What sets Indian design apart from other global styles?
In our view, what sets Indian design apart from other global styles is its profound anchoring in the ethos of Sanātana Sanskriti — the eternal way of being that perceives the universe as a living, conscious continuum. Here, creation is not a mechanical act but a sacred unfolding, where every element — sound, form, light, texture, and life — exists in interdependence, reflecting the timeless truth of “Vasudhaiva Kutumbakam” — the world is one family.
The very name Bhārata embodies this essence. Derived from “Bha” (light, knowledge) and “Rata” (immersed, devoted), Bhārata means “the land where people are devoted to the pursuit of light — of knowledge and truth.” Thus, Bhārata is not merely a geography but a sacred vision — a civilization rooted in Jñāna (wisdom), Dharma (righteousness), and Saṁskāra (refined conduct), where design emerges as a reflection of consciousness rather than a pursuit of form.
In essence, what distinguishes Indian design is that it is not a style but a spiritual continuum — a living dialogue between the visible and the invisible, the maker and the divine…
Within this continuum, design becomes an Ābhivyakti — an expression of the Ātman (spirit) manifesting through Rūpa (form). It seeks Samanvaya — harmony between Deha (body), Manas (mind), and Ātman (spirit); between human life and the larger rhythms of nature; between the material and the transcendental. Each act of creation aspires toward Samatā (equilibrium), guided by Śraddhā (faith), Anugraha (grace), and Ṛta (cosmic order).
Whether it reveals itself in the geometry of a temple, the cadence of a rāga, or the intricacy of a handwoven vastra, Indian design celebrates multiplicity while unveiling unity — Ekam Sat Viprā Bahudhā Vadanti (the truth is one, the wise call it by many names). It is fluid yet anchored, diverse yet cohesive, ever-evolving yet eternal.
In essence, what distinguishes Indian design is that it is not a style but a spiritual continuum — a living dialogue between the visible and the invisible, the maker and the divine, forever guided by the Sanātana Tattva — the truth that never fades.
How does traditional Indian design influence your work, and are there other cultures or styles that have inspired your creative approach?
Centuries of invasions and foreign rule fragmented India’s Vedic cultural continuum, leaving behind only traces of a once seamless flow of knowledge. In architecture and design, the profound wisdom encoded in our ancient texts was long dismissed as superstition — not because it lacked substance, but because few could truly perceive the depth and evolved understanding it carried.
In recent years, however, there has been a resurgence — a turning inward to rediscover the wisdom our ancestors entrusted to us. We are now approaching traditional Indian design afresh, not by replicating its outcomes, but by deciphering the processes and consciousness that shaped them.
Our exploration through the fusion of Indian Classical Music with Architecture and Design — which we call Muziteccture or Swarakritti — is one such endeavour. It seeks to translate rhythm, proportion, and harmony into spatial language, where architecture begins to breathe like a rāga, and design becomes a living resonance.
We are now approaching traditional Indian design afresh, not by replicating its outcomes, but by deciphering the processes and consciousness that shaped them.
Parallel to this, the Japanese design approach has deeply inspired us. Rooted in their own ethos, Japan has shown how tradition and modernity can coexist — fusing engineering, technology, and new materials with cultural subtlety to shape a design language that is globally relevant yet profoundly local. Their example reaffirms our belief that India’s design evolution too must emerge from authentic rootedness, refined through awareness, innovation, and purpose.
How does working across diverse project types — such as architecture, landscape, and interior design — influence your design thinking and creative process?
Working across diverse realms such as architecture, landscape, and interior design continually deepens our understanding of the principles that lie at the heart of our Sanskriti. Among them, the idea of the Bīja — the seed — forms the foundation of our creative process. The Bīja represents both origin and potential, the subtle essence from which every form of creation unfolds.
In our view, each project, space, or idea carries within it a Bīja — a seed of intent, an inner vibration of consciousness — that, when nurtured, naturally reveals its form, rhythm, and expression.
From that Bīja emerges the idea of Samagrata — the state of wholeness and integrative harmony. In our Sanskriti, there is no separation between the physical and the metaphysical, between structure and spirit. Everything — Prakṛti (nature), Puruṣa (consciousness), Kāla (time), and Deha (form) — belongs to one continuous flow.
In our view, each project, space, or idea carries within it a Bīja — a seed of intent, an inner vibration of consciousness — that, when nurtured, naturally reveals its form, rhythm, and expression.
This awareness of interconnectedness shapes the way we design — where architecture extends into the landscape, the landscape breathes into the interiors, and every element participates in a shared rhythm.
Thus, design for us is not about assembling parts but about revealing unity — nurturing Samanvaya, the alignment of form, function, and feeling. Each project becomes an exploration of its Bīja and a celebration of its Samagrata — allowing the tangible and intangible to meet in quiet, resonant harmony.
Have clients become more willing to make bold design choices over the years? How do you encourage them to do so?
Yes, over the years we have witnessed a remarkable shift in the acceptance of bold design choices across Bharat. Of course, several factors have contributed to this transformation — the internet wave that has made everything visible and accessible, social media platforms that have broadened exposure and aspiration, and the economic rise of Bharat which has infused Bhāratīyas with greater confidence in self-expression. Collectively, these have opened minds and nurtured a more fearless design outlook.
We have found that clients become truly open to bold ideas not through persuasion, but through trust — when they sense in the designer certain enduring qualities.
But with us, it has always been so — not as a response to trend, but as a reflection of timeless principles rooted in our Sanskriti. We have found that clients become truly open to bold ideas not through persuasion, but through trust — when they sense in the designer certain enduring qualities.
The first is Tapas — the inner fire and steadfast perseverance that carries an idea through to its rightful form.
The second is Niṣṭhā — the sincerity of approach, where every decision arises from integrity and clarity.
Then comes Anuṣṭhāna — the sacred devotion to process, where design is allowed to evolve with awareness and grace.
And finally, Ātmābhivyakti — the revelation of one’s authentic nature, where each space is created as an expression of individuality rather than generality.
When these four — Tapas, Niṣṭhā, Anuṣṭhāna, and Ātmābhivyakti — become evident in a designer’s being and practice, clients naturally begin to trust. And that trust is what invites boldness — for they can sense that what is unfolding is not merely new, but true.
