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.

We believe in a collaborative, communicative and contextual design approach that transcends use, purpose, aesthetic and function to create meaningful architecture. The art of architecture is storytelling and the science of it is innovation. Our design philosophy takes root in this wisdom.

Creativity has no bounds and technology further gives wings to ideas. In present times, we are seeing a surge of technologies, materials, techniques which are supplementing our thought processes and approach to design. Creativity, to offer experiential environments, is challenging the senses to engage beyond and imagine art, science and technology to design out-of-the-box solutions. We are currently in an era of flirtatious experimentation, if I may call it, where architects are creating designs that behold the future of our visual world, yet in a sustainable mode.


K.I.A is always work in progress. We conform to no particular architectural style, though designing contextually aesthetic and functional environments is what we believe in. Principles of design vary for each project in our studio, and we continue to seek inspiration and innovate. Each project is uniquely different and reflective of its siting and location, function and purpose. Thereafter, the ideation is a cumulative effort of the experience, expertise and excellence of the studio team which has been built through inspiration, vision and leadership.

My architectural design style can be described as Indo-Centric Sustainability - a design aesthetic that is a blend of Indian-ness and is People & Planet friendly. It is a blend of traditional construction techniques, ornamentation, usage of materials, inspiration from crafts & weaves, and Indian philosophy with principles of holistic sustainability – that include socio-economic sustainability, resource and energy efficiency, passive architectural techniques, support of local economy and know-how, and hybrid/renewable energy-based mechanical systems for living comfort.

There are many questions I had to answer to myself during my architectural education and early practise that helped clarify the thinking of my design direction. After spending almost a decade away from India, the rediscovery of what makes Indian architecture truly unique became an obsession for me. The value of Indian-ness and all things that are culturally rooted in our daily lives became more apparent. Preserving and incorporating crafts as part of our contemporary architectural experiences made sense from a cultural sustainability point of view. Coming back with International sensibilities gave me the ability to adopt unique ideas that were culturally relevant. Things that worked for projects in Chicago, would not work for projects in Chennai – even though technically they were possible in both places. The unique geography and culture of people ensured that planning and detailing of architecture too would be unique.

Then began the quest to try and marry these two aspects of my experience. The question became – how do you change the approach to ‘traditional Indian design’ – find a way to work with tradition while being world-class and relevant? While this challenged the architectural landscape in India, which was driven solely by a ‘maximize site potential’ type of approach, the application of the sustainability filter helped shift the focus of the typical Indian project.


As we’ve seen in recent years, the focus on profits (above all else) has led to the destruction of natural resources and has had devastating effects across the world on vulnerable populations and wildlife. Climate change is the single largest demonstration of how much can go wrong when the pursuit of profits takes precedence. In most cases, clients are not willingly causing harm to people or the planet; while most of them generally care about the earth they seem stuck within a broken system. They are only trying within their constraints to minimize their negative environmental impacts and optimize their positive social impacts.

The focus on a triple bottom-line instead of the conventional bottom-line can help reshape this thinking. With sustainability being the over-arching element of my architecture style, I work to shift the focus onto People, Planet and Profits through every design decision that we are posed with. And through an integrated design approach it is possible to deliver projects at a lower capital expenditure and at lower lifecycle costs – making Indo-centric sustainability a holistically profitable solution!

Architecture is all about visual appeal and I learnt this from my father, who, in turn, learnt from Le Corbusier that ‘architecture must appeal to the senses’. My style is influenced by and an adaptation of the ethos of modernism as seen in the planning and architecture of Chandigarh city that signified the revolutionary change which took place in India and the world several decades ago.

Design and architecture are all about meaningful expression of fine art that works - meaning that though aesthetics may dominate the design intent, but it should revolve around human comfort and convenience. Therefore, all elements of a building should be derived from the climatic conditions of the region. I use passive architecture and incorporate elements in my building component so that there is less dependence on technology. I ensure minimum extravagance on materials and focus on creating valuable spaces that will enhance human existence in the built spaces.


The expression of my buildings is never opulent, as I prefer bare concrete and bricks in their exposed quality. I believe in adopting sustainability in the order of purity of form, un-wasteful spaces, and essential living. My style surely incorporates green areas inside and outside as I have learnt that Nature should be a part and parcel of a building’s architecture. My approach towards sustainability and eco-friendliness are project-oriented and reflect in the buildings I design. The form is dominant and, as the aesthetic appeal is creatively vital, the form expresses it all.

My approach is to create Architecture, Design and Engineering in response to the site’s and project’s specific context with reference to its place, people, climate, culture, history, geography, nature, environment, land, locality, economy, cost and time budget constraints, local building regulations, sustainability, arts & crafts, integrating digital techniques, material sciences, codes, regulations, systems, processes, emotions and multiple disciplines in a bold, sensitive and eloquent way at all scales.

Each layer contributes varyingly, weaving complex yet a united whole, forming its unique character that expresses local or universal ideas. So, my architectural design solution of every project is custom designed and distinct, based on systematic process, research, analysis, interesting ideas and exploration of genius loci of the place. Architecture gives me an incredible opportunity to address various contemporary issues like habitat in urban and non-urban contexts, sustainability, cultural continuity, diversity, etc. and produces new ideas, interpretations, futures and expressions.


Architecture is very place and people specific and my architectural design responds to this aspect. Unlike other art forms like music, sculpture, literature, fine arts or motion pictures, it is distinct in its expression and physical form which is inseparable from its locale, context and landscape.

Architecture, along with all facets of design, should be timeless. This defines our idea of architectural style. As Frank Gehry said “Architecture should speak of its time and place but yearn for timelessness.” We don’t adhere to any specific genre or style in design, but believe that design should be able to transcend boundaries of time and place.

Function, place, aspirations, stories and people are the most important and simplest tenets to define the style of a building and what separates it from another. These define the core idea of the design, which then translates into the various elements of design: form, space, construction and material, to evolve into its own style. The aesthetics of a project are never defined at the beginning but grow within this core idea with a larger picture in mind and the style evolves to have its own strong characteristics which will give the space its identity.


As Buckminister Fuller once said: “When I’m working on a problem, I never think about beauty. But when I’ve finished, if the solution is not beautiful, I know it’s wrong.” We feel that this process is very important as it lends each space, each person, and each building its own distinct character, its peculiarities, its culture and style thereby telling the story of the project, evolving and being able to withstand the test of time.

Studio Meraki has been envisioned on the core principles of perceiving the emotional values in design. I may not necessarily focus on any particular form/morphology primarily as the building blocks of my design methodology, but certainly on the emotions they generate in us. I rely heavily on the principles of Cognitive Architecture and Biophilic design for building happy and healthy habitats, while paying attention to the dwellers’ psychological and physiological comfort, hence generating less distress in society.

Alongside, it would be very apt to mention my tryst with the concept of genius loci by acclaimed educator and architect Norberg Schulz during my research and my subsequent lifelong love affair with it. In Roman mythology, Genius loci was the protective spirit of a place. In contemporary usage, it usually refers to a location’s distinctive atmosphere, or the spirit of the place. The concept has been discussed in modern architecture, but still is much underestimated. It states that ‘a house needs to be protective; a church needs to be solemn’. This has been the guiding wave in my approach and philosophy wherein I try to establish the same spirit/soul in the spaces that I create or recreate.

According to the latest studies in Neuroscience and Psychiatry, there is a tremendous psychological cost attached to buildings and health and well-being of the occupants, who are scientifically proven to be affected by the quality of the inhabited spaces. So more than building a marvel, it is imperative to study the wiring of the human brain, its instincts and responses to spaces to be able to design for the average human and its mindfulness in an already stressed-out society.


Garnering clues from studies on Cognitive Architecture and Biophilic design, we step into the picture and try to usher our way through the project. The word ‘Meraki’ is derived from the Greek word that means doing something with soul, creativity, or love; when you put ‘something of yourself’ into whatever you’re doing.

My architecture/design style is concerned with the method and attitudes of development, disengaging from the visual outcome of the final built product. It flourishes out of shifting balances to maintain integration of three agendas: upholding ambitions of people who envision it, cultural continuity of where it is built, innovating with and enabling people building it.

Creating new forms having relevant associations with client’s spirit and respecting the local context, not to be self-referential within themselves. In markets like India, where material and labour contribute almost evenly to building-economy, the idea is to serve an approach, instead of creating a display of new materials or to serve the craft. To be able to reinterpret it, continually renewing it to be able to personalise and adapt it. These developments in form and techniques are an endeavour to societally empower us to have new possibilities, extend collective wisdom and associations of society and not to create shocks and stirs. It progresses slowly step by step, strongly relying on itself to work with current skills and know-how of workers.


Within our domain of developing space and drawing boundaries for materials to reside, the intent is to integrate and overlap the three systems: spatial, structural and climatic all within the same limits. To be able to work competently to serve architecture with interests of comfort, environment sensitivity, and economy, to achieve balance and, thereby, beauty.

Our design philosophy is based on balancing the clients’ requirements along with an innate keenness to create a socially relevant and an environmentally responsible architecture. Our architecture style is clean, no-nonsense architecture that’s climate responsive at best. We don’t really advocate ostentatious designs for the heck of it.

Value for money is important. Value of resources is important. Wastefulness in any form today is to be reviewed and discouraged. Good architecture is creativity in using the right resources in the best manner. Quality and low-maintenance are the most essential and on-top-of-the-list ingredients of our style quotient. Great designs fare pathetically if they are high-maintenance and not maintained in the long run. Same goes for good designs on paper that are executed with poor quality. ‘Doing less is more’ is really the most suitable where maintenance is a challenge in the best of projects. Since budgets are always defined for any project, where to spend and how to spend is an important part of the architectural design process. Improvement on quality and specifications is far more important than to add some unnecessary elements that would just add unnecessary cost.

‘Beauty is subject to choice but virtuous design is impartially beautiful’. Going by this belief, we try to be true to the context of design. Windows without any shading devices may look great and work great on a facade in a particular climate, but they would fail miserably in a sunny climate where shading is critical.


We would like each project of ours to be different than the other, so having an architectural style, so to say, one that deprives us of thriving on variety and having a fresh perspective for each project, is no agenda for us. We prefer well-balanced designs. Having too many elements vying for attention is chaotic design for us, wherein a well-balanced design with rightful focal points is pleasing to our design sensibilities. We also love to use colour for its charm. In today’s times, most of our private clients are very well-read on design trends, thanks to pinterest, instagram etc; they know what they are looking for in terms of aesthetic expression of their personal style. If they let us surprise them with some new and fresh design ideas, we consider ourselves fortunate!