks like across different households. He also challenges the popular idea of smart living and makes a case for convenience over complexity.About the guestSVP of design and native products at Urban Company, Amit Das is a software and hardware designer, blogger and hobby artist. He has previously worked at Housing.com, FusionCharts and Fab.com, and has co-founded two startups.Who should listen* Product and industrial designers who want to understand what designing for India’s real and diverse user base actually looks like on the ground.* Founders and product teams building consumer hardware or home appliances for the Indian market.* Anyone curious about how culture, affordability and everyday behaviour shape the products we live with.* Design students and early career professionals looking for honest, practical perspective on what the field demands beyond aesthetics and trends.Topics discussed in the episode* Rapid fire round: one appliance Indians buy more for hope than utility, buttons or dials, one everyday object that teaches good design, one button you would delete, your favourite industrial product and why, which product has the most emotional value, should products behave like tools or companions, the most over designed product in Indian homes, and manuals or no manuals?* You write about designing for moments rather than steps. How do you see household appliances in daily lives, and does this philosophy apply to digital products too?* India has many Indias. What are the most defining differences you observe in how people use products across different economic and social contexts?* What framework does Urban Company use to understand these diverse user dynamics, and how do you conduct ground level research including in home visits and shadowing?* Why did Urban Company venture into building native hardware products like RO water purifiers, and what was the origin story behind that decision?* How do different Indias define premiumness, and what does premium actually mean across social strata, geographies and product categories?* How should designers think about CMF for durable appliances that sit in a home for many years, compared to trend driven shorter shelf life products?* What does smart living actually mean for Indian homes, and why does the current definition of smartness often increase cognitive load rather than solve for convenience?* How do you balance aspiration versus affordability at scale, and what are the hardest trade offs between design aspiration, cost, reliability and repairability?* How did you transition from digital to hardware design, and what skills, mindsets and experiences should young designers build if they want to get into industrial design?Reference links* https://www.linkedin.com/in/dasamit88/* https://www.godgeez.com/about* https://www.instagram.com/godgeez/* https://medium.com/uc-design/amit-das-633fb92042e0* https://medium.com/@godgeez* How to Become a Senior UI/UX Designer? | The Ultimate Career Framework by Urban Company’s Design SVP* https://www.quora.com/profile/Amit-Das-5* https://x.com/Godgeez* https://www.instagram.com/urbancompany/* https://www.urbancompany.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Every building has a story. Every crack, every stain, every surface holds a memory of someone who was there before you. The question is — are you looking?In this episode of The Gyaan Project, host Kedar Nimkar sits down with Mumbai-based artist Vishwa Shroff for a slow, rich, and deeply thoughtful conversation about the art of drawing, urban observation, and what it means to build a creative practice from the ground up.This episode is part of an ongoing series with MATTER — an architectural design and curatorial practice with a deep interest in design discourse in India.ABOUT VISHWA SHROFFVishwa Shroff is a Mumbai-based contemporary artist represented by TARQ Gallery and co-founder of SQW Lab. Her practice is rooted entirely in drawing — not painting — and she has exhibited her work internationally in London, Basel, and Tokyo. Her work explores urban memory, architectural space, and the human traces left behind in the built environment.WHAT WE TALK ABOUT🖊️ Drawing vs. Painting — Why Vishwa insists drawing is a fundamentally different act from painting, closer to writing than to gesture, and why the distinction matters more than the medium.🐦 Pigeons, Architecture & Memory — How Vishwa arrived at architecture as her subject matter by following the flight of pigeons in Baroda, and how a family home transition sparked a lifelong interest in memory and space.📷 Why the Camera Captures Too Much — Her complicated, tension-filled relationship with photography, why she believes drawing is an act of editing, and how she uses the camera as a tool without surrendering to it.🏙️ Reading Cracks & Stains — Why the details most people walk past — the cracks, the stains, the worn surfaces of buildings — are where Vishwa finds her richest material, and how each drawing becomes a time capsule.📓 The Daily Practice — How her sketchbook works as a living database, why she takes notes even while watching Bollywood films, and how observations spiral into finished works over time.😴 Boredom as a Creative Tool — Why being bored is not a problem to fix but a creative state to cultivate, and why sitting in your studio doing nothing might be the most productive thing you can do.🎨 Finding a Gallery — The honest, unscripted story of how Vishwa found gallery representation — and why she describes it as an arranged marriage.💪 Advice for Young Artists — On discipline, rejection, daily practice, and why art-making is an addiction with no retirement and no exit strategy.KEY INSIGHTS FROM THIS EPISODE"Drawing is an act of editing. The camera captures too much — more than what my eye wants to see. Drawing lets you take a mop to things.""The best way to get over a creative block is to be bored. Then you will start to find things to self-entertain.""Be active every single day. Make it the way you brush your teeth. Whatever your material is — just do it every single day.""Art-making is a compulsion. If you take away drawing, cigarettes, and food — there'll be none of me left."ABOUT THE MATTER SERIESThis conversation is part of The Gyaan Project's ongoing series with MATTER — an architectural design and curatorial practice with a deep interest in design discourse in India. Each episode in this series brings together artists, architects, and creative thinkers exploring the intersection of space, design, and culture.CONNECT WITH VISHWA SHROFF Follow Vishwa on Instagram: https://www.instagram.com/vishwashroff/Explore SQW Lab: https://www.instagram.com/sqwlab/TARQ Gallery: https://www.instagram.com/tarqmumbai/CONNECT WITH THE GYAAN PROJECT thegyaanproject.comCHAPTERS(02:13) What is drawing for you? (04:11) Difference between drawing and painting (05:26) What happens when you see an object to draw? (07:16) Why does an artist's subject matter? (13:47) Isn't drawing technical? (14:36) What do you draw? (19:23) How do you connect the viewer to your work? (23:22) How does drawing enrich the person who is drawing? (27:31) How do you decide what to draw? (31:21) How does permanence look in your work? (33:17) Journey of a drawing — from sketchbook to a gallery (36:08) How can one train oneself to be slow and observe details? (40:00) Tips & advice for young artistsENJOYED THIS EPISODE?If this conversation made you stop and think, please leave a rating and review on Apple Podcasts — it helps more curious minds find the show. Share this episode with a fellow artist, architect, or creative who needs to hear it.Stay curious. 🎙️----------------------------------------The Gyaan Project has been documenting Indian creative wisdom since 2016 — 300+ conversations on design, art, culture, and craft with leading practitioners across India and the world. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryWhat does it really mean to teach design in India today? In this powerful conversation, Dinesh S, an architect with 35 years of practice and founder of Bangalore School of Design and Technology, challenges everything we think we know about design education. From the factory-like classrooms stuffing 90 students together to architecture syllabi unchanged since the 1980s, Dinesh unpacks the uncomfortable truths holding back Indian design innovation. This episode is for students, educators, and anyone who believes India can do better with how we teach creativity, curiosity, and aspirational design thinking.Topics we discussed* How do you define design, education, and design education in general?* Would you differentiate between education in general versus design education and if so, how?* Could you explain what is aspirational design?* What are the building blocks or framework that you use to make an aspirational designer?* What are the gaps that you see when students are entering into the market and getting a job?* How do you explain to break the rules before knowing the rules?* How can a well rounded multidisciplinary learning experience happen if a design student is wanting to learn design?* Is curiosity diminishing in students and what is stopping innovation in design at a radical level?* If a design school has to have some measure or metric of success, what would be the measure of it?* How do you see the future of design education in India?Reference reading* Bangalore School of Design and Technology* Bangalore School of Design and Technology LinkedIn* Bangalore School of Design and Technology Instagram* BSDT Facebook* Ken Robinson TED Talk* T-Shaped Designer Concept* Bangalore Interior Design Industry* New National Institute of Design This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this concluding episode of the Craft series, I (Kedar Nimkar, Host of The Gyaan Project Podcast) speak with Randy Hunt, Head of Design at Notion and Chair of the MFA Design program at SVA. Randy reflects on craft as a combination of skill, practice, and judgment, and shares how taste shapes meaningful software experiences. The conversation explores speed versus quality, scale versus care, and why momentum can sometimes improve craft. Randy also offers an interesting perspective on how he sees, AI as a material, and explains what stays as tools as technologies change. This episode is for designers, product leaders, engineers, and makers who care deeply about building thoughtful, well made digital products for the long term.Topics discussed(02:14) What is Abecedarium?(04:14) What does craft mean to you?(08:12) How has your definition of craft changed over time?(14:45) Should craft be visible to the end user?(18:04) Can craft and scale go together?(22:28) Any example of great quality with speed?(28:18) Can taste be taught?(38:17) Can craft bring value at an enterprise level?(43:32) How do you look at craft at Notion?(46:57) How do you see the future of craft in the world of AI?(48:43) How do you practice craft at Notion with AI?(51:17) What would your poster say about design?(52:00) How do you see craft evolving in the next 10 years?Reference linkshttps://www.instagram.com/randyjhunthttps://www.linkedin.com/in/randyjhunthttps://www.randyjhunt.comhttps://www.notion.com/blog/meet-randyhttps://books.google.com.sg/books/about/Product_Design_for_the_Web.html?id=paKPAQAAQBAJ&source=kp_author_description&redir_esc=yhttps://pda.designsingapore.org/jurors/2020/randy-hunt/https://design.sva.edu/cofaculty/randy-hunt/https://www.youtube.com/watch?v=268NRHhPSZ0https://www.youtube.com/watch?v=9Ux5g5PnIoYhttps://www.youtube.com/watch?v=b3Mr1WRvYiAhttps://www.designweek.co.uk/a-lot-of-this-is-about-rituals-an-hour-with-notion-design-chief-randy-hunt/https://www.youtube.com/watch?v=_4JEl7LHgqIhttps://www.thegyaanproject.com/p/ep-321-lucy-datynerhttps://www.thegyaanproject.com/p/ep-320-how-craft-shapes-digital-producthttps://www.thegyaanproject.com/p/ep-319-craft-as-way-of-doing-things This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this episode of The Gyaan Project, I speak with Lucy Datyner, Principal Designer at Canva, about craft, taste, and the future of product design in the age of AI. Lucy shares how craft goes beyond polish into problem solving, why simplicity is always informed by context, and how designers can build taste through curiosity, critique, and making. The conversation explores AI as a co-creator, the importance of keeping humans in the loop, and why junior designers still matter. This episode is for designers, product leaders, and creators navigating design, craft, and AI today.Topics discussed(00:00) Introduction(02:09) What does craft mean to you(04:16) Is craft about aesthetics(04:57) How do you bring craft into your work(07:29) What is informed simplicity at Canva(08:38) How does AI fit into the world of craft(11:05) How do you define taste(13:19) Any rituals at Canva to build taste(16:08) How do design critique sessions happen at Canva(17:31) How does Canva handle not being monotonous(20:13) What is the role of research in craft and AI(22:55) Will designers be left only to curate(24:51) Will we lose the faculty of crafting with hand after AI takes over(26:59) What excites you the most about AI(29:24) What worries you the most with AI(31:11) What will your poster sayReference links- https://www.linkedin.com/in/lucydatyner/- https://lucydatyner.com/- https://contentseoul.com/speaker-profile-lucy-datyner/- https://creators.spotify.com/pod/profile/design--canva/episodes/E10-Lucy-Datyner--Content-Strategy--Experience-Design-Lead-e2i8mak- Tom Harman (Ep 319 - Part 1 of the Craft Series) https://youtu.be/MuDg4y-52Ec- Caio Orio (Ep 320 - Part 2 of the Craft Series) https://youtu.be/JEvWEyIYKbo This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this episode of the Craft series, I speak to Caio Orio, Principal Brand Designer at Wise, about the role of craft, taste, and practice in modern digital product design. Drawing from his advertising background and work on global fintech products, Caio explains how craft goes beyond visuals to include strategy, care, and attention to detail. The conversation explores taste, open mindedness, brand consistency, design systems, AI, and building meaningful product experiences. This episode is ideal for product designers, brand designers, and design leaders seeking depth beyond tools and trends.Topics discussed:(00:00) Intro(00:01:00) What does craft mean in digital products?(00:02:30) How Caio’s understanding of craft evolved?(00:03:53) Why craft is essential for designers?(00:06:16) Craft in brand design and digital products?(00:09:16) How Wise maintains consistency in craft?(00:10:43) Rituals and practices that support craft?(00:12:07) Bringing craft into the smallest elements?(00:15:02) How Caio defines taste in design?(00:16:03) Translating taste into digital products?(00:16:59) How designers can develop taste?(00:18:03) Caio’s personal journey of developing taste?(00:20:59) Communicating taste across teams?(00:23:55) How Wise inspires designers and design culture?(00:25:21) Balancing speed and craft in product design?(00:27:14) Prioritising craft without clear business metrics?(00:28:50) Digital products admired for taste and craft?(00:30:05) One essential mindset for future designers?About Caio Orio (Guest)https://c-orio.com/https://www.instagram.com/c_orio/https://www.linkedin.com/in/caio-orio/https://www.behance.net/oriohttps://friends.figma.com/events/details/figma-singapore-presents-designing-wise-the-hidden-layers-in-our-creative-process/https://wise.com/https://wise.design/Join The Gyaan ProjectA newsletter with 4 curated finds across episodes - TGP SamaChar - https://www.thegyaanproject.com/s/samacharFollow us on Instagram - https://www.instagram.com/thegyaanprojectpodcast/Follow u on Linkedin - https://www.linkedin.com/company/the-gyaan-project/Subscribe to our Website to stay tuned - https://www.thegyaanproject.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Tom Harman, a design leader with twenty years of experience at Monzo and BuzzFeed, joins The Gyaan Project to explore craft, taste and the role of AI in modern product teams. He explains how clarity, judgment and shared language shape high quality work. A useful episode for designers, PMs and founders who want to sharpen decision making, move with speed and build trust through thoughtful design.Topics discussed(00:00:00) Intro(00:01:03) What does craft mean to you(00:06:00) Rituals to improve craft(00:11:43) How do you define what great looks like(00:14:21) What does taste mean to you(00:18:57) How do you instill taste(00:22:44) How to keep pushing the boundaries(00:28:49) How is AI a copilot for craft and taste(00:32:38) How to work with AI(00:39:17) Can AI create serendipity(00:41:53) How do we ensure maximum impact and quality(00:47:06) How to handle uninformed decision makers(00:49:26) One poster idea on craft(00:51:32) Future of craft in the world of AIReference linkshttps://intentional.partners/https://www.linkedin.com/in/tomharman/https://x.com/tomharmanhttps://mastodon.social/@tomharmanJoin The Gyaan ProjectA newsletter with 4 curated finds across episodes - TGP SamaChar - https://www.thegyaanproject.com/s/samacharFollow us on Instagram - https://www.instagram.com/thegyaanprojectpodcast/Follow u on Linkedin - https://www.linkedin.com/company/the-gyaan-project/Subscribe to our Website to stay tuned - https://www.thegyaanproject.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Today, The Gyaan Project turns 9.And honestly, it feels surreal.Since 27th December 2016, I have been documenting Indian creative wisdom across disciplines and ways of thinking. After 318 episodes, I found myself wondering how to mark this moment and the answer came naturally.So here it is.A small celebration.A warm offering.9th Anniversary Soup9 bites from 9 conversations.This is primarily an audio episode. You can also watch it on YouTube if you like.The episode opens with Dr. Uttara Chousalkar from Episode 66, singing a short phrase of Baul music. The episode then closes with a few lines by Mohammad Muneem Nazir (Alif), from Episode 265.The soup brings together these nine questions and voices:What is Design? by B.V. DoshiWhat is a frame? by Prashant GodboleShould art depict society or should society learn from art? by Varun GroverIs it wise to change your career path in Design? by Ruchita MadhokHow was design seen in the 1970s? by Sujata KeshavanWhat is the measure of a good designer? by Ayaz BasraiWhy do we need art? by Rajat KapoorI hope you enjoy this soup as much as I enjoyed making it.If you would like to give me an anniversary gift - Please share this episode with as many people as you can. And if you have not already, do subscribe to the YouTube channel and The Gyaan Project website. It truly means a lot.Thank you for listening.Thank you for staying.See you next year.Take care.And stay curious. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryThis episode of The Gyaan Project features Harish Kumar and Anurag Bartarey who shaped Ather Energy’s groundbreaking EV dashboard. Recorded just before Ather’s IPO, we dive into the design process, challenges, and the nuances that make the dashboard so unique. It is ideal for designers, technologists, and EV enthusiasts curious about how hardware and software come together on two wheels. This is not a sponsored episode, just a deep and fun conversation.Topics discussed in the episode* What drew you both to Ather, and what was the mindset when you joined?* Anurag: How did you shift from digital design to vehicles?* Harish: What tech foundations were critical for building the ecosystem?* How did you imagine a new dashboard UX and navigation system?* What challenges came with integrating the dashboard into the scooter’s design?* Anurag: How did you design gesture interactions and Ather’s sonic identity?* Harish: What were the Linux limitations and how did you test with OTA updates?* How did a startup mindset shape Ather’s design outcomes?* With constant updates, how do you balance evolution with the original vision?* Looking back, what critical but underrated decisions shaped Ather?* What advice for young designers working across hardware and software?Reference links* Harish Kumar — https://in.linkedin.com/in/harish-kumar-b0926465* Anurag Bartarey — https://in.linkedin.com/in/anuragbartarey* Anurag’s portfolio — https://www.abartarey.com/* Ather Energy (Wikipedia) — https://en.wikipedia.org/wiki/Ather_Energy* Ather 450 series (Wikipedia) — https://en.wikipedia.org/wiki/Ather_450* Ather Energy (LinkedIn) — https://in.linkedin.com/company/ather-energy* Ather Energy (Instagram) — https://www.instagram.com/atherenergy/* Ep22: Understanding motorcycle design with Chetan Shedjale* Ep. 274 - Designing Trucks with Sathiya Seelan Gangaasalam This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryIn Ep. 317 of The Gyaan Project, Tanuj Goenka, Director at Kerry Hill Architects and jury member for The Drawing Board 2025, shares how emotion, context and conversation shape timeless architecture. From Bhutan to Kyoto, AlUla to Sadahalli, he reflects on slowing down the design process, listening to the land and building meaningfully. A must-listen for architecture students and young designers. In partnership with Rohan Builders and Mindspace Architects. All details at https://thedrawingboard.in/Reference links* The Drawing Board – Official Website: https:// thedrawingboard.in/* Instagram – The Drawing Board: https:// www.instagram.com/thedrawingboard.in/* YouTube – Museum of Geology Brief: https:// www.youtube.com/watch?v=60MynnKdDas* Instagram – Sadahalli Quarry Competition Vibe: https:// www.instagram.com/p/DMX41peSLlc/* Tanuj Goenka – LinkedIn: https:// www.linkedin.com/in/tanuj-goenka-4a58647/?originalSubdomain=sg* Nacasa Interview with KHA: https:// www.nacasa.co.jp/column/2-01-designer-interview-kha-e* Dezeen – Amanyangyun Interview: https:// www.dezeen.com/2019/05/17/amanyangyun-resort-kerry-hill-architects-ahead-awards-interview-video/* Tatler – Aman Resorts and Emotion: https:// www.tatlerasia.com/homes/architecture-design/architect-behind-the-latest-aman-resorts-talks-emotions-and-space* CLAD Global Feature: https:// www.cladglobal.com/architecture-design-features?codeid=32838&source=home&p=2* YouTube – Amanyangyun Video 1: https:// www.youtube.com/watch?v=LmgeIGE6q08* YouTube – Amanyangyun Video 2: https:// www.youtube.com/watch?v=0ceFbI82hVQ* SIA Event Page 1: https:// store.sia.org.sg/tc-events/16244* SIA Event Page 2: https:// store.sia.org.sg/tc-events/79875* AHEAD Awards – Amanyangyun Film Library: https:// www.aheadawards.com/film-library/amanyangyun-shanghai-china* Sleepifier – KHA Feature: https:// sleepifier.com/architecture-design/kerry-hill-architects/* Instagram Post: https:// www.instagram.com/p/DG2A1JXt0T8/* Instagram – KHA Studios: https:// www.instagram.com/kha.studios/* Instagram Post: https:// www.instagram.com/p/DG0Uf1JS1SL/?hl=en This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryIn this episode of The Gyaan Project, architect Manjunath dives deep into the power of observation, the role of intensity in creative work, and the beauty of the unseen. A must-listen for young architects, designers, and creatives participating in The Drawing Board 2025 competition. Set against the backdrop of Sadahalli Quarry, this conversation explores how to approach design with sensitivity, curiosity, and care. Presented in partnership with Rohan Builders and The Drawing Board.Topics discussed in this episode* What is the difference between seeing and observing?* How can we observe without bringing in our biases?* What does experience mean to you?* How do observation and experience shape your design process?* How do you define intensity in creative work?* How can a designer balance knowing the whole story with focused intensity?* What is your reading of the Sadahalli Quarry brief?* How do you interpret the idea of the unseen?* Can technology help us experience the unseen or aid the creative process?Reference links* The Drawing Board – Official Website* Instagram – The Drawing Board: https://www.instagram.com/thedrawingboard.in/* The Drawing Board 2025 — official competition overview and brief* “The Drawing Board 2025 – 10th Edition” on World Architecture Community - https://worldarchitecture.org/architecture-news/fpzhe/the-drawing-board-2025-–-10th-edition.html* YouTube video introducing the Museum of Geology brief at Sadahalli Quarry -* https://wcfa.ac.in/staff/b-l-manjunath/* https://www.instagram.com/manjunath.bl/?hl=en* https://manjunathandco.com/* https://www.archdaily.com/professional/b-l-manjunath-co?ad_source=office* https://www.linkedin.com/in/manjunath-b-l-45973929/?originalSubdomain=in This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryIn this episode, architect Rajeev Kathpalia of Vastu Shilpa Sangath shares timeless wisdom on designing with empathy, slowness, and stewardship. From public space to net-zero campuses, we explore what young architects must unlearn to create meaningful, inclusive, and sustainable environments. A must-listen for architecture students and urban thinkers. Presented in partnership with The Drawing Board 2025 and Rohan Builders. Submission deadline: 6th Sept. More at thedrawingboard.in.Topics discussed in this episode* What does stewardship mean to you, and how can public spaces be designed for shared benefit in a country like India?* How can sites like Sadahalli Quarry be opened to the public while still attracting private investment?* What does “net zero” mean beyond metrics, and how can young architects start thinking in that direction?* What’s the least that needs to be built in a public space to make it meaningful and adaptable over time?* How do you observe how people use space, and how does that influence your design process?* What does building “slow” mean to you, and how can young architects balance slowness with the urgency of development?Reference links* Rajeev Kathpalia – LinkedIn profile: https://www.linkedin.com/in/rajeev-kathpalia-35418099* Vastu Shilpa Sangath – Rajeev Kathpalia bio: https://www.sangath.org/rajeev-kathpalia/* Beyond Smritivan – Architectural Legacy (Elev8 2025): https://thearchitectsdiary.com/beyond-smritivan-rajeev-kathpalia-on-architectural-legacy-elev8-2025/* Community-Centric Architecture | Rajeev Kathpalia | TADPod: https://thearchitectsdiary.com/community-centric-architecture-ar-rajeev-kathpalia-vastushilpa-sangath-tadpod/* Designing Humane Cities – Sangath Interview: https://www.sangath.org/news/architect-rajeev-kathpalia-talks-about-the-need-to-create-humane-cities/* The Drawing Board – Official Website: https://thedrawingboard.in/* The Drawing Board 2025 Announcement (World Architecture): https://worldarchitecture.org/architecture-news/fpzhe/the-drawing-board-2025-–-10th-edition.html* Instagram – The Drawing Board: https://www.instagram.com/thedrawingboard.in/* Instagram – Rajeev Kathpalia: https://www.instagram.com/kathpalia_r/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Summary(Hindi) अब्दुल कलाम शेख, एक अनुभवी इलेक्ट्रिशियन, के साथ विस्तृत बातचीत। एपिसोड में कवर किया गया है कि इलेक्ट्रिशियन कैसे बनते हैं, 12 हजार से शुरू करके 45 हजार तक कैसे कमा सकते हैं, कॉन्ट्रैक्टर्स और आर्किटेक्ट्स के साथ नेटवर्किंग कैसे करते हैं, सेफ्टी गाइडलाइन्स क्या हैं, और इस प्रोफेशन का फ्यूचर क्या है। परफेक्ट है उन सबके लिए जो अल्टरनेटिव करियर एक्सप्लोर कर रहे हैं।(English) Detailed conversation with Abdul Kalam Shaikh, an experienced electrician. Episode covers how to become an electrician, earning progression from ₹12K to ₹45K, networking with contractors and architects, safety guidelines, and future prospects of the profession. Perfect for those exploring alternative career options or interested in skilled trades. Includes practical insights on daily routines, job hunting strategies, and industry secrets that help build a successful electrical career.Reference links* https://iti.somaiya.edu.in/en/programme/electrician/* [https://nsticalicut.dgt.gov.in/node/2429?](https://nsticalicut.dgt.gov.in/node/2429?utm_source=chatgpt.com)* https://bietc.com/iti-electrician/* https://nhit.in/iti-courses/iti-electrician/* https://aiecet.com/iti-electrician-course-details.php* https://www.urbanitijsr.com/course/electrician* https://nctaindia.in/courses?course_id=148* https://timesofindia.indiatimes.com/business/india-business/big-business-backs-skilling-push-reliance-adani-mahindra-among-firms-eye-iti-upgrade-rs-60000-crore-plan-gains-momentum/articleshow/122836940.cms This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryIn this insightful conversation, Kirti Trivedi reflects on the concept of order in design, drawing from his experiences at IDC and the Ulm School. He explains order as the relationship between elements, discusses hierarchy, mapping, and the interplay of inner and outer order. Drawing parallels with Indian philosophy, aesthetics, and spiritual ideas like dharma and Vishnu’s iconography, he emphasizes that true beauty emerges from well-formed internal order, not superficial styling.Join the new journey* YouTube Channel – Join 4K+ subscribers. 🎥* TGP SamaChar – A newsletter with 4 curated finds across episodes.* Instagram – Stay updated with episode updates and more* LinkedIn Page - A new dedicated page for TGP* WhatsApp Channel – One-way episode updates for now. With your support, it could soon become a vibrant community.* Recommend a guest - Have someone in mind who would be a great fit for The Gyaan Project? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this enriching conversation, filmmaker and educator Mazhar Kamran shares his journey across fiction, documentary, cinematography, and teaching. He discusses storytelling as a way to make sense of the world, the impact of early influences like Herzog’s Enigma of Kaspar Hauser, and his work on films like Satya, Mohandas, Nilani, and Safar Mein Sheher. The dialogue explores the role of education, intuition, and responsibility in shaping cinema and storytellers.Watch video episode on YouTube This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryVeteran filmmaker Arunaraje discusses learning as a lifelong journey where everyone is both student and teacher. She emphasizes staying open to new perspectives, the power of unlearning rigid beliefs, and cinema's educational impact. Key insights include the importance of questioning everything, distinguishing between knowledge and wisdom, filmmaker responsibility in shaping society, and the need for film appreciation in schools to enrich young minds. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this eye-opening conversation, Vivek Kant shares insights from his interdisciplinary journey spanning electrical engineering, cognitive science, and human-centered design. He explores the critical intersection of humans and technology in complex systems, emphasizing the need for designers who can balance technical requirements with human capabilities. Perfect for young Indian designers seeking to expand beyond conventional design thinking, this episode offers practical wisdom on applying human-centered approaches to sectors like defense, government services, and infrastructure where thoughtful design can prevent accidents and improve lives.People MentionedRichard Buchanan - Design theorist who developed the concept of "orders of design"James Riesel (James Reason) - Psychologist who developed the "Swiss cheese model" of accident causationChristian von Ehrenfeld (Christian von Ehrenfels) - Austrian philosopher who conceptualized Gestalt qualitiesRam Mykala - Heads the musculoskeletal disorders lab at the National Safety Council in the USReference Links for Further ReadingConfederation of Indian Industry (CII) National Design Innovation Committee - Hosts Vivek's policy report on human-centered design in Indian defenseHuman Systems Integration in Defense - Concept of integrating human factors into defense systemsSwiss Cheese Model - Accident causation model referenced in the discussionHuman Factors and Ergonomics - Professional field discussed as essential for complex systemsCognitive Systems Engineering - Discipline that focuses on human cognition in complex work environmentsOrders of Design - Richard Buchanan's concept mentioned in the conversationDesign for Defense - Resources related to design in defense sectorGestalt Principles - Philosophy discussed regarding how humans perceive whole patternsJoin the new journeyYouTube Channel – Join 4K+ subscribers. 🎥TGP SamaChar – A newsletter with 4 curated finds across episodes.Instagram – Stay updated with episode updates and moreLinkedIn Page - A new dedicated page for TGPWhatsApp Channel – One-way episode updates for now. With your support, it could soon become a vibrant community.Recommend a guest - Have someone in mind who would be a great fit for The Gyaan Project? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this episode, historian Vinay Lal challenges our conventional ideas of learning—moving beyond schooling, exams, and rote memorization. He explores how history, politics, memory, and media shape what we learn and why. If you're a student, parent, educator, or simply someone questioning the purpose of education today, this conversation offers a refreshing and thought-provoking lens on how to truly learn, unlearn, and grow. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this episode, philosopher Sundar Sarukkai explores what it truly means to learn—beyond exams, skills, and academic performance. We discuss curiosity, ego, indigenous knowledge, and why education often misses the point. A must-listen for students, parents, teachers, and anyone rethinking the purpose of learning in today’s world. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In this special Hindi episode of The Gyaan Project, we spend some time with Jeevaram Suthar, a master carpenter who has worked with some of India’s most renowned architects like Bijoy Jain.This is not just about tools and timber—it's about tradition, livelihood, learning, and the dignity of hands-on work.We discuss:* How one becomes a carpenter in India* What a typical day looks like in this trade* The financial realities of the profession* Career growth and recognition in traditional craftsmanshipJeevaram ji belongs to the Suthar community and brings over three decades of experience, wisdom, and humble pride in his work.🎙 This episode is a bit of an experiment — shot in Hindi, aiming to bring stories from the grassroots. Let me know how it lands with you.🛠️ If this story moved you, do share it with someone who might appreciate the beauty of honest craftsmanship. And hit reply—we'd love to hear your thoughts.Watch the video version of this episode on YouTubeJoin the new journey* YouTube Channel – Join 4K+ subscribers. 🎥* TGP SamaChar – A newsletter with 4 curated finds across episodes.* Instagram – Stay updated with episode updates and more* LinkedIn Page - A new dedicated page for TGP* WhatsApp Channel – One-way episode updates for now. With your support, it could soon become a vibrant community.* Recommend a guest - Have someone in mind who would be a great fit for The Gyaan Project?If you like the episode, please share it in your network. Thanks! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

SummaryWhat does it really mean to learn in today’s world of reels, AI, and short attention spans? In today’s episode of “The Gyaan Project”, I’m joined by Prof. Dilip Menon. A global historian, Mellon Chair of Indian Studies at the University of Witwatersrand, and a Science Breakthrough winner—who’s spent years exploring how knowledge travels across time, oceans, and cultures. If you're a student, parent, or just curious about why our education feels broken, this episode will shift how you think about learning itself.Key Insights:Teacher-Student Dynamics: Menon invites us to invert the traditional hierarchical relationship between teachers and students, suggesting "a teacher paradoxically is willing to learn."Language & Colonial Legacy: How our ability to theorize in our native languages has been impacted by colonial histories, and why this matters for knowledge creation.Beyond Employability: Why our education systems remain trapped in industrial-era thinking while the world has moved far beyond those needs.Digital Learning: The transformative potential of digital media as active learning tools rather than passive consumption channels.Interdisciplinary Approach: The artificial divide between arts and sciences, and how meaningful education requires breaking down these barriers.Knowledge Creation: Envisioning a future where students actively generate knowledge rather than merely consuming information.Practical Advice: Strategies for focused learning in a distracted age, including deliberate disconnection from constant digital engagement.Prof. Menon's vision for education in 2047 centers on creativity, experimentation, and engagement with AI as partners in knowledge creation rather than threats to human learning.For all details: https://www.thegyaanproject.com/p/ep-306-learning-in-the-amrit-kaal This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

What goes into making a book cover design? The secrets of book publishing include what goes into making a book, the future of physical books in the digital world, and a few tips if you wish to get into editorial design or publication.  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

This episode is for Interior Designers, Architects, and allied work streams. We’ll try and understand Design trends or innovations in the furniture landscape, how Hettich incorporates eco-friendly practices and materials, and of course, how do they support designers in implementing their visions within the systems framework.Andre Eckholt joins us on Audiogyan. He is the managing director of a German lifestyle brand, Hettich. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

IntroductionWelcome to a new series, “Footprints of History”. The Drawing Board, with whom I am partnering for the 3rd consecutive year, brings this series to you. The Drawing Board is an international architecture competition based in India where students can test their understanding and skills in shaping how communities live and thrive while preserving local heritage. TDB has been actively running an Architecture competition for undergraduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, which is the 9th edition of the competition, the design brief revolves around redesigning the Pathu Thoon Lane in Madurai (Tamil Nadu, India) also known as "10 Pillar Street”. This site is somewhere between the Meenakshi Temple and Thirumalai Nayakar Place. The design challenge is to restore and integrate the lane's cultural heritage, emphasizing these 10 pillars. The submission deadline is 16th September 2024. More details in the show notes and thedrawingboard.inLudwig Mies, the German-American architect, once said "Architecture is the will of an epoch translated into space.” And this quote aptly describes our today’s guest. Hans Brouwer. Hans, originally from Hong Kong, is a distinguished architect with a global footprint. He studied architecture in Switzerland and the University of Southern California, where he graduated top of his class. Hans spent his early career with Sir Norman Foster, contributing to landmark projects like the Century Tower in Tokyo and Commerzbank Headquarters in Frankfurt. In 1995, he founded HB Design, later relocating to Singapore, and expanded to regional offices in Phuket and Bangkok. An award-winning architect, Hans also teaches at the National University of Singapore and frequently speaks at industry events.QuestionsWhat do you see when you see the 10 Pillar Street - as an architect and as a tourist or history lover? Which aspects stand out for you?You have a strong emphasis on “the process”. You say this process is truly creative because the end is not known at the beginning. Can you unpack this for us?At HB Design, you emphasize the importance of context and site in shaping architectural outcomes. How do you balance the need for innovation with the preservation of cultural heritage in a project?You deeply engage with clients in the design process, how would you involve a community or stakeholders in a project like the restoration of Madurai’s Pathu Thoon Lane?Assuming Designers or specialists are generally aware of the pros and cons of various solutions and living on tradeoffs. Given the expertise, what amount of community involvement is apt - because, if we go and ask people, they will want faster horses while the solution could be inventing a car.I am very curious to know about BIM - What is building information modeling? How does it help in the process and over all practice at HB Design?With BIM being such an integral part of HB Design’s process, how do you see technology aiding in the preservation and restoration of culturally significant sites?You are working in South east Asia where we are seeing a lot of innovation with great emphasis on green infrastructure. What are a few trends in the technology and architecture industry which can be applied to this complex network of communities and historical 10 pillars?In the future world if AI, which faculty should young architects need to build to accept or reject AI proposals assuming they have the analog context of climate change and other challenges? Especially with AI, machines can simulate and build imaginary landscapes and more…Reference linkshttps://www.hbdesign.biz/https://zakworldoffacades.com/speaker/hans-brouwer/https://www.linkedin.com/in/hans-brouwer-70b6b0a7/?originalSubdomain=sghttps://www.designandarchitecture.com/article/hans-brouwer.htmlhttps://www.re-thinkingthefuture.com/architect/hb-design/https://www.youtube.com/watch?v=srX9bcl10MI This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

IntroductionWelcome to a new series, “Footprints of History”. This series is brought to you by, The Drawing Board, with whom I am partnering for the 3rd consecutive year. The Drawing Board is an international architecture competition based in India where students can test their understanding and skills in shaping how communities live and thrive while preserving local heritage. TDB has been actively running an Architecture competition for undergraduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, the 9th edition of the competition, the design brief revolves around redesigning the Pathu Thoon Lane in Madurai (Tamil Nadu, India) also known as "10 Pillar Street”. This site is somewhere between the Meenakshi Temple and Thirumalai Nayakar Place. The design challenge is to restore and integrate the lane's cultural heritage, emphasizing these 10 pillars. The submission deadline is 16th September 2024. Today’s episode is called, “Pillars of Past and Present”. I am pleased to have Architect Uday Andhare with us on Audiogyan. Uday has been a design principal at Indigo Architects since 1998. He holds a degree from CEPT University and the University of New Mexico. Uday advocates for technically appropriate and ecologically sensitive architecture, blending traditional wisdom with modern design. Uday teaches at CEPT University while leading his firm in Ahmedabad. He has drawn diverse experiences during his internships with B.V Doshi and while working in the USA.QuestionsWhat do you see when you see these 10 pillars on Pathu Thoon Lane? Which aspects stand out for you from an Intent, Material, and Context point of view?The Getty Podcast - B.V. Doshi said, “Is Architecture defined by theory or it’s a convention, or it is something which is rooted in the place?” What are the potentialities of such a project? Do you consider it be a restoration project or conservation or anything else?You have consciously chosen friendlier materials in your projects at Indigo. If one has to restore or build things around the pillars, would you build with new materials and new technology or continue with existing materials or the same fabric?What are the few anchor points of traditional Indian architecture that still hold relevance today? (More meta)Likewise, what are the few enduring aspects of Indian architecture that can inform students in this project?Your Philosophy is “search for contemporary rootedness in this ever-changing environment”. How do you spot it? What are the key parameters on which this search happens?For you, every new project feels like your first. How can any practicing architect or any creative individual maintain this fresh perspective, this outlook/worldview?Which faculty would young architects need to build for the future digital world? Especially with AI, machines can simulate and build imaginary landscapes and more… What will make architects accept or reject AI proposals assuming they have the analog context of climate change and other challenges?Reference readinghttps://indigo-architects.com/https://www.instagram.com/indigoarchitects/https://www.instagram.com/udayandhare/https://www.instagram.com/rohanbuilders/https://www.instagram.com/mindspacearchitects/https://www.instagram.com/thedrawingboard.in/https://thedrawingboard.in/https://www.youtube.com/playlist?list=PLFIgtET-7ZIzMxVo0EeOdO3NaG-g0V2vehttps://www.linkedin.com/in/uday-andhare-0b34406/?originalSubdomain=inhttps://theloftforum.org/people/uday-andhare/https://x.com/indigoarch_amd?lang=enhttps://www.re-thinkingthefuture.com/know-your-architects/a1534-indigo-architects-15-iconic-projects/https://thinkmatter.in/2017/02/27/indigo-architects-mausami-and-uday-andhare/https://www.archdaily.com/author/uday-mausami-andharehttps://www.facebook.com/watch/?v=1264525753603165https://www.youtube.com/watch?v=RT1jqsobX8ohttps://audiogyan.com/https://blogs.getty.edu/iris/audio-b-v-doshi-modern-architecture-in-india-part-2/  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Friedrich Nietzsche once said, “We should be a mirror of being: we are God in miniature.”. I Had Srijan Jha in Ep. 258 on “How mini can a miniature art be’ and a case study of ‘Green humor’ with Rohan Chakravarty in Ep.253. And today’s episode is an amalgamation of both. Today’s guests do a lot of work in the realm of nature in miniature.I am pleased to have Nayan Shrimali & Venus Bird (earlier known as Vaishali). They are the duo who run the “The Paper Ark”, store, project - we’ll find out soon.Nayan is a furniture and interior design graduate from NID, Ahmedabad. He now works full-time as a paper cut artist. Venus holds a diploma in animation and visual effects, she brings life into these objects through colors. They both are from Ahmedabad.QuestionsWhat is The Paper Ark? How did you start and why? What initially drew you both to miniature papercutting and specifically to birds and animals as your subjects? The "1000 Days of Birds" series is a remarkable feat! How did the concept for such a long-term project come about, and how did you two stay motivated throughout?Does this art form have a rich history in various cultures? Do you have a specific name for the style of papercutting you practice? Are there specializations?How can one get into this? For aspiring artists interested in papercutting, what basic skills or knowledge do you think are most important to develop?Given the intricate detail, can you give us a rough estimate of how long it typically takes to create one of your miniature artworks?What is it about working in miniature that appeals to you? Is it the focus on detail, the challenge of working small, or something else?In your collection, you have a wide variety of birds and animals. Do YOu also have various themes such as ‘Rare’, and ‘Pollinator project’? How do you decide which subjects to create miniature paper cuttings of? How do you start and what is the process like?As successful artists selling your work online, have you encountered any specific challenges in marketing or running a business focused on miniature paper cutting?Can you share some insights into your tools and materials? Are there any specific types of paper or cutting implements that you find essential for creating your miniature objects?It's fascinating that your primary audience is overseas! What do you think attracts international collectors to your work?What is the future? Any new series, themes, or techniques you'd like to explore? Where and how can people collaborate?Reference readinghttps://www.thepaperark.com/https://www.instagram.com/thepaperark/https://www.instagram.com/nayan_venus/https://www.instagram.com/venusbirdart/https://audiogyan.com/2022/10/19/green-humour/https://audiogyan.com/2022/12/21/how-mini-can-be-miniature-art/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

John Pathrose interviews me in this 300th Episode. The Host becomes the guest. John is an old friend and a media professional. The following topics were covered in our conversation. Power of DesignWhat is design (your definition)?What is the impact of design (beyond visual – socio/economic/political)?What is the current opportunity in the design world – past, current, or future?How would you pitch ‘the world of design’ to someone – why is it exciting?Three favorite design moments Power of KnowledgeWhat are your top 3 learnings through AudiogyanShare some aahaa moments during your conversationsHow has this helped you?Role of knowledge in a ‘fake it till you make it’ worldSpoke to 300 knowledgeable people – what is the commonality amongst them (attitude/ qualities/ aptitude) Power of PassionWhat does passion mean to you - and how has it influenced your Audiogyan journey?How do you maintain and nurture your passion over time, especially when faced with obstacles or setbacks? How do you keep the energy high?In your opinion, what are the signs that someone is passionate about something – how do you apply this in your professional life?How do you think passion differs from mere interest or enthusiasm, and why is it important? What advice would you give to someone who is struggling to find their passion or purpose in life?Have you ever had to make a decision that required you to choose between your passion and a more practical or secure option? How did you approach that decision?Reference linkshttps://audiogyan.com/2018/05/02/noopur-datye/https://audiogyan.com/2023/12/13/discussing-typeface/https://audiogyan.com/2019/10/02/anupama-hoskere/https://audiogyan.com/2020/12/02/neelkanth-chhaya/https://audiogyan.com/2019/01/02/ayaz-basrai/https://audiogyan.com/2024/04/10/measure-of-good-designers/https://audiogyan.com/2024/04/16/design-leadership-in-startups/https://audiogyan.com/2017/09/27/shiva-n/https://audiogyan.com/2017/03/19/varun-grover/https://audiogyan.com/?type=wrtd-serieshttps://audiogyan.com/?proffession=typographer#design #podcast #art #audiogyan #kedarinterview #300episodes #designthinking #passion #knowledge #consistency #humility #openminded #learning #questioneverything #embracethegrind #loveandempathy #stevejobs #opportunity #brucelee #water #porous #johnpathrose #typedesign #architecture #passionproject #milestone  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

We're delving into the exciting yet complex world of African architecture, with a particular focus on Nigeria. We'll explore trends that hold valuable lessons for India, a nation grappling with similar challenges. Nigeria is experiencing rapid urbanization, with the urban population projected to reach over 200 million by 2050. A significant portion of this urban population lives in slums and informal settlements due to housing shortages. Many urban areas lack proper infrastructure like sanitation and water supply.We discuss all this from a Designer’s lens, I have James Inedu George with me on Audiogyan. James is one of the most eminent and influential West Africa architects and designers of recent decades recognized for his innovative approach to solving complex urban challenges, and most famously his brilliance with space and design. He is the founding partner and Design Lead at HTL Africa Ltd, Tao South Africa, and HTL Asia Plus, which works on projects around the world and is widely considered “among the most significant in contemporary architecture”.QuestionsWhy and how does architecture empower people?What do you mean when you say, “Buildings become citizen”? You also say, architecture should become land pads. Tell us more about it?What are metro houses? What are some successful examples of involving local communities in the planning and construction process for metro housing projects in Nigeria or around the world? yes, it’s innovative and radical but are their any proof of concepts?What is the main reason that government choses to provide housing and not land? Is it easy to manage given the state capacity?What makes you believe in so decentralised and democratic way of thinking in Africa or Nigeria? Can you share examples of successful projects that bridge the gap between urban centers and rural communities in Nigeria?India’s per capita GDP is 2.4K USD and Nigeria’s is 2.1K. Nigeria’s literacy rate is also almost in the similar range of 75-78%. What gives you hope that Mama Ya Bo, she generates employment, produce energy, distributes, build stuff for future generations and become part of the main economy?Can you unpack the word Affordacity in context of architecture, urban design and planning?In your TED talk, you said, ‘cities are dying’. In India, especially the financial capital, Mumbai, we see a lot of ghost buildings where they are either not in use or built illegally. With the city growing vertically and no land to build, What would be your advice to repurpose architecture.Cities are economic power hubs where people migrate for better life and opportunities. But few thinkers in India believe that life is truly in small towns and villages. How do you see this as a designer and urban planner?Can you share few tips for young designers who wish to get into this profession of architecure?When you see all problems, I can understand that you see opportunity. But being a designer, you also see solutions. Tell us more to wrap this episode. What insights have you got as a designer?Reference readinghttps://en.wikipedia.org/wiki/James_Inedu-Georgehttps://www.instagram.com/jymsig/?hl=enhttps://www.linkedin.com/in/james-inedu-george-2ab80a24/https://x.com/unfolding_arch?lang=enhttps://www.youtube.com/watch?v=Next1LJHCVUhttps://www.htlafrica.com/https://www.ted.com/talks/james_george_introducing_the_future_of_african_cities?subtitle=enhttps://www.youtube.com/watch?v=XxCIrCwmv70 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

This is the last episode of the #designersdigest series where we have Daniel Burka and co-host Shreyas Satish.We talk about blurring lines between product and design, the importance of being a generalist in design, and the role of product managers in the design process.This series is created by Audiogyan in partnership with @godrejdesignlabDesigner's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design.Daniel is the director of product and design at the not-for-profit Resolve to Save Lives, where he spends most of his time on the open-source project, Simple. Simple is used by thousands of hospitals in India, Bangladesh, and Ethiopia to manage over 2 million patients with hypertension and diabetes.He is on the board of Laboratoria, a not-for-profit based in Peru helping Latin American women build successful careers in tech. In 2021, Daniel also started the open-source Health icons project to provide free icons to healthcare projects around the world. He is also a member of Adobe's Design Circle, which grants scholarships to a diverse group of designers each year. Previously at Google Ventures as a Design Partner, Co-founder of Milk.inc and SiverOrange, and more… QuestionsAt RTSL, You’re a Director of both Product and Design. How do you distinguish between the two verticals daily, especially concerning concerns and metrics?Who is a Product manager and who is a designer according to you? Who according to you is supposed to focus on defining the right problem and then crafting the perfect solution? How blurred are these lines? What are the primary differences if I may ask?Seems like a designer can become a PM. Can it be the other way around? This is in the context of a few hard skills.A PM is torn between a thousand things from business to analytics and many other things. How can designers venture into this role? Also, can you steelman the case for a designer to become a PM?In a lot of companies, tech and design functions are both product reports, while in many these are separate verticals. In your experience what works best and when?One criticism of product managers, by folks like Marty Cagan, is that product managers often function as project managers. What in your view should a product manager focus on bringing to the table?*Designers in their romantic vision want to solve problems for all users. While Product folks go after those getting the dollars. Can you give any example from your experience where you have balanced it elegantly? What did it take?One death is a tragedy while a thousand deaths are statistics. How do you see this in the world of Product managers obsessed with data over real emotions? This is specifically for your work in healthcare.Some companies Like Airbnb have evolved their org structures to have Product Marketing Managers and Apple of course has Program Managers who report to a Product Director. Do you have a framework to think about organizational design with product teams, of course, knowing that different organizations have designed differently based on what they are focused on?What do you consider the key responsibilities of a product designer? Again, from tiny startups to large MNCs*You work on Simple, which is of course, primarily focused on creating impact. Can you talk a little bit about what it’s like designing for social impact compared to increasing market share or profitability? In a digital landscape, how can we ensure our products create real value and positive impact beyond just solving problems?What is the future of Product Managers and Designers in the AI world? What does the career ladder look like? What skills do we acquire for the future of WWW?Reference linkshttps://audiogyan.com/?type=wrtd-serieshttps://audiogyan.com/2021/10/06/shreyas-satish/https://twitter.com/shreyas_satishhttps://www.ownpath.com/abouthttps://www.linkedin.com/in/shreyassatish/?originalSubdomain=inhttps://designup.school/teacher/daniel-burka/https://library.gv.com/defense-against-the-dark-arts-of-design-a114e5f048bbhttps://iconscout.com/contributors/healthiconshttps://medium.com/@dburkahttps://x.com/dburka?lang=enhttps://www.instagram.com/dburka/https://www.linkedin.com/in/dburka/?original_referer=https%3A%2F%2Fwww.google.com%2F&originalSubdomain=ukhttps://danielburka.com/https://en.wikipedia.org/wiki/Daniel_Burka This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Tune into this 9th episode of a 10-part series, "Designer’s Digest” with Chandrashekhar Wyawahare. We talk all about Industrial Design, Make in India, and the skills required to become an Industrial Designer.This series is in partnership with @godrejdesignlab. Designer's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating design world.When you look at Braun or any industrial product designed by Dieter Rams, whether it’s the Braun T4 Radio designed in 1960 or the T2 Table lighter designed in 1968. Undoubtedly, you’ll fall in love with the form factor and the simplicity. Industrial design has always been fascinating.Chandrashekhar Wyawahare, co-founder of Futuring. Chandrashekhar graduated in architecture with a master’s in industrial design from IDC in IIT Mumbai. Before co-founding Futuring, he worked in Europe with leading design studios. His work in Neumeister Design exposed him to a fine sense of styling and helped him develop a keen eye for perfection. Chandrashekhar has been subsequently responsible for a strikingly wide range of work from appliances to transportation design. He is a keen educator and has been on design juries at many architecture and design schools. Futuring sees Industrial Design as a dynamic, empathetic, and strategic process.QuestionsWho is an industrial designer? It has a wide canvas, specializing in multiple sub-disciplines. But what is the core of being an industrial designer? Or being a designer for that matter?How has the landscape of industrial design evolved in India? What were the biggest transitions you’ve witnessed, and how did Futuring adapt?Make in India is now a buzzword. Where are you on that? Should it be designed in India or made in India? Are we ready for it?In an era of mass production and globalization, what does it mean to be an "Indian" industrial designer? What Indian ethos do you think we can bring to the products we design or make?By the very definition of industrial products, it’s safe to say that it’s mass produced. Can mass-manufactured products truly be "high quality"? What compromises are typically made, and how can we advocate for better quality standards in Indian design?Consumerism often drives design trends. How do you balance aesthetics, user-centricity, and sustainability, and yet be cost-sensitive for a market like India?You have a keen interest in education and have been on jury panels in top design schools in India. What’s happening in new-age India and how is the talent gearing towards entering the workforce? From skill to gender diversity to leveling up for actual work.How do you spot talent for Futuring? What gives you the confidence to recruit designers? What do you look for in their work/portfolios?You often speak about Industrial design one needs a good tech background, be it engineering or architecture. What does the Industrial designer’s career ladder look like? From a new entrant to say, being a principal designer?What one piece of advice do you get from your mentor that you still practice? What advice to young designers?What according to you is the future of industrial design in India? Perhaps in the world of automation and meta-verse.Reference Readinghttps://futuring.design/Voiceshttps://onlyonceshop.com/https://www.punedesignfestival.com/speaker/chandrashekhar-wyawahare/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Tune into this 8th episode of a 10-part series, "Designer’s Digest” with Akanksha Sethi.This series is in partnership with @godrejdesignlab. Designer's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating design world.Starting with a few numbers collected from SIAM, (Society of Indian Automobile Manufactures) and the Federation of Automobile Dealers Associations (FADA)Over 4.4 million vehicles were produced in India in 2022-23.We’ve around 10 Big players in the Automobile industry, Maruti Suzuki, Hyundai Motor India, Mahindra & Mahindra, Tata Motors, Honda Cars India, Toyota Kirloskar Motor, Renault India, MG Motor India, Hero MotoCorp, Bajaj Auto.India ranks as the fourth-largest passenger vehicle market worldwide.1.2% of cars sold in India were EVs. However, as per ETAuto, EV sales are rapidly growing, with a 230% increase.The Indian government aims to achieve 30% EV penetration by 2030 through various initiatives and policies.To discuss all this and Automobile Design as a career in India... Akanksha Sethi joins us. Akanksha has been a Colors, Materials, and Finish Design, Group lead at Maruti Suzuki for the past 13 years. She did her Bachelor of Design from the National Institute of Fashion Technology. Before joining Maruti Suzuki, she had worked at Amrapali Jewels and Titian Industries. QuestionsWho is an automobile designer? What are the sub-disciplines within it? You deal with Colors, Material, and Finish. Tell us more about it. What do you do when it deals with CMF?How does one grow in a career in automobile design? Can you describe the career ladder for automobile designers in India? What are the typical milestones, changes of responsibilities, and challenges at each stage?What is the difference when they say, “Manufactured in India” versus “Assembled in India”? How and where do designers from India fit in this setup? What goes when collaboration happens - Suzuki + Maruti or Hero and Honda?What are some of the most iconic or impactful car colors or materials and finishes you've been part of in your career? What makes them special?What defines the success of a good color for a car?How do we define a good, reliable, and safe material? What are checks and tests done to test materials?How have the skills required for automobile design changed after liberalization (1990)? Or maybe when Maruti 800 came on the market in 1983?What new skills are becoming increasingly important, especially in the context of electric vehicles and sustainable technologies when we talk about CMF?What are the major trends and challenges that are shaping and will shape the industry in the coming decades when it comes to CMF?In this 10-part series, I have 4 woman designers and you are one of them. As per the D’Source repository, only 2 women designers out of 19 Automotive designers in India. Can you talk a little bit about gender diversity within the automobile design industry? What unique challenges have you faced being a Women Designer in the Automobile / Man’s world? What advice would you like to give young designers entering the Automobile Design world? Reference readinghttps://www.dsource.in/resource/history-automotive-design-india/top-automotive-designers-india/akanksha-sethihttps://www.dsource.in/resource/history-automotive-design-india/automotive-design-schools-indiahttps://www.dsource.in/resource/history-automotive-design-india/important-automobile-models/cars-designshttps://www.dsource.in/sites/default/files/resource/history-automobile-design-india/downloads/file/history_automobile_design_india.pdfhttps://www.linkedin.com/in/akanksha-sethi-a7549723/?originalSubdomain=inhttps://www.siam.in/about-us.aspx?mpgid=1&pgidtrail=2https://www.fada.in/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Tune into this 7th episode of a 10-part series, "Designer’s Digest” with Ruchita Madhok. Audiogyan creates this series in partnership with @godrejdesignlabDesigner's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating design world.Ruchita has been a guest on episode 159, named “Designing a Visual Guide”. The poetry of everyday life inspires her. Through the mediums of cyanotype printmaking and drawing, she explores the conversations between nature, the cosmos, and the inner self. An award-winning communication designer, Ruchita brings a passion for print, photography, and illustration to her work as she plays with words and images to create works of art, books, and zines. Ruchita is the Founder and Director of Kahani Designworks and built Storycity, Imaginative books, maps, and guides for curious people.We talk about what it means to be a graphic designer, in India, as a woman, and how you grow as a designer, many things to unpack.QuestionsWho is a graphic designer? What's the job? You engage yourself in Poetry, Literature, and many other things beyond design. How critical it is for any creative endeavor?How do you see growth in this discipline? What does an entry-level designer do in Graphic Design? A person with 30-40 years of experience like Paula Scher or Milton Glaser - Will they be still hands-on like a performing artist? How do you see the graphic design career ladder?I understand that Design has many aspects, including communication, solving problems, and more… Particularly in graphic design, it’s communication, right? What is making you move (or have moved you) from Graphic Design and infographics to ‘art’ and more niche sort of storytelling? Why have you started exploring cyanotype printmaking and more?Kahani Studioworks and StoryCity believe in collaboration? Do you hire? What do you seek in people with whom you hire or collaborate?How does your trio identity as an Indian woman, a designer, and now an artist influence your artistic style and perspective?Do you see a distinct thread running through your work that speaks about your Identity or Indian-ness? How do you harness it to give it a personality or avoid it stereotyping your work? What would you share as a tip/advice for young designers?Do you think your design work / or art needs to impact society? Should it influence fellow and young designers? You have been taking a lot of workshops and are interested in education. Tell me a little bit about it?Ethical practices and sustainable design choices are now becoming mainstream buzzwords. Where are you on that and what are your principles in this dynamic world of Graphic Design?In today's digital age, where people have been looking to increase the number of followers on social media, what advice would you give to Indian Designers (especially women)? What do they chase? What can make their work stand out or be impactful in this noisy world? How long can it take to find one’s voice?The design field is vast and multifaceted. How would you encourage Indian women designers to explore their unique strengths and passions to find their niche within the industry?References https://www.instagram.com/ruchitamadhok/?hl=en-gbhttps://www.ruchitamadhok.com/https://www.linkedin.com/in/ruchitamadhok/?original_referer=https%3A%2F%2Fwww.google.com%2F&originalSubdomain=inhttps://www.behance.net/ruchitahttps://www.kahanidesignworks.com/https://homegrown.co.in/homegrown-creators/ruchita-madhoks-botanical-cyanotypes-are-vibrant-interpretations-of-the-poetry-of-lighthttps://audiogyan.com/2020/01/22/ruchita-madhok/https://www.storycity.in/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Tune into this 6th episode of a 10-part series, "Designer’s Digest” with Dhruv Jani.This series is created by Audiogyan in partnership with @godrejdesignlabDesigner's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design.Dhruv Jani joins us on Audiogyan as we talk about the role of the creator in the world of Game Design. Dhruv Jani is an artist at, and the founder of the independent game studio: Oleomingus. He studies postcolonial writing and interactive fiction and explores the use of video game spaces as possible sites of protest and reparation. QuestionsWhat does a game designer do? What does it mean to be a game designer? How can one become a game designer? What skills are required? Which other professions are required while designing a game?Can you give a quick snapshot of how games came into existence and how they evolve into today’s video games and mobile games? A short history of sorts?What are the broad categories/genres of games and which ones do you deal with? What’s special about your genre?Your games often start with a narrative. What comes first when you think of a game? An event, a discovery of the past or a speculation of the future? An event? Where and how does any of your game start for Oleomingus?What has politics to do with games? Is it because you have to pick a side? Is the game a Western concept for India? India has been a land of compassion, inclusivity, and forgiveness.You call games to be Interactive fiction. Narrative interface design. What can and can not be told using games? Where does the medium flourish and where does it break?Games have certainly evolved and come a long way. Now, I guess it’s the biggest industry on this planet. The games I recently got to know were Werewolves and Mafia and somehow the theme seems to be based on trust. What’s going on? How do you see it impacting the new generation and society at large?Games are highly addictive, why? Which ingredient makes it addictive? Who is supposed to design it? Can you explain with an example of how the process happens?Given the power of games, what’s the biggest responsibility of game designers?Where are we heading as game players and game makers in this world of meta-verse and AI?Reference Readinghttps://audiogyan.com/2022/05/25/game-design/https://www.sportskeeda.com/esports/news-the-right-consume-histories-dhruv-jani-studio-oleomingus-talks-creativity-meaninghttps://indiaifa.org/grants-projects/dhruv-jani.htmlhttps://en.wikipedia.org/wiki/Nash_equilibriumhttps://en.m.wikipedia.org/wiki/Prisoner's_dilemmahttps://en.wikipedia.org/wiki/Mafia_(party_game)https://oleomingus.com/about-1https://www.stirworld.com/think-opinions-gamescapes-indian-video-game-developer-studio-oleomingus-reconfigures-historyhttps://www.theguardian.com/games/2020/sep/22/video-games-india-politics-dhruv-jani-sushant-chakraborty-studio-oleomingus#commentshttps://indiaartfair.in/game-grammar-dhruv-janihttps://garage.vice.com/en_us/article/3kxpgw/this-first-person-game-is-a-surreal-meta-fictional-experience-in-colonialismhttps://www.sleek-mag.com/article/studio-oleomingus-surreal-video-games-marginalised-stories-india-history/https://venturebeat.com/pc-gaming/the-indiebeat-how-studio-oleomingus-is-crafting-its-indian-post-modern-fairy-tale/https://killscreen.com/studio-oleomingus/https://scholar.google.com/citations?view_op=list_works&hl=en&hl=en&user=AMZG-C4AAAAJ&sortby=pubdatehttps://www.ted.com/talks/dhruv_jani_the_interactive_fictions_of_generous_history This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Tune into this 5th episode of a 10 Part series, "Designer’s Digest” with Saif Faisal, A new breed of bold Contemporary designer and founder of SFDWThis series is created by Audiogyan in partnership with @godrejdesignlabDesigner's Digest series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design.Massimo Vignelli’s once said, “If you can design one thing, you can design everything.” Even in our part of the world, somewhere in 15 hundred.. Mirza Khan Abdul Rahim once said, “Ek sadho, sab sadhe”..Saif completed his training as an Architect from RV School of Architecture in 2010-11, alongside designing and participating in Formula SAE-Racing with the Mechanical engineering students at the college, where he acquired diverse experience in design, manufacturing, and technical know-how. After college, he went on to learn woodworking. These diverse formative explorations gave him a polymathic learning experience.His work draws heavily from his understanding of Anthropology, Processes, and Technology, which is very integral to his creative explorations. The deep appreciation he cultivated of ‘Essentialism’ from racing is revisited in his Design and Architecture.Saif is involved in guest lectures and talks at design and architecture schools. Apart from being an avid motorcyclist and a lover of cafe racers, he is into boxing and pursues his culinary interests rather seriously.QuestionsYou’ve done architecture, lifestyle products, furniture, jewelry, accessories and more. How do you define your work? You also have diverse interests, from motorcycling to boxing and cooking. How do these pursuits influence your creative process?Who according to you is a designer? You talk about “Essentialism” - What is the essential quality to become a designer?What is the difference between Essentialism and Minimalism according to you? Is Essentialism more inclusive than minimalism? Lets take Loup of example.You draw inspiration from sociology, philosophy, and anthropology. How do these disciplines inform your understanding of the human experience, and how does that translate into products you create? Any example of a product you made?If I can take the liberty to say, Art is expression while design is functional, responding to a problem. Where and how do you see art and design lines blurring, given your work deals with higher levels of aesthetics.Why do you call wood to be a humble material? What did you learn in wood work? What made you consider learning that? How can it help any designer interested in making physical products?Do you see geometric forms as a universal language? Do you see that in Indian history or culture? How have you borrowed this universal language and contextualised for India? May be you can explain with the lamps that you have made?Where are you on Massimo Vignelli’s quote, “If you can design one thing, you can design everything.” How comfortable the journey has been to switch domains? What advice would you give anybody who has such wide range of interests? or does one need to master something before traversing?You often talk about Indian design education need to level up. Our work needs to appeal to a global audience. What do you mean exactly? Where are the gaps? What can be done about it?We have often seen us using Jugaad as one of the primary methods of innovation. What is you take on that?What do you wish from the new “Make in India” generation? How can they push the boundaries of design?Reference Readinghttps://www.saif-faisal.com/https://www.instagram.com/saiffaisal.designworkshop/https://www.platform-mag.com/design/saif-faisal.htmlhttps://www.linkedin.com/in/saif-faisal-51247315/?originalSubdomain=in This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Tune into this 4th episode of a 10 Part series, "Designer’s Digest” with @chitrav89 (Chitra Vishwanath) - Principal Architect and Managing Director of BIOME Environment Solutions (@biomearchitecture)This series is created by Audiogyan in partnership with @godrejdesignlabDesigner's Digest series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design. Chitra Vishwanath is an Indian architect based in Bengaluru who works on themes related to ecology and architecture. She has been running her own architectural firm since 1991, working with other architects on many projects of all sizes. She is currently the Principal Architect and Managing Director of BIOME Environment Solutions. She firmly believes that the true essence of a remarkable firm lies in the gradual fading of its founder's individual prominence. The establishment of a firm is influenced not only by the founder's drive but also by various contextual factors. Chitra cannot be solely identified as Chitra Vishwanath without acknowledging the integral role of Biome. Similarly, Biome's existence in its current capacity is inseparable from the contributions of her colleagues. BIOME has been involved in more than 700 projects encompassing the construction of buildings of all sizes and water harvesting and sanitation structures with specific relevance to the ecology of the sites. With earth as a basic material input in construction, BIOME has designed and built many structures. We’ll be talking about ecological architecture in today’s episode.QuestionsWe often use “architect” as a word who guides, designs, and oversees. Etymologically as well, it’s derived from arkhi-, chief + tekton, builder - chief builder. Who according to you is an architect?What constitutes an ecological architecture? Could you talk about the 4 aspects of architecture from your TEDx talk, resourceful spaces, designing construction systems, water and waste management? Maybe by taking an example of one of the many schools you have built.What is Maximise to minimize? Good design is no design at all, right? How do you strive to create a positive impact while building structures? What are the key principles and values you live by?What should be / can be the index/metric of good ecological architecture? Why?What according to you is the biggest role of architects in India, given the current time?Over the last 31 years, you have grown to 31 member strong team. Seems a conscious choice to stay lean. Why?You have a lot of Junior architects on the team. What are their primary job responsibilities?For Biome, every project is a test bed for developing a collaborative multidisciplinary approach grounded in informed decisions. How does Biome onboard, execute, and deliver any project? Where and how are Junior architects involved? What do you expect from them?What according to you is a good measure of an ecologically sensitive outlook in a student or junior architect entering this field of architecture?What kind of architects do we need for India’s future? What tips/suggestions would you like to give young architects?Reference Readinghttps://en.wikipedia.org/wiki/Chitra_Vishwanathhttps://www.instagram.com/chitrav89/?hl=enhttps://www.biome-solutions.com/about-us/https://www.linkedin.com/in/chitra-vishwanath-8513593/?originalSubdomain=inhttps://www.archdaily.com/tag/chitra-vishwanathhttps://www.youtube.com/watch?v=QMiekG0IJfMhttps://www.youtube.com/watch?v=41tlOqU-6PMhttps://www.youtube.com/watch?v=Zlf3TyKdcAghttps://www.youtube.com/watch?v=EviAtiqoLTEhttps://www.youtube.com/watch?v=PlwbK-ybQX0https://dev.earth-auroville.com/chitra-vishwanath-architects/https://www.e-coexist.com/mailchimp/building-small-chitra-vishwanath.htmlhttps://www.re-thinkingthefuture.com/know-your-architects/a686-chitra-vishwanath-creating-an-ecofriendly-way-of-living/https://medium.com/@ar.aesha/ar-chitra-vishwanath-and-her-design-philosophy-282b64a99f83https://www.re-thinkingthefuture.com/case-studies/a5644-the-paper-workshop-by-chitra-vishwanath-architectural-semantics-with-vernacularism/https://www.facebook.com/chitra.vishwanath.3/https://www.instagram.com/biomearchitecture/https://www.biome-solutions.com/https://audiogyan.com/2022/01/10/design-of-wells/   This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

This is the 3rd episode of a 10 Part series, "Designer’s Digest” with Dr. Susmita Mohanty, an Indian spaceship designer and a serial space entrepreneur. This series is created in partnership with Godrej Design Lab - a platform that encourages and advances design excellence and exploration. Godrej Design Lab believes in the power of design to make a meaningful change. I am so happy and proud that Godrej Design Lab is supporting the journey of Audiogyan. Designer's Digest is a series about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder and what edge we’ll need to thrive in the captivating world of design.I want to start with a line by Vincent Van Gogh, “For my part, I know nothing with any certainty, but the sight of the stars makes me dream”.QuestionsCan we start by, who is a spaceship architect or a designer? Can you also elaborate on the 3 genres of space architects [Voyage d’Esprit, Man-in-a-Can, Trans-Gravity]? Where and how do designers fit in?What does it take to become a spaceship designer or an architect? If you can share your version of a career? What does one do in their early years and then possibilities as they become a veteran like you? Design is broadly about problem solving and we see a lot of lateral entrants. Is it possible in this discipline?You’ve said, traditionally government agencies tend to design in a very engineering centric approach where they don’t invite architects, designers to build stuff. With designers engaging in such space, collaboration with other professionals like physicists, engineers, biologists, seems inevitable. What are the challenges and rewards of such interdisciplinary teamwork?Importance of multidisciplinary. You’ve straddled across design, art, tech, humanities, choreography. What was it like growing in Ahmedabad in 70-80What are the unique challenges and opportunities in this sector for a designer? You mentioned about designing spaceship interiors for long distance travel, spacesuits to keep away from sharp dust on other planets, especially on the moon. Climate is another important domain to look into.What all sections of the rocket or a spacecraft (For eg: Soyuz, I loved the video) could be given to designers? Where all design interventions can be done?What made you start Earth2Orbit and later Spaceport Sarabhai and what exactly you folks do there? Can you share any specific project or a milestone that made you very hopeful about this it having a huge potential in India?Considering costs, policies and constraints of this highly guarded sector, what makes your hopeful about brewing design talent in India? Can you slightly talk more about your 2017 article “India is sitting on a space goldmine”?You often say, “space is not just about technology. It’s also about business, social impact, geopolitics and more about perspective. Could you please elaborate on it from a designer’s lens?You often encourage entrepreneurs to look earth from 400km above. After working closely with such great organisations like ISRO, NASA, ESA what has been your biggest learning so far.Reference readinghttps://www.weforum.org/people/susmita-mohanty/https://en.wikipedia.org/wiki/Susmita_Mohantyhttps://www.imd.org/ibyimd/innovation/beyond-earths-boundaries-a-journey-of-innovation-and-leadership/https://www.stirworld.com/think-columns-soyuz-the-world-s-most-reliable-human-spacecrafthttp://earth2orbit.com/index.phphttp://www.themoonwalker.in/write.phphttps://thebrilliant.com/opinion/why-billionaires-playing-space-ping-pong-leaves-me-cold/https://en.wikipedia.org/wiki/Constance_Adams This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

This is the second episode of a 10 Part series, "Designer’s Digest” with Hardik Pandya, Sr. VP of Design at Unacademy Group. This series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder and what edge we’ll need to thrive in the captivating world of design.I have a co-host with me, Shreyas Satish. He is the founder of ownpath.com, ownpath is a platform for designers to upskill, find community, and unlock exciting opportunities, and also helps companies grow their design teams. I had Shreyas as a guest in episode 218 when I did a series “Where are the designers” talking to 12 top influential Design leaders from India.And for today’s episode which is also my domain of designing Digital products, we have a perfect guest and a common friend, Hardik Pandya. He is a Design leader with an innate love for building products with good design. Currently He is a Senior Vice President, Design of The Unacademy Group. Previously a Design Lead at Google Search, G Suite and Google Cloud, Ola and more. QuestionsHow did you get into Design? You are a lateral entrant? What were early days like?Can you walk us through your journey towards being a lead designer? Were there things that came fairly naturally, like taking ownership and initiative, and were things you had to deliberately learn?In No Career Conversations in Isolation, you write “The way to get to the work you want to be doing in the future is earning the trust of your manager. Are there any stories or examples you can share where earning that trust unlocked the opportunity you were looking for?Now that you are heading teams, how does your typical day look like? Do you happen to work hands-on still?From where and how do you hire? Do you look for talent laterally? How do you spot talent? Junior / nerdy / geeky / high end colleges / pedigree? Is hiring a gamble?What are some traits you look for when you’re hiring a senior designer? How do you actually tell if they possess those traits?What are some common mistakes you see designers make with portfolios?Who have been your best hires and why? Which background did they come from?A lot of hiring conversations tend to be very backward looking i.e the work they’ve done, the situations they’ve been in and so on. But, I believe the real alpha, especially from a company’s point of view is being able to gauge what they can do in the future. What’s your take on this and how do you try to identify potential in designers?What skills do you expect from designers for the future in the world of AI?Reference linkshttps://twitter.com/hvpandyahttps://www.linkedin.com/in/hardikpandya/?originalSubdomain=inhttps://medium.com/@hvpandyahttps://hardik.substack.com/https://www.ownpath.com/https://hvpandya.com/https://www.instagram.com/godrejdesignlab/https://www.godrejdesignlab.com/https://www.youtube.com/playlist?list=PLrrt1Y8BkAyph0bmVRVsRF1UTgsf1Lxo9   This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

This is the first episode of a 10 Part series, "Designer’s Digest”. This series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder and what edge we’ll need to thrive in the captivating world of design.We start with Ayaz Basrai. Ayaz has been on Audiogyan’s 104th Episode where we spoke about “Designing interiors for your city.”He is the founder of The Busride Studio based in Goa and Mumbai along with his brother Zameer. Ayaz Graduated in Industrial Design, specialising in Product Design from the National Institute of Design, Ahmedabad in 2003. Ayaz studio ‘The Busride’ as an independent Design Studio specialising in the design and creation of environments, ranging from Hospitality, Entertainment venues, Film and Production to Exhibitions and temporary installations, and more.Questions asked in the episodeWho according to you is a designer? You have been questioning this a lot.What according to you is a role of a designer when they mature in their practice. Do the lines blur with art and then things become political or social in nature?You have been engaging with very young talent like Prathmesh Jaju and others. Whats the reason for going so wide in our interest areas? How does it enrich your practice?Eliel Saarinen’s famous line, “Always design a thing by considering it in its next larger context - a chair in a room, a room in a house, a house in an environment, an environment in a city plan." What’s your take on it? Is it a pyramid kind of a thinking?You have been tinkering a lot with rizhomatic thinking? Tell us a little bit about it. Does the other node need to have equally good to understand the larger context context to pass it on?You talk about intergenerational kindness by giving the Oxford examples. What is it and how can that be practised by us who are future ancestors?What is India Futures Project? Why do you engage in speculative fiction from a designer’s lens? Why create these future looking narratives? Are there instances of this done in the past of which we, inadvertently, we are part of? How real these narratives were back then, if any?You have an article about placeless-ness. What provokes you to think of these future spaces while we are still having cows and camels on the road. Would you venture into these 15 minute cities or explore shapes and forms of cities in the meta-verse? On which principles of foundations these exploration happen?We are looking at how AI in the cradle is smiling at us. What kind of skills do Centaur Designers will need to have?How would designers of the future look like? Not just in the software and industrial realm but textile, graphics, interiors and so on…Reference readinghttps://www.architectandinteriorsindia.com/lists/ayaz-zameer-basrai-co-founders-the-busride-design-studiohttps://www.instagram.com/thebusride/https://www.thepracticecept.com/thebusridehttps://thehardcopy.co/in-conversation-with-ayaz-basrai/https://www.youtube.com/watch?v=uEiJMVjMyrEhttps://issuu.com/thebusridehttps://www.youtube.com/watch?v=oQWAJBpfzp8https://www.stirworld.com/inspire-people-arthur-mamou-mani-x-ayaz-basrai-cross-border-conversationshttps://www.youtube.com/watch?v=DMEaLTat3wEhttps://www.youtube.com/watch?v=cZJ4T50o95E  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Einstein once said “If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” He also said, “Logic will get you from A to Z; imagination will get you everywhere.” Why I am talking about this? In today’s episode, we’ll documenting all about Play and Work.For this, we have Nitesh Mohanty and Sonal Choudhary with us on Audiogyan. Nitesh is a Educator, Photographer, Art Director, Writer, Curator. A JJ and Bombay boy, now in Goa. He did his post-gard from NID, Ahmedabad, specialising in Textile Design. Sonal is a Visual Communication Designer, Writer, Educator. We’ll be discussing about their new venture, or should I call it “school of thought” - Plork. Well, lets find out in this case study.QuestionsNM & SC: Tell us a little bit about your background. Which school of thought are you coming from?NM & SC: What is Plork? Why are you doing this? Who is it for?SC: Paula Scher said, “Great design is serious, not solemn”. What is your take?NM: What makes you go so broad with poets, chefs and philosophers, while education these days is task / job oriented?NM: What is taste and how do you acquire taste during education? (aesthetic, intellectual)NM: You teach, “Ways of Seeing”. Tell us more about it?NM & SC: How do you define a ‘mature’ designer?NM: What is the role of “play” in corporate structures? When there are clear objectives and deliverables, is play required or possible?SC: What are key big gaps in today’s design or art education?NM: What do you think the future of design education in India?Reference Readinghttps://www.instagram.com/nimo_obscura/https://www.linkedin.com/in/nitesh-mohanty-46562777/?originalSubdomain=inhttps://www.jioinstitute.edu.in/faculty/mr-nitesh-mohantyhttps://homegrown.co.in/homegrown-creators/nitesh-mohantys-nowhere-is-a-visual-story-of-resilience-amidst-tragedy-and-despairhttps://medium.com/@artwintent/the-art-of-visual-storytelling-4b1ad2e159b0https://studioanugraha.com/Nowhere-Now-herehttps://www.instagram.com/sonalchoudhury/?hl=enhttps://www.behance.net/sonalchoudhury1https://www.instagram.com/plorkschoolofthought/?hl=en This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

“The characteristics of jazz help. Its sense of improvisation, individualism, sound, and rhythm are all present and important in graphic design, too.” - Niklaus Troxler, who have been improvising with letterforms like Jazz Musicians since 1960s.In my opinion, a Poster is a mix of typeface and graphics communicating something. In here, typeface matters a lot. To discuss this and more, today we have Sarang Kulkarni with us.Sarang is a type designer and co-founder of Ektype. He also has his own agency called as The White Crow where he does branding and typography work. This Audiogyan will be in English and Marathi.QuestionsWhat according to you is Type / Akshar?Massimo Vignelli said that he is comfortable with half a dozen typefaces lasting a lifetime. Rest all is visual pollution. What's the need for more typefaces?What triggers a need for new typefaces? Medium, Language, Expression, Enhancement, Technology, Content?Are there ways to systematically study and distinguish between an improvisation of a typeface versus a different typeface? For eg, Mukta and Modak have different anatomy, so we can say that they are 2 different fonts. But can we say that Inter is an improvised version of Helvetica?You deal with a lot of abstract forms as well. At letterbox, for eg: “k” (Marathi) can be identified if one looks at the flow or series of iterations of representing ‘k’. Can a letter form be identified in isolation? What's the extent of improvisation? How abstract one can go and still make it palatable?When can one start improvising on a typeface? When the base font is registered in everyone’s mind. For eg: Can we improvise on a newly launched font set?Does improvisation in a typeface done only as an experiment can transform into the usage of mass communication?What's going on with 365 days of type and more such practices and movements? Are those improvisations?How easy or hard is it today to experiment and improvise on open-source fonts?When does the author know that the improvisation is done?Reference Readinghttps://www.instagram.com/1sarangkulkarni/?hl=enhttps://www.instagram.com/ektype/?hl=enhttps://www.instagram.com/letterbox.india/?hl=enhttps://www.linkedin.com/in/sarang-kulkarni-5898857/https://www.behance.net/SarangKulkarnihttps://www.dandad.org/profiles/person/664731/sarang-kulkarni/https://www.youtube.com/watch?v=LXwkZaIRLI4https://whitecrow.in/https://twitter.com/sarangkulkarni7https://www.typoday.in/2014/sarang.htmlhttp://luc.devroye.org/fonts-86975.htmlhttps://eyeondesign.aiga.org/being-a-mumbai-type-designer-is-about-more-than-great-work-you-gotta-get-the-lingos-and-theres-hundreds-of-them/https://design.google/library/anek-multiscripthttps://kyooriusdesign.awardsengine.com/?action=ows:entries.details&e=135402&project_year=2023https://homegrown.co.in/homegrown-voices/ek-typehttps://www.adi.org.in/events/adiamd-many-worlds-of-typehttps://vimeo.com/133792269 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Abhinit has been building digital products for past 15 years, he was head of Design at Gojek and scaled the design and research function from 6 designer to 200 plus including research. He is currently on a sabbatical. QuestionsYou wear multiple hats - designer, programmer and Product. Your twitter bio says, App Maker. Pixel Hinter. Leak Checker. Who do you associate the most with?What does scale mean in the world of tech?What does “designing for scale” enable us to do? Why design for scale?What’s the role of design & research in this?Is process driven culture a recipe for scaling? Doesn’t process hinder innovation and out of box thinking?When lean, one can move fast. When we have legacy how do we change?Apple being an exception, who else has designed for scale? I know you will say, Stripe. Any other brand / product?When you are market leaders, what can make us strive for excellence? We are already at scale. :)What were the biggest challenges and if you were do it all over again, what is one thing you’ll change?We are in a process of improving our design system, which we hope will help us scale. Who should be the key stake holder and why?I know you must have answered this many times, does creativity come in the way when we have design system. For eg: How do we personalise or customise for different segments while maintaining unified language?Reference linkshttps://www.instagram.com/abhinitial/https://twitter.com/abhinitial?lang=enhttps://audiogyan.com/2020/04/22/abhinit-tiwari/https://audiogyan.com/?type=wrtd-serieshttps://www.propertyguru.com.sg/https://www.propertygurugroup.com/joinus/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Potter Stewart an associate Justice of the U.S. Supreme Court once said, “Censorship reflects a society's lack of confidence in itself.” Censoring artists, intellectuals is not a new thing.Today to discuss more about censorship we have Ajit Rai with us on Audiogyan. We’ll be talking about banning and censorship in films in the Indian context. This episode will be bi-lingual but mostly in Hindi. Listeners have to bare with my Hindi questions but Ajit sir will cover my shortcomings. 🙂He wrote a best seller book " Hindujas and Bollywood'(English ) that is launched in London by actor Akshay Kumar & "Bollywood ki Buniyaad"(Hindi ) launched in 75 th Cannes Film Festival by Mr Apoorva Chandra Secretary Ministry of I & B Govt of India last year 2022. It is a global journey of about 1200 Hindi films introduced to World by Hinduja Family.He is invited and travelled and reported from more than 50 countries in many prestigious International Film Festivals and Nobel prize ceremony as well.His credentials are as follows 1.Presently working as Advisor and Film Critic Bharat Express National News Channel.2.He is regularly contributing as Film Critic for Jansatta / The Indian Express group, Navbharat Times/ The Times of India group, Dainik Bhaskar, Prabhat khabar, People Samachar, Jan Sandesh Times and more than 25 digital media outlets.3. Ajit Rai has been a member of Media Committee International Film Festival of India Goa in 2010 and Selection Jury Member (Preview Committee) in 2014, 2015 & 2017.4. He is a guest speaker in knowledge Series of NFDC Film Bazar in IFFI Goa many times.5 .Ajit Rai has been invited by Film & Television Institute of India as Guest of Honour in  2013 & 2015 in Student Film Festival and National Students Film Awards ceremony.6. He is a Member of Jury in Life After Oil International Film Festival Sardenia Italy. 7. Cannes Film Festival - the most prestigious festival in the world-  granted Ajit Rai the top priority Press Badge considering him as one of the most important film critic of the World He is covering Cannes Film Festival & many other international film festivals and IFFI Goa since 2004.8. Ajit Rai is only film critic of India who wrote maximum articles on  International Film Festival of India IFFI Goa around more than 500 from 2004 to till date.9. He has been Consultant Jagaran Film Festival in 2012, 2013 & 2014 in 16 cities of India by the largest circulated Hindi newspaper of the world- Dainik Jagran.10. He is Advisor and Member of Jury in Rajasthan International Film Festival Jaipur11.  (a) He has started Raipur International Film Festival in collaboration with Govt of Chhattisgarh and Directorate of Film Festival DFF Govt of India in 2015. (b) He has Started Haryana International Film Festival Yamunanagar in 2008 in collaboration with Govt of Haryana.(c) He has started Azamgarh International Film Festival in 2018.(d) He has started Faridabad International Film Festival in 2012.(e). He has started Sardar Patel International Film Festival in Patiala Punjab   12. (a) He has started Indian Film Festival Moscow Russia as founder Director in 2014 (b) Indian Film Festival Uppsala Sweden in 2013 . (c) He has started  Indian Film Festival Berlin Germany in 2012. (d) He is Consultant Bollywood Film Festival Oslo Norway since 2013 .13. He has been invited by President of Iran in 2012 as a special guest in New Horizon Film Festival Tehran .14. Ajit Rai is one of the leading Film & Theatre Critic & Cultural Journalist of India with wide and vast experience of more than 30  years  in almost all leading National Newspapers, reputed Journals and Electronic media as well on Cinema, Theatre, Literature & Cultural discourses.His about 5000 published articles are pioneer in Film & Cultural journalism. Some of his innovative reports has been debated in Indian Parliament .15. He has been Editor - Rang Prasang.. an international journal of Cinema & Theatre,  National School Of Drama, Ministry Of Culture, Govt. Of India.16. He is a Member of Jury Bharat Rang Mahotsav, the largest theatre festival of the 3rd world by National School Of Drama, Ministry of Culture Govt of India.17. He is a Member of Jury Meta Awards by Mahindra Company for theatre. 18. Founder Editor - Drishyantar, a monthly magazine of Cinema TV Culture & Media by Doordarshan Ministry of I&B Govt of India.19. Worked as consultant Doordarshan Ministry of I & B Govt of India.20. Worked with All India Radio, Patna & New Delhi. Ministry of I&B Govt of India.21. World Record -(a) -Ajit Rai made a world record in film journalism in Cannes Film Festival 2018.  He published 75 articles in various Indian Newspapers in 15 days on Cannes Film Festival This is a world record that one journalist wrote 75 articles about one event.(b) He made a world record in Theatre Criticism in 2010 when his 25 articles published 25 days daily without break during International Theatre Festival by National School of Drama New Delhi.(c). He is covering Cairo International film festival,   EL Gouna Film Festival in Egypt and Red Sea International Film Festival regularly and wrote 25 articles every year.22. He wrote a book Hindujas and Bollywood in English and Bollywood ki buniyaad in Hindi on contribution of Hinduja Brothers to Indian  Cinema.. It is a global cultural journey of about 1200 Hindi films introduced to World by Hinduja Family.23. Pioneer in personality journalism in India in 1995 in India Today magazine.24. He has been invited to deliver lecture on Cinema ,Indian culture, Theatre  & society by United Nation ( UNO) New York, British Parliament, London, President House Tehran Iran, Uppsala University Sweden, Bollywood Festival Oslo, Norway, Indian Film Festival Berlin Germany & Moscow Russia. Dubai UAE ( Indian Embassy, Sardenia Italy and many more.25. Ajit Rai is one and only who has been  invited in  Nobel Peace Prize Ceremony Oslo Norway in 2014.26 . He is pioneer of Cinema movement in Educational Institutions of India and abroad and started many Film Festivals & Film Appreciation Courses  in DAV Girls College, Yamunanagar,  Haryana, Kurukshetra University, Punjabi University, Patiala, Punjab,  Mahatma Gandhi Hindi International University Vardha,  Maharashtra. DAV Centenary College Faridabad , Hariyana etc.27. Work Experience- He worked with various newspapers and magazines from 1988 to till date-1. Dainik Hindustan, Patna & New Delhi ( Hindustan Times group)2. Navbharat Times, Patna & New Delhi ( Times of India group)3. Jansatta. New Delhi ( Indian Express group)4. Dainik Bhaskar, Bhopal5. Dainik Jagaran, New Delhi6. Rashtriya Sahara New Delhi7. Sahara samay New Delhi8. Swatantra Varta, Hyderabad9. News Break , Patna10. Amar Ujala New Delhi11. Prabhat khabar, Ranchi Jharkhand 12. India Today. New Delhi13. Outlook, New Delhi14. Hans New Delhi 15. Aaj ki Jandhara, Raipur Chhattisgarh16 Jan Sandesh Times. Lucknow .17. People s Samachar Bhopal Madhya Pradesh.18. The Sentinal. Guwahati Assam.28. Educational qualification - (a) M. A. in Psychology ( 1989), 1st Division, ( b) M.A. in Journalism & Mass Communication, (2007).  1st Division.Note - Ajit Rai always got 1st Division & 1st Class through out his education ie from Class 1 to 12, B.A. (Hons.) & M.A.   29. Professional qualifications (a). Diploma in Psycho Analysis,  Educational- vocational Guidance & Counselling , 1st division. 1993, NCERT, New Delhi.(b) . Diploma in Journalism.1 st division( 2006, ) Kurukshetra University.(c).  Diploma in Film Appreciation, 1st division 2003. Film & Television Institute of India FTII Pune. 29. Awards1. Beat Film Critic National Award, Rajasthan International Film Festival, Jaipur . 2020.2. Best Film Journalist Award, LIFFT India Film Festival, Lonawala, Mumbai, 2020. 3. Pride of India Award, Khajuraho International Film Festival, 2020.4. Jaiprakash Narayan International Award for Journalism, Delhi 20205.  Nat Samrat Best Theatre Critic Award, Delhi , 2020.6.  Rang Sameeksha Samman, Ashirvad Rang Mandal, Begusarai, Bihar. 20187. . Rang Sameeksha Samman, Abhinaya  Rang Manch, Hisar, Haryana, 2016.8. . Pride of India Award. 20129.  Natya Sameeksha Samman, Manch Rangmanch, Amritsar. Punjab.  201010 . Kala Sameeksha Samman, Abhinav Rang Mandal Ujjain, Madhya Pradesh. 2008. 11. Best Auther of the book 2022 Award. Rajasthan International Film Festival Jaipur 2023.30. Published Books1. Hindujas and Bollywood2. Bollywood ki Buniyaad3. Drishyantar4. Andhere Men Chamakati Awazen5. Two Decades of Jis Lahore Nai Wekhyan .All published by Vani Prakashan New Delhi. QuestionsWhat is censorship in the context of films? Why do establishments feel the need of banning or censorship?When and why did it start? What’s Hays Code and what were the few important milestones in the evolution of censorship? May be just in the Indian context?Can you tell us if there is any official framework or guidelines for censorship in India? If yes, what are those guidelines?Who made these? When and why were these made? How objective are these?I guess, rules in censorship should be treated like Smrutis. They should change with time. Whats the challenge today?You strongly believe in that nothing should be censored. How do you justify it?Whats the difference between banning and censorship? What are your thoughts on banning?We as creators believe, movies are powerful, it can change narratives - so establishment will always interfere - What can be done as creators and also audience?Many people like Gorge Carlin challenged the establishments and boldly used “Seven Words You Can Never Say on Television”. We have many such examples. In my conversation with Varun Grover, even he mentioned that an artist never know the line until he/she crosses it. How can we see a society that allows these line to be crossed. Who can cross these lines? Is this a right question?What according to you is the future of censorship in India till we have authoritarian regimes. How do you see censorship in a realistic world? Is there a utopian world in film making?Reference linkshttps://en.wikipedia.org/wiki/Ajit_Raihttps://kalingaliteraryfestival.com/speakers/ajit-rai/https://www.youtube.com/watch?v=5y5Qb5mdaDYhttps://twitter.com/AjitRai16022961 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

In late 1800s, A Spanish architect, Antonio Gaudi, said, “There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners”. But where does the nature stop and where does the building begin? Lets explore more about architecture and history in this 3 part series called, “An insert into the history”.This series is brought to you by, The Drawing Board, with whom I had partnered last year. The Drawing Board is an international architecture platform based in India. TDB has been actively running Architecture competition for under graduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders.This year, the program is to redesign the existing Badami archaeological museum, in Karnataka. Submission deadline is 9th Oct 2023. More details on thedrawingboard.inToday, in this concluding episode of this series, we have Ar. Sherman Stave with us on Audiogyan. Sherman is a Principal and Landscape Architect at STX Landscape Architects. With more than 30 years of experience. He has practised extensively in Asia and North America. His exposure to diverse cultures from an early age has lent him broad global perspective, and a deep appreciation of how shaping our environments can change our lives in fundamental ways. These are critical lenses that continue to inform his design approach.QuestionsWho is a landscape architect? What are the principles and strategies on which a landscape architect work?BV Doshi, once said, “Is the Architecture defined by theory or it’s a convention, or it is something which is rooted in the place?” How big or small overlap do you see between the landscape and the actual building or architecture? Incase of Badami, where and how would you draw the line?Brian O’Doherty’s famous line, “We have now reached a point where we see not the art but the space first.” What does it mean and where are you on this?How can landscape design contribute to the interpretation and visitor experience at any archaeological site? For instance, Badami, where the landscape itself is an integral part of the site's history?What considerations can be taken while designing architecture in such high sensitive historical landscape? When designing an archaeological site like Badami to ensure minimal impact?Since you are staying in Singapore and even I have recently moved there, I see some amazing work done by humans. The overall landscape is well thought. Can you share your learnings and experience? How can we be so close to nature yet seems to have so much command on it?Can you share any (2) examples of good museums or public spaces where they blend organically with nature?Reference readingThe Drawing Board Architecture competition for Undergradute student 2024Talk by Prashanth Pole | 27 Mar, 2021 | FA S21 Lecture seriesGandhi Ashram SabarmatiDon Bosco Centre for Indigenous CulturesBadami- Learning from the Context- WCFA, TeepoiMindspace ArchitectsRohan Buildershttps://www.siww.com.sg/home/attend/siww2021-online/thematic-webinars-tw/speakers-and-moderators/sherman-stavehttps://www.stxla.com/profile/https://www.world-architects.com/en/stx-landscape-architects-singapore/teamhttps://www.mnd.gov.sg/urbansustainability/webinars/liveability/abc-water-seminar-(liveability)https://www.ura.gov.sg/uol/publications/research-resources/plans-reports/Master%20Plan/~/media/User%20Defined/URA%20Online/publications/research-resources/plans-reports/pwip_urban_villages.ashxhttps://kimbellart.org/art-architecture/architecture/kahn-buildinghttps://www.salk.edu/https://www.archdaily.com/61288/ad-classics-salk-institute-louis-kahnhttps://www.designcurial.com/news/louis-kahn---six-most-important-buildings-4323752/https://en.wikipedia.org/wiki/Louis_Kahn This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Frank Owen Gehry, a Canadian-born American architect and designer once said, “Architecture should speak of its time and place, but yearn for timelessness”. How can we long for timelessness in architecture if the place itself keeps changing? Lets explore more about architecture and history in this 3 part series called, “An insert into the history”.This series is brought to you by, The Drawing Board, with whom I had partnered last year. The Drawing Board is an international architecture platform based in India. TDB has been actively running Architecture competition for under graduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders.This year, the program is to redesign the existing Badami archaeological museum, in Karnataka. Submission deadline is 9th Oct 2023. More details on thedrawingboard.inIn this second episode, “An insert into the history” (which is also the theme of the competition), I have a Prof. Durganand Balsavar. I interviewed him back in episode 249 in the last year’s TDB theme of designing a “Memorial for Charles Correa”. We spoke about intangible architecture.A quick introduction about Prof. Balsavar. He has been faculty for India Studios of Bartlett, Helsinki School of Architecture and involved in diverse cultural contexts - the Chandigarh Lab, IUAV Venice, Auckland, Indonesia, Nepal. He founded Artes-ROOTS Collaborative, which has been involved in an environment-appropriate architecture as a community participatory process.QuestionsIf we look at Indian history and culture, how can one incorporate architectural elements that reflect diverse narratives in a museum projects? What can be the key principles on which this can be thought?History is told by the rulers. I believe you also have a special interest in Alternate Histories - What does it mean?So, If alternative histories often involve revisiting and reinterpreting established narratives. How does your architectural design support the reinterpretation of history within the museum context?Can you share your thoughts on the role of technology, such as interactive exhibits or virtual reality, in enhancing the visitor experience and storytelling within museums dedicated to archaeology and alternate histories?Can you share any unique architectural features or design elements that distinguish the Badami Archaeological Museum from other museums with similar themes?Badami is known for its cave temples and rock-cut architecture. What elements can be incorporated in storytelling and educational experiences? How do you see that helping the narrative of the museum in the modern world?Since the topic is, An insert into History, and your strong opinions on sustainability, What role does sustainability play in the design of the Badami Archaeological Museum, and how do you incorporate those elements into the architecture?Can you share any other museums you have studied or been part of that are worth studying and referenced? Nationally or internationally?Reference readingThe Drawing BoardRohan BuildersMindspace ArchitectsCharles CorreaCharles Correa FoundationCulture TripDown to EarthDurganand BalsavarArtesrootsDuganand on Linkedin This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

BV. Doshi, once said, “A house is a grain, like a small sapling in the bio-diverse wild forest”. I wonder what a public space like a temple, a monument, museum, a park, an industrial zone, a 80 floor office tower or a man made landscape is? Lets explore more about architecture and history in this 3 part series called, “An insert into the history”.This series is brought to you by, The Drawing Board, with whom I had partnered last year. The Drawing Board is an international architecture platform based in India where students can test their understanding and skills in shaping the way communities live and thrive while preserving local heritage. TDB has been actively running Architecture competition for under graduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders.This year, the theme is to redesign the existing Badami archaeological museum, in Karnataka. Submission deadline is 9th Oct 2023. More details in the show notes and thedrawingboard.inWe begin this series with Ar. Prashant Pole. Prashant has a long and illustrious career that has spanned over three decades. His journey started with Naksha Architects in Bengaluru. He established his own firm, Genesis Architects in 1994 and has worked on single residences, apartments, offices, hotels and institutional buildings. Over these years, he has also been a visiting faculty at MCE Hassan, BIT Bangalore, SIT Tumkur, and USD Mysore. Aside from teaching, he has also been evaluating architecture design as a juror at various architecture schools in and around Bengaluru. We’ll be discussing what goes into making a museum.QuestionsWhat is the museum according to you? Why do we need them?Are there any special characteristics when it comes to Museum’s architecture? How can we optimise space to accommodate a wide range of exhibits while maintaining a seamless visitor experience? (Considering people coming from diverse background, language, ethnicity, abilities and more)Accessibility, sustainability, security, are few common and must have things for any architecture, what are few other guidelines when it comes to a place like Museum?Which are the famous museums in India and why?Since this year’s theme is redesign the existing Badami archaeological museum, how can we approach integrating the cultural diversity and historical significance of Badami into the design of a museum, ensuring it resonates with both local and international visitors?We say that “any place to be built should be built with the material found in 5KMs or it’s radius”. How true is it and why? How do you leverage local materials and craftsmanship to create a distinctive architectural identity for the museum, and what challenges might arise in this context?Lighting and climate control are crucial factors in preserving the artifacts. How can we go about creating and ideal environment yet ensuring it’s sustainable? We can consider Badami or any other museum (located in the such setup in India)What suggestions would you give those who wish to specialise in designing museums? Any extra attention in the context of Bandami museum?Reference readinghttps://wcfa.ac.in/staff/prashant-girish-pole/https://www.youtube.com/watch?v=cj84z3FA0tUhttps://thedrawingboard.inhttps://thinkmatter.in/2020/09/15/an-ephemeral-lab-in-a-city-of-fixity/https://www.bmsca.org/workshops.htmlhttps://www.gandhiashramsabarmati.org/en/https://www.youtube.com/watch?v=a_U9rjdsmOghttps://dbcic.orgThe Drawing BoardRohan BuildersMindspace Architects  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Friedrich Nietzsche’s famous line - “And those who were seen dancing were thought to be insane by those who could not hear the music.”In today’s episode, we’ll be talking about improvisation in dance with Avantika Bahl. Avantika is a dance practitioner and educator based in Mumbai. As an artist, she works towards creating inclusive performances that can be accessed by a larger community. Over the past few years, her choreographic choices have brought diverse voices and experiences to the mainstream. She studied at the London Contemporary Dance School and completed the Curriculum-in-Motion program offered by Jacobs Pillow. Avantika has a Masters degree in English Literature and completed her Level 3 certification in Indian Sign language. QuestionsWhat according to you is improvisation? Where do we see it mostly happening? Is it seen in all creative endeavours?You have dabbled with silence, mundane chores, sometimes with just burst of sounds. What do you call your form of dance? Which category / genre does it belong?What does it mean to improvise in the context of dance? What guides improvisation for you - Body, Music, Theme, Story, Location or anything else?Traditionally dance (or most performing art forms) were considered to be performed effortlessly (Sahaj) and elegantly (simple). Does one need to know the rules to bend the rules? What does bending a rule mean? Improvisation?Your show “Say, What?” with a creative partner who is deaf. What is the extent of improvisation that a dancer can explore and still make it palatable? What the biggest challenge in experiments like these? You said, “We just have to be still and dance” - What do you mean?Tell us about your experience learning the Indian Sign language. How did it help?When and why do dancers improvise? When we fail or when we do something over and over again? Is it the boredom? Is it uncovering deeper layers as they keep performing or revisiting the movements? Is it that the medium falls short to express?Can improvisation be a starting point? Do smaller improvisations impulses land in changing the meta narrative? How does one come back to the main kathavastu / main narrative? May be you can explain in the context of “Look left, turn right”?What is the extent of improvisation when it comes to dance? Can you share any examples - names and artists who are doing and have done a lot in the past?What according to you is the future of dance and improvisation? Reference readinghttps://www.avantikabahl.comhttps://www.instagram.com/avantikabahl/?hl=enhttps://prakritifoundation.com/artiseprofile/avantikabahl/https://vimeo.com/user5724048https://www.themovementartsco.com/blank-pagehttps://narthaki.com/info/rev17/rev2058.htmlhttps://theideaslab.com/say-duet-celebrating-sounds-silence-movement/https://en.wikipedia.org/wiki/Merce_Cunninghamhttps://www.theguardian.com/stage/2006/sep/16/dancehttps://sites.northwestern.edu/cageanddance/jcchoreo/https://www.abt.org/people/john-cage/https://en.wikipedia.org/wiki/John_Cagehttps://studsterkel.wfmt.com/programs/merce-cunningham-and-john-cage-discuss-music-and-dancehttps://en.wikipedia.org/wiki/Ohad_Naharinhttps://www.dansedanse.ca/en/ohad-naharinhttps://www.gagapeople.com/en/https://www.nytimes.com/2023/03/02/arts/dance/review-ohad-naharin-hora-batsheva.htmlhttps://www.newyorker.com/culture/culture-desk/the-secret-history-of-the-israeli-choreographer-ohad-naharin  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

Satyajit Ray once said, “There is always room for improvisation”. I think this needs a lot more investigation.Referring to Ray’s comment on the room of improvisation, today we have the honour to have Dr Trina Banerjee with us on Audiogyan. We’ll talk about improvisation in the context of Theatre, Plays, Playwriting, and performing arts at large.Trina is an Assistant Professor in Cultural Studies at the Centre for Studies in Social Sciences, Calcutta. Her research interests include Gender, Performance, Political Theatre, Theories of the Body, Postcolonial Theatre and South Asian History. She has also been a theatre and film actress, as well as a journalist and fiction writer.QuestionsWhat according to you is improvisation? In how many ways do you see it manifesting? Where do we see it mostly happening? On streets? In life? or just creative endeavours?When do people improvise? What’s the motivation? Is it expressing themselves in different ways? Is it to communicate better with the other (State, society, individual)? Why do they do? Can you give any examples?What does it mean to improvise in the context of performing arts (Theatre, Dance, and more)?Are there categories or genres of improvisation which can be studied systematically? Did different forms of Theatre like the Theatre of Absurd or Pantomime and more emerge due to improvisation?When and why do people improvise on stage? When do we fail or when do we do something over and over again? Is it the boredom? Is it uncovering deeper layers as they keep performing or revisiting the text?When and how do improvisations become part of the main setup? As in, no longer be called improvisations? Has it happened that the playwright made changes to the original text as the years passed by?Reference readinghttps://www.cssscal.org/faculty_trina_nileena_banerjee.phphttps://www.instagram.com/trinanileena/https://www.youtube.com/watch?v=OtYA-zEkMjIhttps://www.youtube.com/watch?v=Ti-bOIuUrwMhttps://www.youtube.com/watch?v=eArQSc9KDKohttps://www.youtube.com/watch?v=T53FQ-m74Xghttps://www.youtube.com/watch?v=DmPiN2Tp3W0https://www.youtube.com/watch?v=oi-owRniSBMhttps://www.youtube.com/watch?v=5lX2_2cV9lYhttps://www.amazon.in/Books-Trina-Nileena-Banerjee/s?rh=n%3A976389031%2Cp_27%3ATrina+Nileena+Banerjee This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

I quote John McLaughlin “I find Indian music very funky. I mean it's very soulful, with their own kind of blues. But it's the only other school on the planet that develops improvisation to the high degree that you find in jazz music. So we have a lot of common ground.”Pushkar Lele and Kuldeep Barve joins us on Audiogyan and we will be talking about “Improvisation in music”. It’s going to be a bi-lingual conversation in English and Marathi.Pushkar is a renowned Hindustani classical vocalist and Founder-Director of ‘Gandhara School of Music’. More about his Gurus, rich repertoire and enriching journey of learning music in the show notes.Kuldeep is a classical guitarist. His practice is influenced by jazz and Indian classical music. He is a co-founder and a core member of the Pune Guitar Society.Welcome Pushkar & Kuldeep! It’s an honor to have you on Audiogyan. Thanks for giving your time.As I started of with John McLaughlin’s quote, I wanted to document some of your thoughts on “Improvisation” - when it comes to Hindustani Classical and Western Classical music with a lot of Jazz which I believe has a lot of improvisation.Just as a small plug, you can also listen to “Jazz in India” where I interviewed Denzil Smith in episode 133.QuestionsWhat according to you is improvisation in the broadest sense?What does it mean to improvise in a concert? When is it required? How spontaneous it isDo you see a similar pattern in a Western Classical performances? Or perhaps Jazz? Can we confidently say that each performance by Loius Amstrong was different even for the same set of tracks?Do you need to be qualified to improvise? If yes, when are you allowed to improvise in Guru Shishya Parampara?Do we have a lineage kind of a thing in Western music as well - which deals with improvisations? Especially in genres like Jazz, Blues or country?What is the difference between improvising, exploring or presenting with a different perspective?When do we call something is improvised? After how much deviation from originally planned is called improvisation?When does one improvise? When they do the same thing over and over again or when they see some room for exploration? What’s a more common pattern?What are the extents of improvisation? Whats at stake when an artist is improvising? Can improvisations land in a loop of improvisations? How do you come back to the sthayi bhava?Does a well trained audience appreciate improvisations?When and how do improvisations become part of the main setup? As in, no longer be called as improvisations?Reference readingshttps://en.wikipedia.org/wiki/Pushkar_Lelehttps://www.facebook.com/lelepushkar/https://map.sahapedia.org/article/Pushkar-Lele/2912https://www.youtube.com/@lelepushkarhttps://soundcloud.com/pushkar-lelehttps://twitter.com/lelepushkar?lang=enhttps://map.sahapedia.org/article/Kuldeep-Barve/3004https://www.instagram.com/kuldeep.barve/?hl=enhttps://www.linkedin.com/in/kuldeep-barve-4394514/?originalSubdomain=inhttps://puneguitarsociety.org/core-team/https://twitter.com/mifya?lang=enhttps://soundcloud.com/kuldeep-barvehttps://www.academia.edu/33995371/Strings_attached_A_short_history_of_the_Western_classical_guitar_in_India_docx  This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com

“Waste not, want not.” can be explained as “if you are not wasteful with the resources you have now, then at a later date you will have those resources to use as you want and need. By not wasting, you will not be needy later.”And today to discuss all about waste ecosystem and the sector at large, we have Rahul Nainani with us on Audiogyan. Rahul has a passion for sustainable policies that create value. With one eye on the bottom line and the other on tangible social impact, Rahul, along with his co-founder Gurashish Singh Sahni founded ReCircle in 2016, as an innovative, multifaceted solution to India’s burgeoning waste management woes. ReCircle has instituted flagship initiatives such as, ClimaOne, Plastic EPR Service, Plastic-Neutral programs and ground-level community collection drives. We’ll talking about this and more.QuestionsHow do we define waste? What all broad categories of waste do we generate?Can you share some stats about waste generated in India every day? Perhaps about the waste ecosystem and the sector at large?How does the entire setup work? Which all entities are involved in handling waste? From collection at source to finally dumped or put for recycling?How do we do in comparison to other developing countries like us?How critical has been the impact of Swatch Bharat and other initiatives to entrepreneurs like you or the entire ecosystem?Tell us a little bit about ReCircle — how did you come to start it and why? Tell us about your team, initiatives, programs and everything. Right from Safai Saathis to governing bodies, how do you engage with them?What is ClimaOne? Tell us about other flagship initiatives under ReCircle?How has technology changed things for everyone in this ecosystem? How and where technology is applied?Waste management doesn’t sound very sexy. How do you attract talent and run the company?What is the future of Waste? Can we expect waste in Meta-verse? Can we expect India to be as clean as Singapore?Reference readinghttps://www.linkedin.com/in/rahulnainanihttps://www.mwcbarcelona.com/agenda/speaker/rahul-nainanihttps://twitter.com/rahul_nainani?lang=enhttps://www.instagram.com/rahulnainani18/https://recircle.inhttps://www.theentrepreneursofindia.in/post/rahul-nainani-the-entrepreneurs-of-india-youngpreneur-magazine-august-2022https://www.linkedin.com/company/recircleindia/?originalSubdomain=inhttps://www.eatmy.news/2023/07/rahul-nainani-gurashish-singh-sahni-how.htmlhttps://medium.com/worthwhile/in-conversation-with-rahul-naini-ceo-and-cofounder-of-recircle-52c31f156f41https://www.linkedin.com/in/gurashish123/?originalSubdomain=inhttps://yourstory.com/companies/recirclehttps://www.thequint.com/explainers/explained-indias-cleanest-city-indore-is-earning-huge-bucks-from-its-garbagehttps://en.wikipedia.org/wiki/List_of_cleanest_cities_in_Indiahttps://theprint.in/india/these-are-the-secrets-to-indores-5-year-cleanest-city-streak-and-its-not-rocket-science/772362/https://indianexpress.com/article/india/indore-cleanest-city-swachh-rankings-7632466/https://en.wikipedia.org/wiki/Ambikapur,_Chhattisgarhhttps://india.mongabay.com/2023/05/ambikapurs-women-led-waste-management-system-also-generates-revenue-for-the-city/#:~:text=Ambikapur bagged a bigger recognition,best self-sustained small city. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thegyaanproject.com