I believe that ‘architectural style’ should be a response to the various climatic zones in context of India, to be designed according to clients’ personalities and project needs. Each place has a plethora of creative solutions, that have evolved using local resources and techniques, which constitute the part of our architectural knowledge. It is necessary to achieve a balance between continuity and desirable change, without fossilizing the past, and without making the change incongruent with its contextual surroundings.

Our projects speak of a responsible architecture that evolves through contextualization of various aspects. Conservation of resources ought to be our primary guidelines in projects. We try to bring appropriate design solutions through clarity in identification of problems, selection of the correct tools, and their proper application. The design and construction process ensure freedom for creative inputs at all levels of participation from client to the architectural team and the artisans on site.


We believe in designing spaces, which, in their form, space and technology, reflect the continuity of Indian traditions. Since the past four decades, our sustainability-focused practice has attempted to re-establish the relevance of decision-making processes using traditional materials, technologies and crafts in contemporary contexts. Through our works, we try to increase employment generation for the traditional crafts persons and aim to promote traditional knowledge and wisdom. Our every design decision evolves with sustainable designs and built-environments which minimize the use of electrical and mechanical energies for human comfort within the buildings, and maximize use of bio-degradable, long lasting and re-cyclable materials. We look for local solutions to local problems from local resources. At the end, we try to achieve an experiential and healthy space for all our clients.


Abhikram is a Sanskrit word for initiation. While exploring the design direction and design process, we aim to make the external and the internal environment, functionally, psychologically, environmentally and spiritually, more contextual, integrated and comfortable for the users.

I believe in liberating spaces, not enclosing them. Every space needs to have a good optimum, be it a small sized apartment or large commercial offices. Every good designer analyses the plans from the client perspective, regarding practicality, functionality, and accessibility, before executing it. I don’t believe in confining spaces between four walls, on the contrary, I believe in open spaces, both for the interiors and exteriors.

It takes exemplary quality to reach elusive heights. The vision to rank among the topmost players in the world has fuelled and sustained our drive to deliver those exemplary projects which introduce customers to pioneering benchmarks in design aesthetics. The completion of prestigious projects in overseas markets further bolsters the track record of successes and credibility to deliver top-notch quality on time, every time. My constant endeavour remains to be counted among the topmost architectural firms in the world.


One of the projects that defines our architectural style is 96 Legends Square in Colombo, Sri Lanka. Dedicated to the winners of the 1996 Cricket World Cup, the building facade is designed with a ball balanced between four bats to commemorate the achievements of the Sri Lankan cricketers with a signature residential and an Indoor Cricket Facility, Hall of Fame, Museum, observatory, and a Specialty Restaurant. Though 96 Legends Square appears to be a structure dictated by the form, the base of our design philosophy is focused on functionality. Standing at 383m it is 211m taller than the currently tallest World Trade Center (Colombo), marking Sri Lanka’s presence on the world map of high-rises. 96 Legends Square shall be to Sri Lanka, what the Eiffel Tower is to Paris, and the Pyramids are to Giza. In fact, a visit to Sri Lanka shall remain incomplete without experiencing the magnificence of 96 Legends Square.

My approach to design is simple and open. I start my design with two guiding factors: the requirements and the site. I would like to see the building grow from the site naturally while fulfilling the requirements. I try to keep it extremely simple and responding to the climate. Integration of nature in the built form is always given importance.
Ar. Geoffrey Bawa’s works have always inspired me. Another aspect which influence my design is the sociological aspect of it. The building which we design should reflect our commitment to society. Architecture has the capability to tell the history of the period it was built to future generations. So, I think it is my responsibility to reflect the correct ethos of design during the period in which it exists.


In my design, I try to use locally available materials as far as possible. I am not fascinated by imported facade cladding materials to enhance the beauty of the building. My approach is to respect the context, and make the structure green and sustainable. I prefer painted surfaces with solids and void spaces, and architectural elements like pergolas, pillars, and limited glass areas, etc. I like to make use of modern technologies and we are also doing pre-engineered buildings (PEBs). My designs aim to bring ‘Happiness through Architecture’ to the ultimate users of the building.

I believe that the language and vocabulary of architecture is not a question about style. Every building is built for a specific purpose, in a particular setting, for a set of audience, and it is therefore intentional that we don’t impose any pre-defined visual form onto a project, rather let things emerge as the project evolves. There is a deliberate attempt to not make specific choices in our design directions.

As a philosophy, we try to work on projects that allow an element of experimentation. We play with form and space. To manifest a program, each form’s existence is validated in isolation and a more complex exploration is done that brings these forms together into closed and open spaces. This amalgamation is almost more important than the obligatory spaces and places.


We play with light and volume. Areas in quantity have always been questioned and argued against volumes in quality. What light can do to enlarge and exaggerate a space has always excited us. We play with materials and their textures. This is where principles of the Indian context and its contemporary interpretations become clear. With no specific partiality to textures and techniques, the non-vocabulary is perhaps the evolving language. Unconventional materials with identifiable techniques, common substances with unexplored textures, all applied in unexpected yet customized contexts – bring in a degree of fun in functional spaces.

The design process is a negotiation between intuition and reason – the subconscious and the researched. We delay diving into final solutions as much as we can to ensure all constraints and possibilities have been considered holistically.


The architecture in India today follows a typology that is either traditional or just contemporary, irrespective of the Indian context. In such a scenario, we attempt to make our projects examples of inquiries in contemporary Indian architecture - where architecture focuses on the issues of our time, reflects the moment we are building in, and for meeting the aspirations of our modern Indian society.

Architectural style is characterized by the feature that makes a building structure notable and visibly identifiable. Every architect has a specific style and I would call mine “form follows function” as was the thought of Architect Louis Sullivan. However, my style of architecture is not confined to one kind since every client is different, every project is unique, every plot is diverse, and every functionality brief is exclusive. So, any one style of architecture doesn’t work as the design depends on its usage and function.

Clients usually have a budget which needs to suffice for not just the functionality but also the frills. Today, most clients want a modern structure that must also encompass all the latest amenities and infrastructure, while staying within FSI limits, with ample parking and optimal usage of spaces. But each plot comes with its own challenges. Sometimes the plot is tight but the FSI is high, and the client may want to do a fancy exterior with tall glass windows and open-air podiums, but in this case it wouldn’t work. We would have to design a lean building which is a structural challenge in itself. This said, we would try our best to comply with the brief while designing the structure and work around the obstacles within the parameters coined either by the law of the land and/or the needs of the client.

We believe in treating each project as a separate entity. This includes re-looking at design, aesthetics, as well as management styles for each project, which in turn gives each of our project its own unique style.

I believe that form and function in many ways are one and complement each other. Beginning from within, the form should be the outward appearance of the function within, and the exterior should complement the functionality within.

My style is versatile. In today’s context, where pace and universal availability of materials supported by technology is the base, it is but imperative to develop designs that are adaptable and go with the times. Around 30 years back, when I started my design practice, local and natural materials were in use, Granite was not less than 75mm thick, walls were minimum 112mm and wood was available in plenty. We did a lot of work in natural brick, stone and wood. Even today, the Mysore Haat designed by us stands tall with purity of material and styling.

Today, all materials have been transformed into their lookalikes. Industrialization, ease of transportation and availability have changed the way we initiate design concepts and at the turn of the century buildings were designed with no relationship to their surroundings. At my firm, our building styles changed to Neo Classical or the Greco Roman. In fact, we designed a combination of styles and gave award-winning projects like the Indus International School in Bangalore, BGS Intl Kumbalgoud etc, each with a regional flavor and identity but with elements of newer materials for the capitols, columns, pedestals and the domes.


The digital era threw out paper and pencil from the studio and conceptualization of design was done on computers. For me, scale became difficult to imagine as the same size of screen was for a small house and /or for a huge campus. Colours came as code numbers and forms were done using computers and the supporting software. Solid geometry and interpenetration of solids became easy with such tools and transformed the thinking ability. My design versatility widened. Our design of buildings like the JSS Science Museum and the Spectra Conventions Centre were styled using such tools and they never compromised on the utility but helped large spans. Such versa styled projects like the Spectra Convention hall got the best façade award.


Restricted timelines have influenced my design style too. Our projects completed in a record 8 to 9 months encouraged us to think of design which would be quick to erect without compromising on stability or functionality and led us to research newer materials and technology. Metal and fabric, combinations with Glass, HDP panels etc brought in a new thought process and led to yet another unique style. Our “Y Boutique Hotel” is a modern building with its design concept borrowed from the Haawa Mahal of Jaipur. As it is said, change is the only constant thing in life, and so is my style.

The designs by our firm have not changed the skyline of cities, but our smaller architectural projects of commercial buildings and bungalows have made a significant design impact, producing architecture that is site specific, sensible and timeless.

We believe in architecture that is simple and controlled and lacks stylised decoration. With large exposure to interior design, the buildings we design are practical with emphasis on function rather than just form. The designs are constructive, with purity of form and site and the design sensibility is dictated by the Indian environment with a preference for tropical architecture. Our architecture and design solutions are varied, comprehensive, and most importantly, client focused. Every creation aims to integrate a timeless aesthetic with functional design, an objective that has been at the core of the firm’s culture since its inception.

Architecture is an ever-evolving process and depending on the lifestyle, material availability, weather conditions, and geographical location, we can apply various types of styles. In Mumbai, for instance, we can see contemporary architecture along with classical typology.

I believe that there is no single style to work on as we try to give multiple options depending on the clients’ requirements. Our style includes contemporary, classical, art deco, and minimalistic, which we can identify by their features. In the classical style, we see symmetry, boldness, and simplified designs. In Roman and Greek architecture, we see huge columns, capitals, cornices, exposed materials, etc. In art deco, the features are linear, with strips of windows on the façade. Art deco is all about stylized decorative elements with geometrical forms, zigzags, chevrons etc. level. Contemporary buildings look solid because of their masses, curves or slant walls.


The choice of material plays an important role in the style of a building, for example, concrete is mainly used in the classical style, exposed materials are used in contemporary architecture, while the modern style uses materials like steel, glass, etc. Architecture is not only about buildings and materials; we have to consider preserving nature. It is the responsibility of the architect to preserve the natural surroundings and to design structures in response to nature, and in harmony with the neighboring buildings.

We constantly strive for simplicity of form and design. Our architectural style is a minimalistic interplay of lines, planes and volumes. We believe that beauty lies in the ability of a design to be explained through a few lines. We constantly explore the power of lines and their ability to shape space. We work intuitively to create spaces that are episodal and spatially engaging. The core aspects of scale and proportion in design are constantly debated upon to arrive at spaces that balance function and aesthetic.

The orientation of buildings and their resulting facades closely look at site forces, climatic parameters and tropical influences. We like to dwell in the modern with an eye on tradition and regional contextuality. The interplay of light and shadow in our spaces comes out of a design approach that pursues the inside-outside connect. Blurring of boundaries that separate indoors from the outdoors is a strong part of our architectural vocabulary. A marriage of architecture and landscape is critical to the success of our projects. While we love to explore new materials for architectural expression, the underlying parameters continue to be a sense of restraint and understated elegance. Architectural details are constantly worked upon to achieve a sense of clarity and purity of thought.


We believe that the success of design lies in the optimal collaboration between us and the client, to define architectural style and the design language. A good design is the result of a project brief being translated into a building that puts the end-user at the forefront.

We believe that an architect’s signature style should serve more than just being a set of features to identify ‘the architect’. At AW Design, climatic and site response are the essential guides to evolution of our building’s aesthetic language. In case of interiors, it is the purpose, services and available internal volume around which proportions, openings, systems are designed.

Given that most of our work is in the hotter regions of the country, we have developed an unsaid affinity towards the ‘jaali’. We explore different manifestations of it in concrete, brick and in louvres also. Jaalis help lower solar gain inside our buildings, diffuse the harsh light, accelerate the breeze to facilitate greater air flow and, I guess, in turn, they also help our buildings stand out.


For interior projects, we are greatly inspired from cues in life forms and how they manage complicated systems efficiently in fixed volume spaces. An interesting example of this is a parametric ceiling that we executed in an interior design project to conceal large structural members and services, much like a mammal’s rib cage. While our buildings do not look the same, each client benefits from a unique architectural style tailored to his/her needs.

The nature around us consists of divergent facets that can be aptly fabricated to alter the paradigm of Architecture and Design. Not only is it inspiring in terms of its organic forms but is also helpful in imparting us with a natural know-how of functionality. So, when Ant Studio came into being, I was convinced that we had to create designs that not only celebrated nature but blurred the lines between the built and the un-built. As a result, ‘Biomimicry’ emerged as a style that I wanted to take forward and establish while synchronizing it with the usage of technology.

The ‘Beehive’, one of our first completed endeavors which provided us with the required breakthrough, resonated with the very same philosophy. Highly congruent to the structure of a naturally occurring beehive, the purpose of this installation design was to introduce an eco-friendly alternative for air cooling. Materials used for construction included terracotta pots, which due to their innate quality, resulted in cooling the exhausted air when damped with a flow of water. When incorporated in the Deki Electronics factory in Noida, waste water from the generator set was utilized, and was successful in sustaining a cooler temperature to the area. We took this ideology and created yet another installation in the Serendipity Arts Festival, Goa; this time to act as an air purifier along with cooling! Coral, named after its modular format symbolic of a coral reef, purifies the air through a suction system along with establishing cooler atmospheres.


Aesthetics and art, form a crucial segment in both the above mentioned projects. From having artisans as a part of the studio creating the terracotta pots in-house, to making sure that the structure is aesthetically pleasing; we have always tried to concoct a fine blend out with the three principals of our practice: Art, Nature and Technology.

I believe that a design reaches its zenith: only when it is composed with baroque artistry, efficient algorithm and nature’s vitality; circumscribed around the people who use it and who aid to create it!

Over the years, we have positioned our efforts around the belief that the best objects of nature are simple, not complicated. Consequently, we try to create buildings with simple forms and facades. This is often achieved, in our case, through the case of sunken windows wherein the building is double skinned and neat. This way, unwanted protrusions get negated and the double layer of the façade provides a better response to climatic extremities.

We have always been fascinated by the virtues of verticality and monumentality. Irrespective of the footprint, our methodology is to perceive these two as experiential qualities and we aim to incorporate them through various spatial elements of architecture. These include double height porches supported by tall columns, double height elevations for windows, especially to combine the ground and first levels.

Our approach is to provide such a form and spatial quality to the building that the finishing of surfaces becomes secondary. We try to envision the structure as a black and white image and attempt to make the space interesting through this lens, because the buildings of our time work with cladded and/or plastered layers which remain undecided until the stage of execution.


Depending on the brief provided, we also accommodate traditional elements in our design. However, our method of realizing these traditional structures into a modern context is to extract their contemporary relevance and simplify them in terms of materiality and form. An exceptional case amongst these, which we regard highly, is the traditional Indian spatial element – the courtyard, which we try to implement through various possibilities whenever the opportunity arises. Lastly, we always try to provide an interesting skyline to the building as a response to the continuity of the landscape that the building fits in. This is achieved by increasing and decreasing the heights of various blocks and plinths, and giving shape to certain elements, etc.


We view architecture as a global sensation that has existed and evolved since thousands of years. Each building, historically, is a testimony of its time and is unique. Our approach is to transcend this uniqueness to each project and to respect the context in which we work – explore materials, experiment forms and adapt to the existent and avoid ‘trademarking’ the building.

I believe good architecture is one wherein functionality and aesthetics form a harmonious conglomeration in a way that successfully follows the context of the land and its traditions while exuberating its rich culture. With an unceasing love for Kerala and a thirst for reviving the past, I believe my architecture is in essence a contribution to the future through a tribute to the past. While my professional portfolio consists of a mixture of architectural styles, a majority of my projects are interpretations of traditional Kerala style architecture. I enjoy creating homes that follow traditionalist concepts and detailing while including modernist sensibility; homes that are suited for today’s lifestyle, yet also having a sense of warmth and strong connection to garden and the environs.


Often drawing inspiration from the rural Kerala archetypes - be it the lush green farms and paddy fields, the beautiful backwaters or the seaside villages along the Arabian coast - my architecture is essentially a reflection of my love for Kerala’s rich cultural heritage. With skilfully constructed stable sloping roofs that display a rich craftsmanship combined with a class that is expressed through the incorporation of a rich material palette, I believe my buildings are in a sense modern, combined with the spirit of old-world charm. To sculpt the structure, I use materials that showcase a subtle richness, such as plastered walls and Mangalore pattern tiled roofs, in combination with intricately carved traditional elements that help provide a sense of finesse, creating buildings that are not only a display of elegance, but also a space that is capable of creating memorable experiences. On completion they portray a feeling of timelessness, leading you to a bygone era, reflecting less the work of an architect but rather the prowess of the craftsman and the tradition of an earlier time, with a perfect harmony of indoor and outdoor spaces achieved through the strategic play of materials and texture.


As we are fast approaching an experimental era where the architect is swamped in new materials and techniques, I believe in looking towards the past to build for the future by drawing from traditional Kerala architecture and reinventing it to suit contemporary needs, thus creating architecture that speaks to its surroundings.

For an architect, the primary function is to create usable spaces for the masses; only with a true understanding of humanity can he or she create the kind of human settlement which is required for a common man.

Since the inception of my career in 1970, I have believed that a built form should not be treated as a dead mass of brick and concrete, but as a living organism, allowing it to breathe with nature. Only when one respects the site conditions and existing natural resources, one can build nature-friendly and sustainable buildings.

I’m deeply impressed with great masters like Laurie Baker, Le Corbusier and AP Kanvinde and have tried to learn from their works and ideologies. Today, we are moving not only towards designing buildings with sustainable means and passive strategies, but also moving towards net zero developments – where nothing is imported from outside – from water to electricity to solid waste management – for becoming completely self-reliant.

Mother Earth is the biggest teacher we have. The sun, the wind, water and earth – all the natural elements give us inspiration and influence the way we design and work. So does our history and traditional knowledge systems. Our Indian architecture has all the principles and values and the most powerful influences which inspire me to create designs that speak to the soul.

In the profession, one needs to look beyond architecture. It is not the rituality, but the spirituality which matters, in a religious discipline. Similarly, the romanticism of the profession may be a sincere attitude which converts to the best aptitude. Dreams transform into thoughts and thoughts into vision and vision becomes reality. This is my mantra to bring authenticity in work.


I have always believed that sustainability is not an ideology but a way of living. Therefore, promoting and designing for a greener architecture is my priority. Use of various passive and active design features is what we have aimed at since the past five decades, and now we are moving towards net zero designs which aim at making any development self-sustainable and efficient.

While designing, the site’s topography, climate, solar and wind movement, the cultural connections, etc, play a major role in the conceptualization of the design. Designing for sustainability is not a challenge but should be an in-built passion to create built forms which are grounded in nature. If our process of thinking and designing is based on principles of nature, it would automatically lead to environment-friendly architecture.

Architectural design is an expression of an individual’s understanding and comprehension of the client’s need and demand, translating it into design and thereby establishing an individualistic style. This style, over the years, gets imprinted so strongly into the personality of the individual and the team that it gets hard to distinguish the two. The individualistic designs evolve into a statement and are marked as a style. The style of many great architects in the modern era has become the basis of new-age thinking, and having evolved over the years, it has transformed the way we perceive the basic elements that are incorporated into design. The very first approach is always scientific and research based.

Whether function follows form, or form follows function, is still a point of discussion. At Chaney Architects, we have tried both these principles. We have enjoyed creating forms to carry out the functions, as well as the function that dictates a specific form. In either case, the result is a representation of our philosophy. Whether using an FRP screen facade to reduce the solar heat or provide curtain wall glazing for a clean modern design, our approach to design is a representation of our thought process. We try simple elements that are in harmony with nature. We believe sustainable architecture is and should be an integral part of any good architectural design.


Pristine yet functional elements in our projects are testimony of our design approach. We integrate both outside and inside spaces seamlessly, in fact, our interiors are an extension of the exteriors, thus creating balance. We introduce the theme of nature in our healthcare projects to assist the healing process; this is depicted in the form of prints and colors on wall coverings, etc.


There are challenges in every project. Overcoming them with a good functional design requires a level of integrity and honesty of approach. Although we value the use of technology in our profession and acknowledge the considerable difference it has made, we fear that overuse of technology may cause us to lose out on exchange of ideas. This is because we are subconsciously drawn to pre-formed ideas and ready references. There is tremendous pressure to perform in a limited time frame thereby losing out on individual creativity. This is the biggest barrier to original thinking.

We believe that design is a process and not the end product. It is a journey of discovery, innovation, evolution and eventually, creation. With each project, we aim to “read” and “respond” to the built and un-built contexts of the urban scape. The most important exercise in the design process is to read the silent gestures of forms and spaces, to converse with the natural environment and then translate those gestures into architectural ensembles. We refer to it as “Responsive Architecture” – a philosophy which advocates architecture as a response to the various existing forces and systems like nature, climate, society, technology, economy and culture.


To me, air and water are two essential elements for our survival. And as we look around, we realise that more and more cities across India are very soon going to be unlivable. With this kind of an urban environment, it is imperative that we raise our standards and, with a sense of urgency, rethinking our architectural approach. It is this fate of the environment and the responsibility of our profession, which has made us think hard in pushing the boundaries of excellence in environment-friendly design. Our primary objective today is to create architecture that is a collective of all these blended seamlessly as a physical manifestation with the existing geographical setting and at the same time containing within itself a strong potential to live up to the future developments and urban standards.

We don’t’ have a style! Fuelled by mass media and instant gratification, architecture/interior start to imitate fashion design, with changing trends. ‘Change and constant flux’ is the ‘new permanence’. How do our works confront this opposite reality of contemporary times?

Early in the practice, we knew the importance of design that transcends time - what we call as ‘Design Life Cycle’. We, at Collaborative, are obsessed with our process, and subscribe the design direction to that process we adhere at the studio.

Radical Innovation shaped most foundational works of the studio and defined the practice in formative years. This approach in early phase also galvanized into a design thinking that helped our practice to step out of program, to create architecture that has deeper meaning and goal that went beyond its functional contingencies, styles and trends.


The notion of ‘Scale’: We do not even call it interiors, for us architecture and interior are the same. Both are results of the same speculative creative process. The notion of change in scale and detail is a misnomer - as a good architect, you should be able to zoom in and zoom out. It is Macro and Micro at the same time, be it architecture or interior spaces you deal in.


Technology is something we are passionate about, and at ease with in our practice; it is not employed for technology’s sake, but for reasons that could lend the project to achieve strategic goals defined by the brief and economics of it. But is technology, the soul and defining element of the architectural enterprise and production? What happens to architecture, when the technology which was central to it, becomes obsolete? Materiality - is it minimalist or maximalist? Where do you draw the line? Our works are results of these enquiries rather than a straightforward programmatic evolution of the brief. Or stylistic!

An architectural style is a morphological lens that allow components of our built environment to curate a unique connection with the context that are set in. We believe that every project necessitates a bespoke style pertaining to the unique vision of their conception. As an instance, a facility aimed to connect and blend in with a community would have striking visual distinctions with a facility that aspires for iconicity and be a beacon.

We at CDA strongly believe in the communicative ability of architecture, which is essentially the intermingling of innate human senses with the encounter of built environment. Often referred to as semiotics in architecture, This is a realm heavily contributed towards, by theorists De Saussure and Charles Pierce, where they discovered that the science behind the social discourse of architectural styles should be based on a widely agreeable social contract, of plurality of its end-users.

One of the most important steps to realize this vision is to identify the audience and their connect. Every piece of architecture would have distinct end-users which makes their design responses unique. We believe that there are multiple ways a building could emanate its intended meaning, for example, it could be an experience oriented spatial stimulus wherein the architecture employs tools of light and shadow to convey feelings such as vibrance, darkness or confusion; or it could be the visual allegory wherein a building symbolically relays its intended vision or function to its audience through a symbolic interior or exterior design.


We believe that a successful piece of architecture is definitely the one which its audience accepts and relates to. At CDA, we are always excited to employ our projects as exciting opportunities to create devices of communication which could be received by a wide latitude of its end-users with admiration! (Text by Ravideep Singh)

Architecture has evolved over centuries of experimentation; and in this process it has generated innumerous patterns that are very intrinsic to human beings and their needs. But as these needs (from the built space) constantly change with time, it becomes evident that the built environments also change alongside to support them well and holistically. However, it has to be noted that these changes in the built environments cannot be mistaken with life-giving processes that have developed over the centuries. So, one should consider these processes while generating any built environment and make use of these ‘traditional and humanistic’ patterns to give life to the structures.

For a better understanding on the subject, one can look at it this way - The core (Traditional Humanistic Patterns) of the system/building structure is made from centuries-old processes and experimentation that generate life. And only the peripheral fringes of this core are kept flexible that change with the time. These peripheral fringes can also be identified as Architectural Styles that are unique to each time period in the history of architectural evolution. But the true core of architecture has remained intact - only slowly evolving with time. This core of architecture comes into the transition of evolution, only when a peripheral pattern is able to bring about a life pattern to the building process. If this peripheral fringe (Architectural Style) is able to generate life in a repeated manner, it eventually becomes part of the core (thus evolving it in the process) and is then transferred to the next time period.


At Chaukor Studio, we strive to generate such patterns and environments that support and revitalize the living processes taking place inside the buildings’ structures. These patterns are thus generated from the core and not through peripheral fringes; so that they have the capacities to evolve into various architectural styles and tend to the various needs of the times.

We call it – Regenerative Architecture.

Designing at the urban scale is a complex undertaking leading to an unknown future. Our cities will shape and influence our lives profoundly and, therefore as custodians of the built environment, we aim for our design interventions to be necessitated in the name of capacity up-gradation, perpetuity and resilience.

Central to our ethos is an appetite for contextuality, sustainability and buildability. One of our greatest strength is our 3-way approach while addressing the challenges of individual projects - enquiry, discovery and understanding. Our perspective to each project comes from an innate desire to address and answer the challenges in the spirit of innovation.

With more than 20 years of experience, we work creatively to execute tasks with a deep sense of optimism and passion. Our current efforts are in the direction of revival of existing conditions, which can be witnessed in our projects ITO Skywalk in Delhi and Dakshineshwar Skywalk at Kolkata that cater to the busiest roads of the two metropolitan cities. Tapping into local ecology, human culture and socio-economic fabric; the design strategy of these projects presents a continuum to city’s heritage and resources, with the employment of advanced engineering and innovation.


Architecture of Conscience. Connection with the past should not be limited to relics but to revitalize historical buildings, retrofitting them for the new generation. Architecture is a source of communicating memories, but architecture of the present should communicate values and a sense of place. The only constant that will connect us to our history is our tangible architectural heritage. Deeply respectful of these principles, the design of our project The Delhi High Court is an expression inspired by the ancient architecture of Lutyen’s Delhi. The design of the annexe respects the imprints of the past – whether in the eaves drawn from old architecture of Rajasthan or in materials like sand blasted Dholpur stone and Red Agra stone that blends with the National Gallery of Modern Art in the vicinity.

I believe that a building structure/elevation must strongly reflect the requirements and thoughts of our clients as per their taste, budget, and timelines. Building elevation must reflect its function as well as the local/regional character along with architectural features. The building front preferably must be symmetrical so that it gives a strong and balanced look.

Planning of the building must be as per the requirements, and be Vastu compliant as much as possible, and as per the by-laws. Facade design must be attractive as well as easy to maintain. Method of construction should be modern so as to save time, money and energy. Choice of building materials must be from sustainability/green buildings’ point of view.


I personally prefer focus on maintaining the original character or any other peculiarity, so that a maximum number of people like the building always. For instance, the under-construction Nankana Sahib Public School situated at Gill road in Ludhiana, has spiritual value in the minds of the local people due to its religious significance with the word ‘Nankana’. So, the building elevation is designed to represent Sikh Architecture with elements like domes, chajjas, minarets, bold material finishes, etc. The building layout has been designed as per the composite climate in which the Punjab region falls by incorporating courtyards to regulate the air flow.


The fully completed five-hundred bed Mother and Child Care Hospital at Rajindra Hospital in Patiala, was designed keeping in mind site constraints, building by-laws, hospital services, local materials, and eco-friendliness.

For me, “design is nothing but placing a habitat in nature.” The primary focus of my practice during the last 25 years has been to evolve my own language of architecture that is rooted in the traditional learning, contextual material and sustainable construction methodology, fused with the future-ready technological comforts of modernity. We have thus created our own niche with a style that can be called Organi.Tech.Ture which reflects the core values of sustainability, comfort, art and modernity, all synthesized in the contemporary design forms which are aesthetically pleasing while being organic and technologically advanced at the same time. Organitechture is inspired from the two strong forces of nature and technology. The vision is to create spaces that are exhilarating to experience while being functional and eco-friendly.


My design philosophy is Minimalistic and inspired by Nature. I strongly believe that going green and building zero-energy buildings is the way forward. My firm initiated green projects like Green One, which is the first individual residence in India with a certified 5-star SVAGRIHA rating, and The Nest in Gurgaon which is also the first to receive a IGBC Green Homes Platinum Certificate.

My office is designed as a green workspace with interlocked levels set around a green courtyard, creating a collage of local materials fused with contemporary design incorporating principles of green architecture. The earthy workspace atmosphere with well-lit multilevel spaces blend into each other and break the monolithic image of a workspace with a striking yet organic visual appeal.

An architecture style is what shapes our lives - something we participate in every day, and yet it is something rarely noticed. I believe that architecture lies at the intersection of art and science - bringing together primal needs and high tech. The process of architecture requires a passionate involvement and commitment to bring out creative solutions for complex issues.

The current state of architectural design is trending many contemporary ideas of what defines unique and unusual, but with visually and spiritually inspiring geometry supported by strong computer software. I believe in this experimentation but within the realms to explore purposeful architecture through various techniques, delivering meaningful buildings that exhibit a message of cultural relevancy.

All buildings, in my opinion, must firstly be designed to provide shelter from the elements and to keep the right temperature. Everything else should be a special effect that energizes the people inhabiting the space and provide a purpose to further the needs of the site.

Buildings should be relatable to the average inhabitant, be cohesive with ideas, and be inherently performance-oriented. I do not believe in judging a building on its uniqueness, or departure from the past – even though these may be of good qualities. But an architect must rely on its efficacy of form and material usage with reference to context and human occupation, which, according to me, is a more purposeful architecture.


I would also like to add here that sketching is the first step in starting a project and something every architect should do, as sketching lets an architect help breathe life into a project. A sketch is a powerful tool as it is the seed of the thought behind the whole concept that ultimately transforms into a building. In fact, designers in all fields that require something to be created afresh, will find sketching a very handy tool. The wonderful part of sketching is that one is not required to be an artist. Sketching is a skill – not a gift – and with time and practice, anyone can become proficient enough at it.

My sketching technique has evolved over the years with practice. Relying more on this tool, I now have a style that I believe may be recognizable as my own – and that is exhilarating to me. I also admire digital technology. After all, that is how we get our concepts approved from clients.

What an architect builds and how he does so is to a great extent influenced by what he sees, experiences and records. My practice in vernacular architecture is inextricably bound with my entire childhood spent in a village. Since the last six years, my Ahmedabad-based d6thD design studio promotes the use of locally available materials, traditional building techniques, and culturally and climatically relevant building design. A retrospective of my work in various regions of Gujarat reflects my perseverance in designing with an overt principle of vernacular architecture.

I understood vernacular by some of the fundamental attributes and characteristics that it brings. One characteristic attribute is that it has evolved out of the conditions of the place locally and the second attribute is that it has continued to evolve over time. Thus implying, the particularity to place as well as evolution of time. Hence, vernacular is not about grandmother’s nostalgia or the reverence for the old; and so I call it ‘the new vernacular architecture’.


I always ask myself, what does ‘modern’ means? Can’t we go back to the past and carry on with that wonderful history of research and development by applying twentieth century knowledge, and show love and respect for all that has gone before us? And so here I am trying to be a so-called modern by using the research work done by our forefathers.


My design with honesty and truth in the choice of materials and the method of using them is the result of my inspiration from Indian villages. Simple life patterns with the values of village people who are content and happy even with the very few material possessions, left an indelible impression on my mind. My design, therefore, is always based on cost reduction techniques shown by vernacular architecture which gives better quality and an Indian identity. I strongly believe that Vernacular Architecture is not merely a style but it is an attitude, which carries with it a holistic lifestyle.