The Gyaan Project

Welcome to a new series, “Footprints of History”. The Drawing Board, with whom I am partnering for the 3rd consecutive year, brings this series to you. The Drawing Board is an international architecture competition based in India where students can test their understanding and skills in shaping how communities live and thrive while preserving local heritage. TDB has been actively running an Architecture competition for undergraduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, which is the 9th edition of the competition, the design brief revolves around redesigning the Pathu Thoon Lane in Madurai (Tamil Nadu, India) also known as "10 Pillar Street”. This site is somewhere between the Meenakshi Temple and Thirumalai Nayakar Place. The design challenge is to restore and integrate the lane's cultural heritage, emphasizing these 10 pillars. The submission deadline is 16th September 2024. More details in the show notes and thedrawingboard.in

Ludwig Mies, the German-American architect, once said "Architecture is the will of an epoch translated into space.” And this quote aptly describes our today’s guest. Hans Brouwer. Hans, originally from Hong Kong, is a distinguished architect with a global footprint. He studied architecture in Switzerland and the University of Southern California, where he graduated top of his class. Hans spent his early career with Sir Norman Foster, contributing to landmark projects like the Century Tower in Tokyo and Commerzbank Headquarters in Frankfurt. In 1995, he founded HB Design, later relocating to Singapore, and expanded to regional offices in Phuket and Bangkok. An award-winning architect, Hans also teaches at the National University of Singapore and frequently speaks at industry events.

1. What do you see when you see the 10 Pillar Street - as an architect and as a tourist or history lover? Which aspects stand out for you?


2. You have a strong emphasis on “the process”. You say this process is truly creative because the end is not known at the beginning. Can you unpack this for us?


3. At HB Design, you emphasize the importance of context and site in shaping architectural outcomes. How do you balance the need for innovation with the preservation of cultural heritage in a project?


4. You deeply engage with clients in the design process, how would you involve a community or stakeholders in a project like the restoration of Madurai’s Pathu Thoon Lane?


5. Assuming Designers or specialists are generally aware of the pros and cons of various solutions and living on tradeoffs. Given the expertise, what amount of community involvement is apt - because, if we go and ask people, they will want faster horses while the solution could be inventing a car.


6. I am very curious to know about BIM - What is building information modeling? How does it help in the process and over all practice at HB Design?


7. With BIM being such an integral part of HB Design’s process, how do you see technology aiding in the preservation and restoration of culturally significant sites?


8. You are working in South east Asia where we are seeing a lot of innovation with great emphasis on green infrastructure. What are a few trends in the technology and architecture industry which can be applied to this complex network of communities and historical 10 pillars?


9. In the future world if AI, which faculty should young architects need to build to accept or reject AI proposals assuming they have the analog context of climate change and other challenges? Especially with AI, machines can simulate and build imaginary landscapes and more…

1. https://www.hbdesign.biz/


2. https://zakworldoffacades.com/speaker/hans-brouwer/


3. https://www.linkedin.com/in/hans-brouwer-70b6b0a7/?originalSubdomain=sg


4. https://www.designandarchitecture.com/article/hans-brouwer.html


5. https://www.re-thinkingthefuture.com/architect/hb-design/


6. https://www.youtube.com/watch?v=srX9bcl10MI

Welcome to a new series, “Footprints of History”. This series is brought to you by, The Drawing Board, with whom I am partnering for the 3rd consecutive year. The Drawing Board is an international architecture competition based in India where students can test their understanding and skills in shaping how communities live and thrive while preserving local heritage. TDB has been actively running an Architecture competition for undergraduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, the 9th edition of the competition, the design brief revolves around redesigning the Pathu Thoon Lane in Madurai (Tamil Nadu, India) also known as "10 Pillar Street”. This site is somewhere between the Meenakshi Temple and Thirumalai Nayakar Place. The design challenge is to restore and integrate the lane's cultural heritage, emphasizing these 10 pillars. The submission deadline is 16th September 2024. 

Today’s episode is called, “Pillars of Past and Present”. I am pleased to have Architect Uday Andhare with us on Audiogyan. Uday has been a design principal at Indigo Architects since 1998. He holds a degree from CEPT University and the University of New Mexico. Uday advocates for technically appropriate and ecologically sensitive architecture, blending traditional wisdom with modern design. Uday teaches at CEPT University while leading his firm in Ahmedabad. He has drawn diverse experiences during his internships with B.V Doshi and while working in the USA.

1. What do you see when you see these 10 pillars on Pathu Thoon Lane? Which aspects stand out for you from an Intent, Material, and Context point of view?


2. The Getty Podcast - B.V. Doshi said, “Is Architecture defined by theory or it’s a convention, or it is something which is rooted in the place?” What are the potentialities of such a project? Do you consider it be a restoration project or conservation or anything else?


3. You have consciously chosen friendlier materials in your projects at Indigo. If one has to restore or build things around the pillars, would you build with new materials and new technology or continue with existing materials or the same fabric?


4. What are the few anchor points of traditional Indian architecture that still hold relevance today? (More meta)


5. Likewise, what are the few enduring aspects of Indian architecture that can inform students in this project?


6. Your Philosophy is “search for contemporary rootedness in this ever-changing environment”. How do you spot it? What are the key parameters on which this search happens?


7. For you, every new project feels like your first. How can any practicing architect or any creative individual maintain this fresh perspective, this outlook/worldview?


8. Which faculty would young architects need to build for the future digital world? Especially with AI, machines can simulate and build imaginary landscapes and more… What will make architects accept or reject AI proposals assuming they have the analog context of climate change and other challenges?

1. https://indigo-architects.com/


2. https://www.instagram.com/indigoarchitects/


3. https://www.instagram.com/udayandhare/


4. https://www.instagram.com/rohanbuilders/


5. https://www.instagram.com/mindspacearchitects/


6. https://www.instagram.com/thedrawingboard.in/


7. https://thedrawingboard.in/


8. https://www.youtube.com/playlist?list=PLFIgtET-7ZIzMxVo0EeOdO3NaG-g0V2ve


9. https://www.linkedin.com/in/uday-andhare-0b34406/?originalSubdomain=in


10. https://theloftforum.org/people/uday-andhare/


11. https://x.com/indigoarch_amd?lang=en


12. https://www.re-thinkingthefuture.com/know-your-architects/a1534-indigo-architects-15-iconic-projects/


13. https://thinkmatter.in/2017/02/27/indigo-architects-mausami-and-uday-andhare/


14. https://www.archdaily.com/author/uday-mausami-andhare


15. https://www.facebook.com/watch/?v=1264525753603165


16. https://www.youtube.com/watch?v=RT1jqsobX8o


17. https://audiogyan.com/


18. https://blogs.getty.edu/iris/audio-b-v-doshi-modern-architecture-in-india-part-2/

Friedrich Nietzsche once said, “We should be a mirror of being: we are God in miniature.”. I Had Srijan Jha in Ep. 258 on “How mini can a miniature art be’ and a case study of ‘Green humor’ with Rohan Chakravarty in Ep.253. And today’s episode is an amalgamation of both. Today’s guests do a lot of work in the realm of nature in miniature.

I am pleased to have Nayan Shrimali & Venus Bird (earlier known as Vaishali). They are the duo who run the “The Paper Ark”, store, project - we’ll find out soon.

Nayan is a furniture and interior design graduate from NID, Ahmedabad. He now works full-time as a paper cut artist. Venus holds a diploma in animation and visual effects, she brings life into these objects through colors. They both are from Ahmedabad.

1. What is The Paper Ark? How did you start and why? What initially drew you both to miniature papercutting and specifically to birds and animals as your subjects? The "1000 Days of Birds" series is a remarkable feat! How did the concept for such a long-term project come about, and how did you two stay motivated throughout?


2. Does this art form have a rich history in various cultures? Do you have a specific name for the style of papercutting you practice? Are there specializations?


3. How can one get into this? For aspiring artists interested in papercutting, what basic skills or knowledge do you think are most important to develop?


4. Given the intricate detail, can you give us a rough estimate of how long it typically takes to create one of your miniature artworks?


5. What is it about working in miniature that appeals to you? Is it the focus on detail, the challenge of working small, or something else?


6. In your collection, you have a wide variety of birds and animals. Do YOu also have various themes such as ‘Rare’, and ‘Pollinator project’? How do you decide which subjects to create miniature paper cuttings of? How do you start and what is the process like?


7. As successful artists selling your work online, have you encountered any specific challenges in marketing or running a business focused on miniature paper cutting?


8. Can you share some insights into your tools and materials? Are there any specific types of paper or cutting implements that you find essential for creating your miniature objects?


9. It's fascinating that your primary audience is overseas! What do you think attracts international collectors to your work?


10. What is the future? Any new series, themes, or techniques you'd like to explore? Where and how can people collaborate?

1. https://www.thepaperark.com/


2. https://www.instagram.com/thepaperark/


3. https://www.instagram.com/nayan_venus/


4. https://www.instagram.com/venusbirdart/


5. https://audiogyan.com/2022/10/19/green-humour/


6. https://audiogyan.com/2022/12/21/how-mini-can-be-miniature-art/

John Pathrose interviews me in this 300th Episode. The Host becomes the guest. John is an old friend and a media professional. The following topics were covered in our conversation. 

Power of Design

1. What is design (your definition)?


2. What is the impact of design (beyond visual – socio/economic/political)?


3. What is the current opportunity in the design world – past, current, or future?


4. How would you pitch ‘the world of design’ to someone – why is it exciting?


5. Three favorite design moments

Power of Knowledge

1. What are your top 3 learnings through Audiogyan


2. Share some aahaa moments during your conversations


3. How has this helped you?


4. Role of knowledge in a ‘fake it till you make it’ world


5. Spoke to 300 knowledgeable people – what is the commonality amongst them (attitude/ qualities/ aptitude)

Power of Passion

1. What does passion mean to you - and how has it influenced your Audiogyan journey?


2. How do you maintain and nurture your passion over time, especially when faced with obstacles or setbacks? How do you keep the energy high?


3. In your opinion, what are the signs that someone is passionate about something – how do you apply this in your professional life?


4. How do you think passion differs from mere interest or enthusiasm, and why is it important? What advice would you give to someone who is struggling to find their passion or purpose in life?


5. Have you ever had to make a decision that required you to choose between your passion and a more practical or secure option? How did you approach that decision?

Reference links

1. https://audiogyan.com/2018/05/02/noopur-datye/


2. https://audiogyan.com/2023/12/13/discussing-typeface/


3. https://audiogyan.com/2019/10/02/anupama-hoskere/


4. https://audiogyan.com/2020/12/02/neelkanth-chhaya/


5. https://audiogyan.com/2019/01/02/ayaz-basrai/


6. https://audiogyan.com/2024/04/10/measure-of-good-designers/


7. https://audiogyan.com/2024/04/16/design-leadership-in-startups/


8. https://audiogyan.com/2017/09/27/shiva-n/


9. https://audiogyan.com/2017/03/19/varun-grover/


10. https://audiogyan.com/?type=wrtd-series


11. https://audiogyan.com/?proffession=typographer

#design #podcast #art #audiogyan #kedarinterview #300episodes #designthinking #passion #knowledge #consistency #humility #openminded #learning #questioneverything #embracethegrind #loveandempathy #stevejobs #opportunity #brucelee #water #porous #johnpathrose #typedesign #architecture #passionproject #milestone

We're delving into the exciting yet complex world of African architecture, with a particular focus on Nigeria. We'll explore trends that hold valuable lessons for India, a nation grappling with similar challenges. Nigeria is experiencing rapid urbanization, with the urban population projected to reach over 200 million by 2050. A significant portion of this urban population lives in slums and informal settlements due to housing shortages. Many urban areas lack proper infrastructure like sanitation and water supply.

We discuss all this from a Designer’s lens, I have James Inedu George with me on Audiogyan. James is one of the most eminent and influential West Africa architects and designers of recent decades recognized for his innovative approach to solving complex urban challenges, and most famously his brilliance with space and design. He is the founding partner and Design Lead at HTL Africa Ltd, Tao South Africa, and HTL Asia Plus, which works on projects around the world and is widely considered “among the most significant in contemporary architecture”.

Questions

1. Why and how does architecture empower people?


2. What do you mean when you say, “Buildings become citizen”? You also say, architecture should become land pads. Tell us more about it?


3. What are metro houses? What are some successful examples of involving local communities in the planning and construction process for metro housing projects in Nigeria or around the world? yes, it’s innovative and radical but are their any proof of concepts?


4. What is the main reason that government choses to provide housing and not land? Is it easy to manage given the state capacity?


5. What makes you believe in so decentralised and democratic way of thinking in Africa or Nigeria? Can you share examples of successful projects that bridge the gap between urban centers and rural communities in Nigeria?


6. India’s per capita GDP is 2.4K USD and Nigeria’s is 2.1K. Nigeria’s literacy rate is also almost in the similar range of 75-78%. What gives you hope that Mama Ya Bo, she generates employment, produce energy, distributes, build stuff for future generations and become part of the main economy?


7. Can you unpack the word Affordacity in context of architecture, urban design and planning?


8. In your TED talk, you said, ‘cities are dying’. In India, especially the financial capital, Mumbai, we see a lot of ghost buildings where they are either not in use or built illegally. With the city growing vertically and no land to build, What would be your advice to repurpose architecture.


9. Cities are economic power hubs where people migrate for better life and opportunities. But few thinkers in India believe that life is truly in small towns and villages. How do you see this as a designer and urban planner?


10. Can you share few tips for young designers who wish to get into this profession of architecure?


11. When you see all problems, I can understand that you see opportunity. But being a designer, you also see solutions. Tell us more to wrap this episode. What insights have you got as a designer?

1. https://en.wikipedia.org/wiki/James_Inedu-George


2. https://www.instagram.com/jymsig/?hl=en


3. https://www.linkedin.com/in/james-inedu-george-2ab80a24/


4. https://x.com/unfolding_arch?lang=en


5. https://www.youtube.com/watch?v=Next1LJHCVU


6. https://www.htlafrica.com/


7. https://www.ted.com/talks/james_george_introducing_the_future_of_african_cities?subtitle=en


8. https://www.youtube.com/watch?v=XxCIrCwmv70

This is the last episode of the #designersdigest series where we have Daniel Burka and co-host Shreyas Satish.

We talk about blurring lines between product and design, the importance of being a generalist in design, and the role of product managers in the design process.

This series is created by Audiogyan in partnership with @godrejdesignlab

Designer's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design.

Daniel is the director of product and design at the not-for-profit Resolve to Save Lives, where he spends most of his time on the open-source project, Simple. Simple is used by thousands of hospitals in India, Bangladesh, and Ethiopia to manage over 2 million patients with hypertension and diabetes.

He is on the board of Laboratoria, a not-for-profit based in Peru helping Latin American women build successful careers in tech. In 2021, Daniel also started the open-source Health icons project to provide free icons to healthcare projects around the world. He is also a member of Adobe's Design Circle, which grants scholarships to a diverse group of designers each year. Previously at Google Ventures as a Design Partner, Co-founder of Milk.inc and SiverOrange, and more…

Questions

1. At RTSL, You’re a Director of both Product and Design. How do you distinguish between the two verticals daily, especially concerning concerns and metrics?


2. Who is a Product manager and who is a designer according to you? Who according to you is supposed to focus on defining the right problem and then crafting the perfect solution? How blurred are these lines? What are the primary differences if I may ask?


3. Seems like a designer can become a PM. Can it be the other way around? This is in the context of a few hard skills.


4. A PM is torn between a thousand things from business to analytics and many other things. How can designers venture into this role? Also, can you steelman the case for a designer to become a PM?


5. In a lot of companies, tech and design functions are both product reports, while in many these are separate verticals. In your experience what works best and when?


6. One criticism of product managers, by folks like Marty Cagan, is that product managers often function as project managers. What in your view should a product manager focus on bringing to the table?*


7. Designers in their romantic vision want to solve problems for all users. While Product folks go after those getting the dollars. Can you give any example from your experience where you have balanced it elegantly? What did it take?


8. One death is a tragedy while a thousand deaths are statistics. How do you see this in the world of Product managers obsessed with data over real emotions? This is specifically for your work in healthcare.


9. Some companies Like Airbnb have evolved their org structures to have Product Marketing Managers and Apple of course has Program Managers who report to a Product Director. Do you have a framework to think about organizational design with product teams, of course, knowing that different organizations have designed differently based on what they are focused on?


10. What do you consider the key responsibilities of a product designer? Again, from tiny startups to large MNCs*


11. You work on Simple, which is of course, primarily focused on creating impact. Can you talk a little bit about what it’s like designing for social impact compared to increasing market share or profitability? In a digital landscape, how can we ensure our products create real value and positive impact beyond just solving problems?


12. What is the future of Product Managers and Designers in the AI world? What does the career ladder look like? What skills do we acquire for the future of WWW?

https://audiogyan.com/?type=wrtd-series

https://audiogyan.com/2021/10/06/shreyas-satish/

https://twitter.com/shreyas_satish

https://www.ownpath.com/about

https://www.linkedin.com/in/shreyassatish/?originalSubdomain=in

https://designup.school/teacher/daniel-burka/

https://library.gv.com/defense-against-the-dark-arts-of-design-a114e5f048bb

https://iconscout.com/contributors/healthicons

https://medium.com/@dburka

https://x.com/dburka?lang=en

https://www.instagram.com/dburka/

https://www.linkedin.com/in/dburka/?original_referer=https%3A%2F%2Fwww.google.com%2F&originalSubdomain=uk

https://danielburka.com/

https://en.wikipedia.org/wiki/Daniel_Burka

Tune into this 9th episode of a 10-part series, "Designer’s Digest” with Chandrashekhar Wyawahare. We talk all about Industrial Design, Make in India, and the skills required to become an Industrial Designer.

This series is in partnership with @godrejdesignlab. Designer's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating design world.

When you look at Braun or any industrial product designed by Dieter Rams, whether it’s the Braun T4 Radio designed in 1960 or the T2 Table lighter designed in 1968. Undoubtedly, you’ll fall in love with the form factor and the simplicity. Industrial design has always been fascinating.

Chandrashekhar Wyawahare, co-founder of Futuring. Chandrashekhar graduated in architecture with a master’s in industrial design from IDC in IIT Mumbai. Before co-founding Futuring, he worked in Europe with leading design studios. His work in Neumeister Design exposed him to a fine sense of styling and helped him develop a keen eye for perfection. Chandrashekhar has been subsequently responsible for a strikingly wide range of work from appliances to transportation design. He is a keen educator and has been on design juries at many architecture and design schools. Futuring sees Industrial Design as a dynamic, empathetic, and strategic process.

Questions

1. Who is an industrial designer? It has a wide canvas, specializing in multiple sub-disciplines. But what is the core of being an industrial designer? Or being a designer for that matter?


2. How has the landscape of industrial design evolved in India? What were the biggest transitions you’ve witnessed, and how did Futuring adapt?


3. Make in India is now a buzzword. Where are you on that? Should it be designed in India or made in India? Are we ready for it?


4. In an era of mass production and globalization, what does it mean to be an "Indian" industrial designer? What Indian ethos do you think we can bring to the products we design or make?


5. By the very definition of industrial products, it’s safe to say that it’s mass produced. Can mass-manufactured products truly be "high quality"? What compromises are typically made, and how can we advocate for better quality standards in Indian design?


6. Consumerism often drives design trends. How do you balance aesthetics, user-centricity, and sustainability, and yet be cost-sensitive for a market like India?


7. You have a keen interest in education and have been on jury panels in top design schools in India. What’s happening in new-age India and how is the talent gearing towards entering the workforce? From skill to gender diversity to leveling up for actual work.


8. How do you spot talent for Futuring? What gives you the confidence to recruit designers? What do you look for in their work/portfolios?


9. You often speak about Industrial design one needs a good tech background, be it engineering or architecture. What does the Industrial designer’s career ladder look like? From a new entrant to say, being a principal designer?


10. What one piece of advice do you get from your mentor that you still practice? What advice to young designers?


11. What according to you is the future of industrial design in India? Perhaps in the world of automation and meta-verse.

Reference Reading

1. https://futuring.design/Voices


2. https://onlyonceshop.com/


3. https://www.punedesignfestival.com/speaker/chandrashekhar-wyawahare/

Tune into this 8th episode of a 10-part series, "Designer’s Digest” with Akanksha Sethi.

This series is in partnership with @godrejdesignlab. Designer's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating design world.

Starting with a few numbers collected from SIAM, (Society of Indian Automobile Manufactures) and the Federation of Automobile Dealers Associations (FADA)

1. Over 4.4 million vehicles were produced in India in 2022-23.


2. We’ve around 10 Big players in the Automobile industry, Maruti Suzuki, Hyundai Motor India, Mahindra & Mahindra, Tata Motors, Honda Cars India, Toyota Kirloskar Motor, Renault India, MG Motor India, Hero MotoCorp, Bajaj Auto.


3. India ranks as the fourth-largest passenger vehicle market worldwide.


4. 1.2% of cars sold in India were EVs. However, as per ETAuto, EV sales are rapidly growing, with a 230% increase.


5. The Indian government aims to achieve 30% EV penetration by 2030 through various initiatives and policies.

To discuss all this and Automobile Design as a career in India... Akanksha Sethi joins us. Akanksha has been a Colors, Materials, and Finish Design, Group lead at Maruti Suzuki for the past 13 years. She did her Bachelor of Design from the National Institute of Fashion Technology. Before joining Maruti Suzuki, she had worked at Amrapali Jewels and Titian Industries.

Questions

1. Who is an automobile designer? What are the sub-disciplines within it? You deal with Colors, Material, and Finish. Tell us more about it. What do you do when it deals with CMF?


2. How does one grow in a career in automobile design? Can you describe the career ladder for automobile designers in India? What are the typical milestones, changes of responsibilities, and challenges at each stage?


3. What is the difference when they say, “Manufactured in India” versus “Assembled in India”? How and where do designers from India fit in this setup? What goes when collaboration happens - Suzuki + Maruti or Hero and Honda?


4. What are some of the most iconic or impactful car colors or materials and finishes you've been part of in your career? What makes them special?


5. What defines the success of a good color for a car?


6. How do we define a good, reliable, and safe material? What are checks and tests done to test materials?


7. How have the skills required for automobile design changed after liberalization (1990)? Or maybe when Maruti 800 came on the market in 1983?


8. What new skills are becoming increasingly important, especially in the context of electric vehicles and sustainable technologies when we talk about CMF?


9. What are the major trends and challenges that are shaping and will shape the industry in the coming decades when it comes to CMF?


10. In this 10-part series, I have 4 woman designers and you are one of them. As per the D’Source repository, only 2 women designers out of 19 Automotive designers in India. Can you talk a little bit about gender diversity within the automobile design industry? What unique challenges have you faced being a Women Designer in the Automobile / Man’s world? What advice would you like to give young designers entering the Automobile Design world?

Reference reading

1. https://www.dsource.in/resource/history-automotive-design-india/top-automotive-designers-india/akanksha-sethi


2. https://www.dsource.in/resource/history-automotive-design-india/automotive-design-schools-india


3. https://www.dsource.in/resource/history-automotive-design-india/important-automobile-models/cars-designs


4. https://www.dsource.in/sites/default/files/resource/history-automobile-design-india/downloads/file/history_automobile_design_india.pdf


5. https://www.linkedin.com/in/akanksha-sethi-a7549723/?originalSubdomain=in


6. https://www.siam.in/about-us.aspx?mpgid=1&pgidtrail=2


7. https://www.fada.in/

Tune into this 7th episode of a 10-part series, "Designer’s Digest” with Ruchita Madhok. Audiogyan creates this series in partnership with @godrejdesignlab

Designer's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating design world.

Ruchita has been a guest on episode 159, named “Designing a Visual Guide”. The poetry of everyday life inspires her. Through the mediums of cyanotype printmaking and drawing, she explores the conversations between nature, the cosmos, and the inner self. An award-winning communication designer, Ruchita brings a passion for print, photography, and illustration to her work as she plays with words and images to create works of art, books, and zines. Ruchita is the Founder and Director of Kahani Designworks and built Storycity, Imaginative books, maps, and guides for curious people.

We talk about what it means to be a graphic designer, in India, as a woman, and how you grow as a designer, many things to unpack.

Questions

1. Who is a graphic designer? What's the job? You engage yourself in Poetry, Literature, and many other things beyond design. How critical it is for any creative endeavor?


2. How do you see growth in this discipline? What does an entry-level designer do in Graphic Design? A person with 30-40 years of experience like Paula Scher or Milton Glaser - Will they be still hands-on like a performing artist? How do you see the graphic design career ladder?


3. I understand that Design has many aspects, including communication, solving problems, and more… Particularly in graphic design, it’s communication, right? What is making you move (or have moved you) from Graphic Design and infographics to ‘art’ and more niche sort of storytelling? Why have you started exploring cyanotype printmaking and more?


4. Kahani Studioworks and StoryCity believe in collaboration? Do you hire? What do you seek in people with whom you hire or collaborate?


5. How does your trio identity as an Indian woman, a designer, and now an artist influence your artistic style and perspective?


6. Do you see a distinct thread running through your work that speaks about your Identity or Indian-ness? How do you harness it to give it a personality or avoid it stereotyping your work? What would you share as a tip/advice for young designers?


7. Do you think your design work / or art needs to impact society? Should it influence fellow and young designers? You have been taking a lot of workshops and are interested in education. Tell me a little bit about it?


8. Ethical practices and sustainable design choices are now becoming mainstream buzzwords. Where are you on that and what are your principles in this dynamic world of Graphic Design?


9. In today's digital age, where people have been looking to increase the number of followers on social media, what advice would you give to Indian Designers (especially women)? What do they chase? What can make their work stand out or be impactful in this noisy world? How long can it take to find one’s voice?


10. The design field is vast and multifaceted. How would you encourage Indian women designers to explore their unique strengths and passions to find their niche within the industry?

References

1. https://www.instagram.com/ruchitamadhok/?hl=en-gb


2. https://www.ruchitamadhok.com/


3. https://www.linkedin.com/in/ruchitamadhok/?original_referer=https%3A%2F%2Fwww.google.com%2F&originalSubdomain=in


4. https://www.behance.net/ruchita


5. https://www.kahanidesignworks.com/


6. https://homegrown.co.in/homegrown-creators/ruchita-madhoks-botanical-cyanotypes-are-vibrant-interpretations-of-the-poetry-of-light


7. https://audiogyan.com/2020/01/22/ruchita-madhok/


8. https://www.storycity.in/

Tune into this 6th episode of a 10-part series, "Designer’s Digest” with Dhruv Jani.

This series is created by Audiogyan in partnership with @godrejdesignlab

Designer's Digest series is about Design as a profession, its daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design.

Dhruv Jani joins us on Audiogyan as we talk about the role of the creator in the world of Game Design. Dhruv Jani is an artist at, and the founder of the independent game studio: Oleomingus. He studies postcolonial writing and interactive fiction and explores the use of video game spaces as possible sites of protest and reparation. 

Questions

1. What does a game designer do? What does it mean to be a game designer? How can one become a game designer? What skills are required? Which other professions are required while designing a game?


2. Can you give a quick snapshot of how games came into existence and how they evolve into today’s video games and mobile games? A short history of sorts?


3. What are the broad categories/genres of games and which ones do you deal with? What’s special about your genre?


4. Your games often start with a narrative. What comes first when you think of a game? An event, a discovery of the past or a speculation of the future? An event? Where and how does any of your game start for Oleomingus?


5. What has politics to do with games? Is it because you have to pick a side? Is the game a Western concept for India? India has been a land of compassion, inclusivity, and forgiveness.


6. You call games to be Interactive fiction. Narrative interface design. What can and can not be told using games? Where does the medium flourish and where does it break?


7. Games have certainly evolved and come a long way. Now, I guess it’s the biggest industry on this planet. The games I recently got to know were Werewolves and Mafia and somehow the theme seems to be based on trust. What’s going on? How do you see it impacting the new generation and society at large?


8. Games are highly addictive, why? Which ingredient makes it addictive? Who is supposed to design it? Can you explain with an example of how the process happens?


9. Given the power of games, what’s the biggest responsibility of game designers?


10. Where are we heading as game players and game makers in this world of meta-verse and AI?

Reference Reading

1. https://audiogyan.com/2022/05/25/game-design/


2. https://www.sportskeeda.com/esports/news-the-right-consume-histories-dhruv-jani-studio-oleomingus-talks-creativity-meaning


3. https://indiaifa.org/grants-projects/dhruv-jani.html


4. https://en.wikipedia.org/wiki/Nash_equilibrium


5. https://en.m.wikipedia.org/wiki/Prisoner's_dilemma


6. https://en.wikipedia.org/wiki/Mafia_(party_game)


7. https://oleomingus.com/about-1


8. https://www.stirworld.com/think-opinions-gamescapes-indian-video-game-developer-studio-oleomingus-reconfigures-history


9. https://www.theguardian.com/games/2020/sep/22/video-games-india-politics-dhruv-jani-sushant-chakraborty-studio-oleomingus#comments


10. https://indiaartfair.in/game-grammar-dhruv-jani


11. https://garage.vice.com/en_us/article/3kxpgw/this-first-person-game-is-a-surreal-meta-fictional-experience-in-colonialism


12. https://www.sleek-mag.com/article/studio-oleomingus-surreal-video-games-marginalised-stories-india-history/


13. https://venturebeat.com/pc-gaming/the-indiebeat-how-studio-oleomingus-is-crafting-its-indian-post-modern-fairy-tale/


14. https://killscreen.com/studio-oleomingus/


15. https://scholar.google.com/citations?view_op=list_works&hl=en&hl=en&user=AMZG-C4AAAAJ&sortby=pubdate


16. https://www.ted.com/talks/dhruv_jani_the_interactive_fictions_of_generous_history