Architecture, over the millennia, has evolved as a response to physical, social and political discourse. It is, in essence, an organic evolution of form and function and how they meet. Over time, the design and architecture of a place are a sum total of an experiential memory.

My style has also evolved as an organic and fluid collection of principles and elements, which together guide my design. Having started with a deep and abiding respect for the international masters, where each element of design comes together to fashion a symphony, my formative years were heavily influenced by a vocabulary of brick and concrete in their purest forms, unadorned and honest in their expression. Le Corbusier, Louis Kahn and B V Doshi were the principal conductors of that symphony.


Over the past few years, influenced by advancements in not only material science, but also the functional and physical perceptions of space, I have allowed my style to become softer, and more inclusive in every sense of the word. I would define it at this time as being global in its physical form yet striving to be local in how it is perceived. Every project is designed within varied climates, for different communities, and in different materials, which presents a challenge where it may be easy to lose one’s identity by reflexively and blindly embracing local streams or rejecting pre-conceived notions without weighing them objectively.

I have striven, through design, to design functionally and communally meaningful spaces, with a degree of innovation that can be physical or meta-physical, where the physical vocabulary of the building serves as a mere tool to convey the idea of what it wants to be and what it wants to mean to its inhabitants.


I also find myself being drawn to the materials that I grew up with, their textures and their flaws, their sheer simplicity yet their relevance across scales. Once we walk away from a set of guidelines that would be perceived as a ‘style’, a whole universe of design opens up, freeing me to respond to what talks to me in a project, and try to reply to it in its own language, with all its nuances and grammar. In conclusion, my style could perhaps be most aptly described as ‘contemporary sensitive’ or perhaps an architecture of Futures Past.’

In the last several years, there’s been a significant shift of focus in design that has emphasized human wellness and betterment. These are the core values that form the foundation of ivpartners and a re-imagination of design to make the space better for the humans that occupy or use it.

My architectural style has always been contemporary to curate a modernist design language. The intent is contextual and the use of distinct materials to create a different design language for every project is the ethos of my firm. All the projects we initiate are a representation of a brand-new story both in terms of design and its implementation. For me, it is imperative to begin with a concept and never tread the path of a generic idea.

Today, creating an experience is more important than ever before. I, thus, strive towards creating a rigorous engagement and emotional connection to the design. This quest requires an in-depth analysis of how people will interact with space which is then evaluated and enumerated to evolve a brief. A few standard elements that ensure an instant association with the users are signage, decor, and lighting that strongly align with the brand message.


Since, experiential design revolves around the culmination of elements to form a recall and maximize footfall, more and more businesses and institutions are seeking experiential designers. With a surge of development in materials and technology in the past three decades, the manifestation of grandeur in design has successfully been conceptualized, improvised on and perfected over innumerable realms. A play of varied elements from ancient buildings is the usual principle that is witnessed in such design approaches. Since a consistent yet ever-evolving brand base is the major deliverable in such cases, a common demand amongst the fraternity is a dramatic and statement aesthetic, which creates an exception and gives the user a sense of belonging in an exclusive context. Exclusive grandeur has thus gradually become a sort of a mandate in such spaces.

The context is subject to space and time, not just Indian or even global. Architecture identifies itself in the space to the context of time. The history and content get spiritually immersed into it; these occur with explorations of the space. When nature flows around you and the space becomes one with nature, it becomes timeless, and a part of the culture of the place. Architecture creates with sensitivity - creating without becoming an obstruction. The space should slowly smile and say ‘I am here’, without screaming for attention. This, I believe, is space, time and continuum.

I have an avid interest in achieving the desired aesthetics while consuming minimal resources. My architectural style is largely influenced by the Japanese philosophy of Wabi Sabi - accepting the world as imperfect, unfinished, and transient, and then going deeper and celebrating that reality. Wabi is defined as rustic simplicity or understated elegance and Sabi is translated to taking pleasure in the imperfect. I believe that this approach fits perfectly in a scenario like India where a Wabi-Sabi way of life can help embrace natural materials, reduce costs, increase efficiency in construction and cater to larger demographics.

In 2013 I was invited to Italy for a program on Urban Acupuncture & Neuroergonomics under the mentorship of architect Marco Casagrande and bio-urbanist Stefano Serafini where I established a broader vision of built human environment, which tied into social consciousness and environmental awareness.


As a firm, we believe in visualising multiple design approaches to the same problem and designing projects which positively affect the surroundings as well as users of the space. Our primary philosophy is research-based intuitive design. We believe in creating a sense of belonging among all users of the building such that they use the space in a sensible, efficient, environment friendly and socially profitable way, and yet each building has a story to tell. The design of a building should reflect the essence and character of the client/organisation. This quality of making spaces experiential and story based is reflected keenly in the Punjab State War Heroes Memorial and Museum in Amritsar which showcases nearly 500 years of history. Here, our design approach represents a shift from a curatorial-driven to a visitor-focused experience. The story is deeply passionate and inspirational and enables the visitors to create personal and emotional bonds. The Development Management Institute in Patna is built with natural materials and locally available materials like clay jaali’s and Indian stone.

A design is a manifestation of one’s thoughts. Architecture is one of the many ways in which one can express thoughts. There are many ways to approach a design idea and we believe in looking at each project/design/architecture with a fresh perspective, a fact that finds resonance in our belief in creating vibrant, out-of-the-box solutions that strike the right note between practicality and aesthetics; constraints and aspirations.

We do not follow a particular style as we believe in delivering diversity through our work. Every design needs a different designing idea or a solution. It has to be contextual and relevant to the site and surroundings while satisfying the need of the client. Contextual is a set of values that gets incorporated in the design. In the architectural context, it gives meaning to the building by reference of its surroundings. We believe in looking at different projects in altered ways and providing unique solutions to each design.


Architecture is not just about cosmetic treatment to the facade; but how it benefits the building. There has to be a spatial connection between the interior and the exterior as well as between the structure and its surroundings. Apart from having a spatial connect, it should also relate on a personal front. My Space, Your space, and Our space is an ideology that we follow while designing. My space is the architect’s thought and intent behind the approach. Your space refers to the need of the client, a wish list. Our space is the cumulative output for the design, keeping the client’s need and context of the site in mind.

Architectural design with futuristic thinking that rests on a traditional philosophy and the core of a contextual, responsible and resourceful architecture, is what we keep in mind when approaching a design.

Our projects are conceived through a research-oriented approach to policy, planning, design, technology, passive and low energy design. Every design is conceived through the lens of ©SOUL - Sustainability, Optimisation, Uniqueness and Livability. These four aspects are central to all our design processes.

Our endeavour is to design in a manner that reduces consumption of resources and energy while increasing the number of habitable hours with minimum reliance on mechanical means. This has resulted in buildings that consume upto 50-70% lesser energy than certified Green building benchmarks through passive design and microclimate creation, proven through post-occupancy evaluation.

We understand that we are often working in an environment with limited resources. Our approach ensures integrated project delivery with spatial, structural, façade and MEP optimisation resulting in a significant reduction in the capital and operational cost.


Architecturally, we celebrate identity and diversity versus visual homogeneity. We think of our buildings and cities as bazaars, places of human interaction along with being places of human habitation. This ensures that all our projects are unique, whilst responding to the client, climate, context, and the end-users.

The end-user always sits at the centre of our design process in our approach to building smart environments. We consider mobility, security, outdoor comfort, technology, health and well-being, ease of facility management and disaster readiness to create spaces that work equally well for all users.


These parameters define the enquiry process that shapes the architecture of Morphogenesis. We believe that Architecture, Design and Urbanism as processes must be in step with the forces of urbanisation, globalisation and technology. It is this bridge between tradition and modernity where the work of the practice is positioned.

My designs are inspired by nature and the wisdom of the past. I believe in egoless frontiers in design, where design merges with nature. Form, Shape and Style of buildings since centuries have undergone transformations and history interprets the life and culture of the past by studying these timeless buildings and documenting them to understand how our ancestors lived. Timelessness in design was a great attribute and common to many of the landmark designs. This timelessness happened because of wisdom, sensitivity, durability and simplicity of forms. My style of architecture attempts to interpret the timelessness of past to create buildings of future.

For me, a quality space is a smooth fusion of exterior form and simplistic and pragmatic interior spaces. I would call my architectural style people-centric and dynamic. People-centric because it respects the aspirations of the end-users in terms of theme of design; and dynamic because I constantly challenge myself through experimentation. My body of work is an interesting mix of Fusion, Colonial and Contemporary and do not follow a style or pattern. This gives me a feeling of liberation as I am not bound by a style, so every project is a challenge, a learning curve, and like a revolt that shouts: don’t try to stamp it!


Ar. Geoffrey Bawa’s Kandalama project has deeply influenced me. It was a design in which the ego of the design and designer bows down to the ultimate designer (nature Itself). My own home is enveloped with green leaves and yellow flowers leaving no space for any architectural style.

We have used tilted glass façade (anti-gravity) in offices that face north. The façade is anchored with RCC structure and is made with special high performance DGU glass with spider fittings. The beauty is that the tilted façade reflects the green of the surrounding landscape. Quite often we have used tall, splendid recessed windows in residences that bring in a lot of light, while cavity walls keep the home protected from extremes of nature.


We love to play with natural clay bricks from chimneys measuring 8x4x2” and are cut at site by experienced masons in two pieces. The resulting size is 8x2x2” and extremely affordable. This indigenous style has resulted in some lovely buildings. I also like the natural travertine marble with all its holes and voids, which we have filled with transparent resin to create Italian style villas. All of Rome, since medieval times, is built with this material. In one of our projects, we have fused Mangalore tiles on wooden beams, Gwalior Mint stone (Indian) and a vibrant color to create a building in a 122-year-old Sports Club.

I believe that design of a building should revolve around the end-users and the design should develop through their day to day needs. So, we take care that during the course of designing, the end-users do not get obliterated. I believe that introduction of spaces and their positioning are driven by various overlapping layers of tangible and intangible aspects of the user. Especially when working on residences, the design must cater to the habitants with their different personalities, age groups, and needs.

We also highlight regional traditionalism in our design. Taking the soul of traditional architecture and transfiguring it with a modern touch, we address the needs of both the present and future generation, thereby creating a connection between them through the forms, spaces, materials and elements. Infusing spaces like a Thinnai area (landscape with flora, fauna etc), courtyards etc, takes the spirit of traditional architecture to the future with a newness in it. Such spaces also bring social togetherness spatially, creating a psychological impact that fosters human relations.


Through design, we encourage living in harmony with nature. By incorporating elements that bring in natural light, greenery, and induce natural airflow, such as water bodies, lily ponds, etc, we add a visual treat to the senses, while earthiness is highlighted with use of materials that bring a pleasing warmth through their connection with regional roots.

I believe that our design style is characterized by its objective to enhance the way people work. By creating high-performing, nurturing work environments, we can improve people’s lives at work and enable clients to achieve their business objectives. We are designing workplaces that are flexible and scalable, prioritising talent attraction and retention, adapting to the local culture, and creating spaces that are sustainable and human-centric. For instance, at PayPal - a collaborative hub for incubation and innovation in Bangalore, our work takes inspiration from its cultural surroundings and exemplifies an entrepreneurial workplace culture to attract and retain tech talent. Titan’s Bangalore headquarters speaks to the highest global standards of innovation and sustainability. It pushes the boundaries of intelligent, human-centric design to set a benchmark in India and beyond.

There is no single design style, neither is there a ‘one size fits all’ approach. In order to create something impactful for our clients, we must deeply understand the business and its needs. Each new project starts on a blank canvas with some objective-based ideas that we can develop to create unique, transformative solutions.


My own preference is for minimalism – there’s a lot of thought that goes into achieving that level of simplicity. When we think of our favourite devices; phones and laptops, their technological complexity is simplified through a carefully considered and highly usable interface. The same holds true for buildings.


We also need to consider sustainability and the use of natural resources. My generation grew up in a time of plenty, but this is no longer the case. The next generation will need to think harder and smarter about their design solutions. I believe building technologies have the capability to help us use our remaining resources much more efficiently. Most importantly, I remain positive. Positive that humans can overcome challenges and develop great design solutions that have the ability to improve lives in the workplace and beyond.

I believe in an ‘Architecture of Responsibility’ - a resolve that we undertake not to produce or work on projects of frivolity, of waste, but only those that help this world, humanity, and the environment at large. We launched a new research cell that will integrate technology at the highest level, to research and resolve every problem related to climate, people and environment by analysing millions of real time data and integrating it back into the design.

The last two decades have underlined the significance of technology in design. From parametric form building in the first decade, to the systems integration in the second, we have stepped into the next phase which integrates the complex intuitive poetics of our minds with hundreds of layers that one negotiates, over innumerable data points, which are organically generated but logically vetted.


Design is not a singular idea or a statement but rather a bodiless fluid cloud, trying to negotiate its identity constantly, with its multiple contexts. The contexts in this case are not limited to just the physical space but also, cultural, economic, political contexts and many more that are undefined and unpredictable. This constant negotiation is like balancing of equations done by a student of chemistry or matching of accounts by a financial apprentice, where the variables change constantly, but the intent is well defined. It is this negotiation between the idea and the context that results in an enriching experience right from the designer to the people executing it and further to the users as an embedded history within the DNA of a particular design. At that point, the design is no longer needed to be explained in words, it becomes an experience with multiple interpretations imperative for its growth and adaptations to the ever-changing context.

My architectural style can be best described as a blend of natural and modern. At Midori, we strive to make our buildings as sustainable as possible without compromising on client’s requirements or our architectural vision. We employ computational design (algorithms and simulations) to arrive at the best possible design by considering the natural topography and climate. We believe in design that aims to protect the environment and natural resources, recreating urban areas and buildings that are designed to fully cover their energy requirements without inducing environmental damage. This organic process results in buildings that are futuristic and green.

Whenever we design a building, we try to blur the lines between the inside and the outside. It is this delicate balance that is enhanced by the aesthetics and energy efficiency at its core. We also integrate renewable energy systems into our buildings that aims at reducing the building’s carbon footprint. In short, our architectural style can be described as daring, futuristic forms, inspired, powered by clean energy, and generated by employing the biophilic approach that is driven by climate responsive design strategies.


Aero Hive in Hong Kong, for instance, aims to challenge the common belief that contemporary tall buildings cannot be ventilated naturally due to their height and offer pause from the typical hermetically sealed glass-boxes, serving as a model of sustainability. Aero Hive is a breathing entity; the breath transpires through vertical diaphragms in the form of green sky. Aerodynamic architectural design is realized by taking into consideration building orientation, position, form, and plan variations. The wind flow to the indoor spaces is carried using wind-scooping and the ‘venturi’ effect through the traversing green diaphragms.

We are committed to using advanced technology and simulation techniques to produce architecturally pleasing work while pushing the boundaries of performative design.

In nature we see a balance of design, ecosystem and aesthetical beauty. My design philosophy is a simple extension of form follows function. The spaces we design are based on comprehensive design solutions that blend into the cultural, physical and emotional needs of the occupants. Today, we largely work in the contemporary style.

It is fashionable to discuss trends in our industry. Materials keep shifting continuously, colors keep changing, new ideas, new forms, and new geometry keep emerging. We see changing trends in technology like home automation, lighting and even the sophisticated 3D printers that are leading us into future ideas and trends.

As a multi-disciplinary practice, we emphasize on style as a process that evokes meaning. Architecture is a language… a medium of expression. Like every language, architecture also has syntax to express the architect’s vision. The spatial composition of functions and the experience created is also the syntax that expresses the sense of architecture.

We do not limit our vocabulary in terms of architectural styles be it modern minimalist, contemporary, industrial, or ornate classical. All components when put together in any style should have meaning. This meaning may be defined by purpose, personality of the user, or their lifestyle. It is this projected interpretation that gives meaning to our projects.

Our style is our process that is the reflection of our end-user – who could be a single person or an intellectual public group. To understand, interpret and reflect their personality is what embeds meaning to the built form. Our buildings do not contradict the personality of its user, unless we desire a contradiction. Hence, our emphasis is on the spatial arrangement/planning and the research to adopt any particular architectural style that can express the interpreted meaning to our built form.


The style is not a part of our process but the research that leads to it. Therefore, as an end-product, all our buildings are distinctly different from one another. This is the result of our process that understands the aesthetic required for a highly educated, non-flamboyant person as being very different from that of an elderly, cultivated person. But the building’s discectomy unveils the projected personality of its user, which is the common unifying factor.

My architectural style is based on philosophies borne out of my learnings as an architect, those of Responsiveness. Sustainability. Innovations. Individuality. The architectural style is responsiveness to the context. A contemporary take built on the foundations of Indian traditional practices. Of sustainability measures and resultant innovations. Remaining true to the essence of materials. Of natural light and ventilation. The interior-exterior dialogue. Low maintenance materials and details. Of textures, both visual and tactile. Wealth out of waste. This architectural style pervades all my works, irrespective of their nature or place of being.

My creations portray simplicity and elegance, which manifest in simple clean lines and in the respectful use of materials, and in a way that make design timeless in its appeal. I attach great importance to maintaining a connect with Nature, be it a commercial or an institutional place, an office or a residence.


Under the umbrella of a guiding style, each project takes on a distinctive character, and through innovations borne out of adoption of regional materials. Extensive use of materials in their raw form, colours and textures, displays both a boldness and a reverence for materials. Learning from time-tested practices of a region’s traditional architecture and adopting them in a modern way, displays a maturity and intelligence


I believe that Architecture must give expression to the life for which it is intended. Not only must it fully and competently satisfy the requirements of the program, but its form should resonate with the diverse spaces and activities it contains.

Architecture is a synergy of various disciplines such as art, engineering and philosophy. The creative process of lasting building edifices is a joy like none other. An architect is literally a nation builder and game changer. My firm specializes in Urban design, Architecture and Interior Design stressing on Green Building norms and sustainable architectural design. I draw inspiration from Nature, site conditions as well as contextual factors. In fact, I strongly believe in contextual architecture. I also believe in technologically allied design and combine it with elements of our Indian heritage, sustainability and contextual factors while designing.

The style of the buildings and townships that we design vary from new-age contemporary to traditional classical style of architecture. The variance in style is because of the adherence to the client’s brief and context of the site which is unique from one project to another, especially when it comes to typologies. We do not have a cookie cutter design and prefer experimenting in different styles and we constantly switch gears in designing buildings, which makes them unique.

Our IT parks which vary from 4 to 40 lakh sqft have a similar design vocabulary as the project typology dictates contemporary style, elevation design, selection of glass which is often times blue or aqua and horizontal or vertical movement, depending on site dynamics. The same goes with our academic buildings, for instance, the Jeeva Velu International School has pyramids in the sky, echoing the holy Arunachala hills which form a dramatic backdrop to the building, and which clearly reflect the site context.

The leaning towards monumentality and architectural magnificence is attained by imbibing classical architecture as in the case of GRT Institute of Technology, Tiruttani, which blossomed into a neo-classical set of buildings. The necklace design in PGP Institute in Namakkal also evokes a classical style. A more contemporary style is evident in the Lawrence School in Ooty but with traditional materials. Another award-winning design is the Jiva Chaitanya Life Sciences building which emulates the DNA as concept. Our hotel projects lean more towards contextual architecture be it the neo-classical French style in the Accord Puducherry, contemporary design in the Le Meridien Coimbatore, and the completely ethnic style in Sandy Waves Resort in Havelock Island, Andamans.


A truly contemporary style is echoed in the Raghavan Building in Chennai using the typical Indian courtyard concept at the third floor surrounded by living areas with the inner envelope being sheer glass. Stone was the dominating material. A stark contrast is felt in the large palatial home of Dato Dr Ameen in Kaula Lampaur, Malaysia, where the style was Indian Chettinad with an Islamic flavor.

The Strip Mall in Chengelpet is a courtyard design with water bodies and traditional highlights such as gazebos. We have also been involved in the Pradhan Mantri Awas Yojana project and have built noon-meal centers, toilets for underprivileged girl students, and schools for leprosy-afflicted patients’ children.

My philosophy has always been to keep my designs simple and non-acrobatic – this way not only are my creations liked by a vast majority; they also live by the decades of their existence without looking out of fashion. So, if one calls ‘Simple & Functional’ as my style – so be it, as I feel making anything simple is the most difficult and complex thing to do. Simple is not easy and maintaining simplicity can be very confusing at times, thus, it needs a lot of clarity of mind and a lot more passion for architecture – and that is what I am blessed with!

Indian Architecture goes a long way – it is, by far, the best architectural philosophy and has a lot of science behind it. Indian architecture since the Indus Valley civilization has been very functional and suiting to the local needs and promoting sustainable living.


At a very early stage of my 50+ years of professional practice, I realized that as an Architect, I need to foresee the future; I need to plan for another 50-70 years, and my designs need to last the test of time. So, my designs have surely evolved with time; with the changing needs, through innovations and new materials being available. However, the core design philosophy remains more-or-less unchanged with all my projects being self-sustaining and as eco-friendly as possible. Be it the high-end villa or a large residential township, a commercial tower or an IT Park, a Hotel or a Mall, a Multiplex, School or Temple – all my designs have maintained their regional architectural character, yet have used the latest materials and technology has been inculcated within the design. And this is what has given me many landmark projects - from the first-ever Revolving Restaurant – Ambassador Hotel, Mumbai, India’s first ever Health Spa & Body Rejuvenation Centre designed for World Resorts at Golden Palm Resorts in Bangalore; the First Multiplex-Mall in the country - Fame Adlabs at Citimall, Andheri in Mumbai, which was a trendsetter for all other multiplexes that followed. The country’s first fast-track I.T. Building was designed, executed and handed over to Morgan & Stanley of USA. The first Semiconductor Plant - Meltron Semiconductors at Nashik - an Indo-French collaboration; India’s first Gold-graded Township for HP-Mittal Energy Limited in Punjab - which also won the HUDCO Design Award for Green Architecture; India’s first Platinum-rated School – Cygnus World School at Vadodara in Gujarat; the Smart Tower at GIFT Smart City in Gujarat for State Bank of India; and so on.

My designs have surely made a difference in the Indian Architecture and I’m sure has added to a positive influence on the younger generation.

At Pentaspace Design Studio, a single elegant stroke, a singular idea or a diagram on a page doesn’t define design. A set of ideas come together as musical notes to produce harmony and balance. Strong concepts underpin our projects; this could be region specific, neighborhood, material, cultural, social and more. Every project is seen with various lens and then multiple layers come together to form the final architectural design.

A series of questions, various surveys and a detailed study of the brief sets our design process. The resultant data sets the program for the project. The planning process once initiated takes into account all micro and macro factors of the site with respect to environment, orientation, neighborhood study etc. The elevation is simultaneously visualized incorporating the necessary details in the plan, so it works like the left and right hand on a piano setting the right tone.


In Aroha, one of our residential projects in Mumbai, we have got in cave architecture and features from the Buddhist caves in the neighborhood, which became the driving force behind the design philosophy. For Rainforest, another residential housing project in Mumbai, our design was influenced by the rainforest trees surrounding the sites. These manifest into the elevation and the entire micro-environment from the lobbies and the landscape to the drop-off canopies. In another commercial project in Hyderabad, we have retained a granite boulder inside the building and designed spaces around the stone, making it a central feature. Moreover, only locally available granite was used in the design material palette of the project.


For us, every design is a new challenge to push the envelope and to add more lens to refine the designing process all over again. Change is the only constant in our design inspiration and process.

Our approach to design is to achieve the client’s goals through the process of research and design solutions which generate an environment that surpasses trends and fads by offering a more enriching spatial experience.

Style is defined as a particular way of doing something, which makes it identifiable. While we do agree that it is characteristic to have a defined style, which helps identify a person, or, in this case, a practice or a studio, but we at reD prefer to work against that mindset. We believe that each project is unique. So, whether designing a hinge for a door to enhance its operation or planning an urban layout for an educational campus, equal attention is given in decoding the client brief and analyzing the various parameters that need to be considered, while being creative with such varied scales. Sometimes, a project needs a top down approach, while others need a bottom up, and some just need thought to flow rhizomatically.


Confucius once said: ‘Choose a job you love, and you will never have to work a day in your life.’ This is clearly our motto. Given that we are a practice of 4 individuals, each bringing their own skill set to the table, it is simply our recipe for a successful and healthy collaboration, which is, most importantly, a ton of fun! We would like to think of ourselves as ever evolving, dynamic and pushing boundaries to stay relevant. Maybe that in itself is our architectural style!

Architecture is not simply a question of providing a place to live or occupy but a vocabulary that’s developed and shared through design that projects our ideals as well as the client’s needs. For this reason, it’s important to create your own niche, a reflectance of your design that resonates with the firm.

Renesa as a firm strives to enhance the sense of perception and experience to the physical spaces we inhabit through our work. Our architectural style is to combine traditional aesthetics with modern design which is done through creating and editing a selective and reflective thought process. From the initial stages, itself, we aim to strip away all that is unnecessary; from our first sketch we are already on our way to defining the structure once complete. A holistic approach in each design stage, is what gives depth to our approach.


The process of design development is not about defining the black or white spaces, but rather making the grey area stand out and highlighting the evolution of the design in its simplest form. Depending on the typology of design required and the client’s vision, we try to employ indigenous materials every step of the way. This involves developing sufficient research into the context and surroundings for the team´s work to respond to its social, economic and natural context. We want architecture to be a conscious extension of where it is placed; establishing a clear dialogue with users, and allow us to innovate spaces that remain useful and valuable in the future.

What if you went to a well-known fashion designer and asked for a dress for your best friend’s wedding, and he designed a little black dress for the occasion? Great style but absolutely wrong for the occasion!

When an architect becomes a prisoner to a particular signature style, he/she may fall into an abyss where adhering to style takes supremacy over what the project needs to be. It may end up like a highly stylised K Jo movie without a gripping storyline. It may appeal for a fleeting moment but will certainly not stand the test of time.

At RLDA, we don’t have an official style for this reason. This doesn’t mean that we don’t believe in stylisation, but that we do not subscribe to a one size (or in this case one style) fits all theory. When approaching a new design project, we try not to judge; and we try not to bring my own predispositions to the project. We don’t believe in what’s in and what’s not.

It’s more important for us to understand the essence of the project; what the space really needs to be. After we have asked ourselves that question, it allows for an easy translation into the built space without resorting to individual whims or current trends. The style required for a hill resort nestled in a virgin mountain-scape has to be very different from a hip city hotel. A home library should be stylistically nuanced quite differently from a trendy salon.


We believe architecture is a spatial art which constantly engages with its inhabitants. In this engagement, moments get created - moments, whether they are Spatial, Material or Visual - dictate a project’s style.

We strive for an honesty – a directness with which our spaces communicate with their inhabitants. In that directness should lie an honesty towards one’s engagement with both the materials of construction and the manifestation of their expression. That for us is our ‘House Style’

My learnings in design go almost five decades. While technology, materials, resources, typologies and scale of the built environment have changed, I find that the fundamental principles that guide the philosophy of design have not changed at all. Responding to context and time has been very fundamental to successful design in my experience. The translation of these responses into physical environments for people is architectural design.

When you believe in this philosophy of design, you automatically weave the intricacies of the design with culture and ethos that is predominant in that specific location where the design has to be executed. It is the location and community that we are building for, that delineate the design. The timing of the design, however, governs the priorities and choices with respect to materials used, technology, budget allocations, and resource availability – which influence the detailing of the design. So, my architectural designs have been a continuation of a theme, which is Reciprocity.

Architecture, like civilizations, is dynamic and evolving. While exciting architecture is being built all over the world and thus expanding the vocabulary of contemporary architecture, we architects in India have to find our balance in design enabling us to be part of the new and creative experiments ahead as well as be part of what has gone before. Our studio SNK works with the belief that ‘Creativity’ flourishes when new ways of looking at the same problem are brought together, such as when people with different backgrounds, training and experiences bring together their perspectives.

In a country like India, which is complex, not at all homogenous, and so disparate, with a multiplicity of everything, be it religion, ethnicity, languages, culture or the arts. I don’t think I can separate India and the “Indianess” from within me. With over four decades of practice in a country like India my buildings speak for themselves about my beliefs and ideas of sustainable practice - I am an Indian, and all what I am comes from my heritage. It is an intrinsic part of my being and will naturally reflect in my work in many ways.


The diversity of my work is what I have enjoyed the most. I have built from the Himalayas to the south of India, from Bengal to Kutch and through the central plains and heart of our country, from Jharkhand to Indore and from Uttaranchal to Kodagu. The building types have included reconstruction of villages to hi-tech campuses, from orphanages and animal hospitals to state-of-the-art corporate headquarters, from the village school to the most elite schools in Mumbai, and from conserving iconic heritage buildings to converting garbage dumps into parks. Moreover, our involvement has ranged from the upgradation of slums to large corporate and public buildings, from low income housing to the restoration of magnificent vernacular and colonial buildings. Exciting and fulfilling tasks that span our careers take us from being hi-tech professionals, catering to the needs of modern-day world, to barefoot architects.

In order to achieve this, we need designers who can plan, design and implement new developments, working interactively with the community at large. If we follow the role of the traditional architects, we cannot meet this need. I believe this can be done without compromising on creativity, innovation, or quality of design.


Looking at architecture from the Indian context, I feel that India is rapidly changing. The scale of projects is changing with more ambitious and bigger projects. Lifestyles are changing, people have higher and unique aspirations. Educational campuses are coming up, IT campuses, institutional buildings, recreational buildings, shopping, hospitals and an enormous need of low-cost housing. Therefore, I see huge opportunity for young architects. Sensitivity to the environment, availability of materials, effective land use, urban issues, and, of course, architectural vocabulary are all important determinants of good architecture and design.

As an Architect, I try to create spaces that stand out or be identifiable for the user who is living in it and not to serve as just another photogenic space. My ‘area of interests’ ranges from Mathematics, Cybernetics to music and earth construction, so ‘style’ for me is an external ornament that doesn’t serve a purpose in a wholesome manner; for varied projects that we undertake. Instead, I base my designs on four fundamental questions: I name them as RISE – Resilience (can this withstand future shocks?), Identity (whom does this belong to?), Sufficiency (how much is enough?), Equity (does anyone get excluded?). These help us to arrive at a stage where we can answer whether the proposed structure is sustainable or not; this has been my ground of design for the past 35 years.


We always try to challenge ourselves and explore this particular type of architectural practice from various perspectives. For the Mati Ghar project built for IGNCA, we tried to show the timeless quality of earth, to represent the concept of the exhibit entitled ‘Kaal’ which means time. During its construction, we shattered the myths around mud being a weak material and established that it can be used successfully and practically. Whereas with our upcoming project the Bamboo Research and Training Centre in Maharashtra, we are trying to empower the tribal communities, by modifying their traditional skills set to a professional craft and its manufacture.

While we tested low embodied energy materials in the above large-scale projects, we have put our energy conscious sensibility, in use for Residential Architecture as well. HKS (Hari ki Sarai) is a contemporary house in Gurgaon, where we have modified vernacular techniques, which are considered slow and costly, with our engineering processes.


It is satisfying as designers; to observe how symbolism, harmony and expression can emerge from an Integrated Design Process. Thus, we believe in creating lifestyles rather than just styling buildings. So, we don’t categorize ourselves as ‘Green Architects’ or even ‘Architects’, but as sustainable community lifestyle visualizers!

Architecture is all around us. As Jeremy Melvin, architectural historian puts it, ‘Architecture impacts our lives in ways that are both profound and subtle, evoking powerful memories, feelings, ideas and associations’. It’s only when we experience all the profound and subtle strokes, all the things visible and invisible, that we truly experience good architecture.

At SSA Architects, we create spaces and buildings that are both beautiful and functional. And simplicity underpins all our work. Strip things down to their essential, core purpose and one gets the most fundamental and simplified version. The more ‘essential’ we make a product, the ‘less designed’ we make it appear — and simpler it is for people to experience. The office building in Assam is a simple yet striking example where we came up with an idea of two simple rectangular blocks juxtaposed at 90 degrees to each another. The projecting upper floor protects the wide glass expanse of the entrance lobby from heavy rains during monsoons while generating two open terraces on the first floor.


As Charles Correa would say, ‘throughout human history, the sky has earned a profound and sacred meaning.’ In dry and hot North India, ‘open to sky space’ with interlocking built form has always been an integral element in the expression of architecture. All our projects are built around one or multiple open spaces with habitable spaces around, enabling the important link between inside and outside and encouraging varied activities during different part of the day and seasons. For instance, our design of the Skill Development Centre in rural Uttar Pradesh has evolved around a ‘open to sky space’ a popular hang-out for the students. At the North-Cap University in Gurgaon and at a corporate office in Haryana, the ‘open to sky’ spaces take a different form with a sky-lit atrium that remains at the core of the buildings.


Richness of local materials, method of construction and craft is evident in each of our projects. An essential element of ‘Sustainable Design’ the beauty of using local material is complemented by the benefit of generating employment opportunities for the local artisans, brick layers, skilled stone masons, weavers etc. giving the much-needed visual reliefs in an otherwise harsh landscape.

Use of colour is an essential part of our design style, be it the exterior or the interior. Our choice of palette is bold and uninhibited, calming large planes of reds and brown to windowsills and jambs of purples and azure blues – colours that evoke an emotional response.