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| Titre | Date | Durée | |
|---|---|---|---|
| Ep.303 - Importance of process in architecture with Hans Brouwer | 11 Sep 2024 | 00:48:38 | |
Introduction
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. Questions
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| Ep.302 - Pillars of the Past and Present with Uday Andhare | 03 Sep 2024 | 00:45:38 | |
Introduction
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. Questions
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| Ep. 293 - Pushing the boundaries of design with Saif Faisal | 07 May 2024 | 00:52:37 | |
Tune into this 5th episode of a 10 Part series, "Designer’s Digest” with Saif Faisal, A new breed of bold Contemporary designer and founder of SFDW This series is created by Audiogyan in partnership with @godrejdesignlab Designer's Digest series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design. Massimo Vignelli’s once said, “If you can design one thing, you can design everything.” Even in our part of the world, somewhere in 15 hundred.. Mirza Khan Abdul Rahim once said, “Ek sadho, sab sadhe”.. Saif completed his training as an Architect from RV School of Architecture in 2010-11, alongside designing and participating in Formula SAE-Racing with the Mechanical engineering students at the college, where he acquired diverse experience in design, manufacturing, and technical know-how. After college, he went on to learn woodworking. These diverse formative explorations gave him a polymathic learning experience. His work draws heavily from his understanding of Anthropology, Processes, and Technology, which is very integral to his creative explorations. The deep appreciation he cultivated of ‘Essentialism’ from racing is revisited in his Design and Architecture. Saif is involved in guest lectures and talks at design and architecture schools. Apart from being an avid motorcyclist and a lover of cafe racers, he is into boxing and pursues his culinary interests rather seriously. Questions
Reference Reading | |||
| Synthesis of standardization with Neelkanth Chhaya | 01 Dec 2020 | 00:54:16 | |
Prof. Neelkanth Chhaya - Architect, academician, and thinker, Neelkanth Chhaya has researched and worked extensively in the domain of appropriate architecture for India. He has documented places of historic significance and authored numerous critical papers. He retired in 2013 as the Dean of the Faculty of Architecture, at CEPT, Ahmedabad after a 24-year teaching sojourn at the School.
Before we begin, a quick shout out to Ruturaj Parikh from Matter in Goa for introducing me to these brilliant minds from the world of architecture and education. I also wanna say hi to Ayaz Basrai whom i interviewed in episode number 104 and he recommended documenting Prof. Neelkanth.
Questions
http://www.ceptarchives.org/Peoples/neelkanth-chhaya https://architexturez.net/doc/az-cf-123851 https://www.acedge.in/courses/in-conversation-b-v-doshi-and-neelkanth-chhaya https://www.architecturetalk.org/home/87chhaya https://thinkmatter.in/tag/neelkanth-chhaya/ https://www.youtube.com/watch?v=XaSl_rFYsUc | |||
| Travel Writing with Shivaji Das | 24 Nov 2020 | 00:49:47 | |
Today I have, a Writer, traveller, and photographer; Shivaji Das with us on Audiogyan. He has authored few books like, ‘Off the Beaten Track: Collecting Stories of Unheard Lives,’ ‘Journeys with the caterpillar: Travelling through the islands of Flores and Sumba, Indonesia,’ and most recently, "The other Shangri-la".
Shivaji’s writings and work with migrants have been published in journals such as TIME, The Economist, BBC and more... He was born and brought up in the north-eastern province of Assam and now stays in Singapore. Today we are here to discuss about travel writing as a practice or as a profession. Lets find out.
Questions
Reference
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| Value centered design in Digital space with Navneet Nair | 17 Nov 2020 | 00:51:15 | |
Daniel Kahneman in his book, "Thinking fast and slow", mentions that people are innately irrational when it comes to making decisions. Same goes with how they consume everyday products. In the book "Design of everyday things" Don Norman speaks about how people blame themselves if they are not able to pull the drawer rather than blaming the designer. Well, there definitely seems to be a pattern. Lets explore few of them and more importantly a designers role in this setup. Being a Digital product designer myself, I have few insights. But to know more, today I have Navneet Nair with us on Audiogyan. Navneet is Head of Design at PhonPe. For the last two decades, he has been a hands-on practitioner of design and user focussed creative arts. Navneet has worked in both individual contributor roles and in leadership positions at startups and established companies like Yahoo & Google.
Questions
Reference Links | |||
| Designing temples with A Srivathsan | 10 Nov 2020 | 00:50:31 | |
Dr. A. Srivathsan is an architectural scholar with more than twenty-five years of experience in teaching, architectural and developmental research, and professional practice. Before joining his role as the Executive Director of CAU, Srivathsan served as the Academic Director of CEPT University for five years. He holds a Ph.D. from the Indian Institute of Technology along with a Master’s degree in Urban Design, School of Planning and Architecture, New Delhi. Today we are here to document how are contemporary sacred spaces designed, mainly the Hindu temples.
I also want to thank Ruturaj Parikh from Matter for making this episode happen.
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| ”Painter of people” with Sudhir Patwardhan (200 EP) | 03 Nov 2020 | 00:47:59 | |
This is the 200th episode of Audiogyan. Today I have Sudhir Patwardhan with us on Audiogyan. I celebrated 100th episode with India's design Hero, B.V. Doshi, and I am equally thrilled and excited to celebrate this 200th episode with another legend - Sudhir Patwardhan - one of India’s finest painters. Thank you Sudhir sir for giving your time and it's a real honor to have you on Audiogyan.
Questions
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| Brands and brand building with Karno Guhathakurta | 27 Oct 2020 | 00:53:03 | |
This episode is brought to you by MUBI, a curated streaming service showing exceptional films from around the globe. Every day, MUBI premieres a new film. Whether it's a timeless classic, a cult favorite, or an acclaimed masterpiece — a movie you’ve been dying to see or one you’ve never heard of before — there is always something new to discover.
Try MUBI free for 30 days at MUBI dot com, slash Audiogyan, that’s MUBI.com/audiogyan for a whole month of great cinema for free.
The concept of brand was once very simple. The word “brand” came from an Ancient Norse word “Brandr” meaning ”to burn”. In 950 A.D., brand meant a burning piece of wood. And in 1300’s, it meant a “torch” which was still meaning a burning piece of a wood used as a tool. In 1500’s, it meant a marked burned on cattle when farmers used to distinguish their cattle from cattle from other ranches. In early 1800s, mass production, products like wine started to flourish and sellers started to use the word brand to imply leaving a mark into the crates. Products with better quality and high value naturally became known as a high-end products. In 1870, it finally became possible to register a trademark, and Coca Cola facilitated this to advertise their slogan “Coca Cola Revives and Sustains”. Why am I talking about brands? Today I have Karno Guhathakurta with us on Audiogyan. He is a Creative director as Please-See agency which has designed numerous brands. They have done brand building for Foodhall, LazyPay, Mami and many more. We'll try and get some insights behind brand building and discuss MAMI logo in the later half of the episode.. Thanks Korno for giving your time and it'e a real pleasure to have you on Audiogyan. Welcome.
Questions
Hope you enjoyed the show. MUBI India announced it's arrival at MAMI last year. Now to tell you a bit more about MUBI - it’s a film streaming service, showcasing the best of Indian cinema on their MUBI INDIA channel and classic international hits on MUBI WORLD with a new film every day on each channel.
This week I recommend watching Abhay Kumar's Placebo, Kamal K.M's I.D., Ashim Ahluwalia's Miss Lovely
You can watch this and more great cinema free for a whole month at MUBI.com/audiogyan | |||
| Designing logo for the government with Tarun Deep Girdher | 20 Oct 2020 | 01:15:28 | |
Today I have Tarun Deep Girdher on Audiogyan. Tarun is a Activity chairperson at NID. He is passionate about and also teaches Type Design, Typography, Printing Technology, Illustration, Visual Narratives, and Environmental Perception. Tarun's professional projects include socially relevant communication projects, he has deep concerns about inclusive design, disability, gender sensitization, etc. He has designed more than two dozen publications. Apart from such a huge body of work, Tarun has also designed over thirty logos including Right to Information, and None of The Above (NOTA) for the Government of India - and that is the topic of our discussion today. Designing for the government.
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| Language and translation with Jayashree Joshi | 13 Oct 2020 | 01:06:17 | |
Recently in Puliyabaazi podcast from IVM, I heard a nice answer to a classic question, "what is the difference between language an dialect?" The answer was, "A language is a dialect with a gun in hand". All though the conversation had political and historical bend, i was super fascinated it. To discuss what is translation and how is it done and other smaller nuances of language, I have none other than Jayashree Hari Joshi with us on Audiogyan. Jayashree studied German at the JNU in New Delhi and also taught German after receiving her MA. She has been working at the Goethe Institute since 1996, was a program officer for twenty years, and since 2016 has been the Head of the institute's library in Mumbai. In addition to the Indian languages Marathi, Hindi and Sanskrit, she is fluent in English and German. She has translated German poems and plays into Hindi, Marathi and English. She also writes poetry in Marathi, which is regularly published. She has translated plays, poems, short stories novels and children's and youth literature from English and German into Hindi and Marathi. With such a huge body of work, I am just try and ask her few questions with my limited capacity and leave it to her to enlighten us.
Questions
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| MUBI - Case study with Svetlana Naudiyal | 06 Oct 2020 | 00:37:49 | |
Martin Scorsese once said, "Cinema is a matter of what's in the frame and what's out." I guess, MUBI also has a similar viewpoint. They are particular of which movie is on the platform and which is out. Svetlana Naudiyal joins us Audiogyan. She is a Director of content at MUBI India. Svetlana has a rich background in cinema, content, and curation. She has worked previously in different capacities for NFDC, MAMI, Drishyam Films to name a few.
We will try and understand how curation happens at MUBI and few aspects about curation of cinema.
Audiogyan listeners get a full month free of amazing films through mubi.com/audiogyan | |||
| Chawls of Mumbai with Rupali Gupte | 29 Sep 2020 | 00:50:08 | |
Trust, privacy, security, and many such words have got a different meaning in the coming decades as we moved from chawls to high-rises. Well, to discuss more about chawls and urban culture and their design, Today I have Rupali Gupte with us on Audiogyan. Rupali is an architect and a co-founder of Bard Studio in Mumbai. Her works include research on Indian urbanism with focus on architecture, urban culture, urban economy, property, housing, urban form, entrepreneurial and tactical practices. Rupali is one of the founding members of the urban research network, CRIT (crit.in) and the School of Environment and Architecture (sea.edu.in).
Questions
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| Ep. 292 - Maximise to minimise with Chitra Vishwanath | 01 May 2024 | 00:56:29 | |
Tune into this 4th episode of a 10 Part series, "Designer’s Digest” with @chitrav89 (Chitra Vishwanath) - Principal Architect and Managing Director of BIOME Environment Solutions (@biomearchitecture) This series is created by Audiogyan in partnership with @godrejdesignlab Designer's Digest series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder, and what edge we’ll need to thrive in the captivating world of design.
Chitra Vishwanath is an Indian architect based in Bengaluru who works on themes related to ecology and architecture. She has been running her own architectural firm since 1991, working with other architects on many projects of all sizes. She is currently the Principal Architect and Managing Director of BIOME Environment Solutions. She firmly believes that the true essence of a remarkable firm lies in the gradual fading of its founder's individual prominence. The establishment of a firm is influenced not only by the founder's drive but also by various contextual factors. Chitra cannot be solely identified as Chitra Vishwanath without acknowledging the integral role of Biome. Similarly, Biome's existence in its current capacity is inseparable from the contributions of her colleagues. BIOME has been involved in more than 700 projects encompassing the construction of buildings of all sizes and water harvesting and sanitation structures with specific relevance to the ecology of the sites. With earth as a basic material input in construction, BIOME has designed and built many structures. We’ll be talking about ecological architecture in today’s episode. Questions
Reference Reading
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| One knot at a time (Jaipur Rugs) with Nand Kishore Chaudhary and Kavita Chaudhary | 22 Sep 2020 | 00:57:53 | |
As a tradition that began over 2500 years ago, India remains one of the world's largest exporters of handmade carpets. In fact, I recently read somewhere about why Mahatma Gandhi decided to use Charkha as a symbol of independence. Because the Britishers invaded India for our textile capabilities, quality and over all output. Gandhiji wanted to symbolize the freedom movement through one of the attributes of textiles - Charkha - But thats a story for some other time. For ages, until 1978, exports have often been exploited by middlemen and - artisans were undervalued, most weavers stayed at the bottom of the pyramid with very meager income levels. Nand Kishore Chaudhary recognized this inequality in the weaving market and created the company, Jaipur Rugs which offered employment opportunities in remote areas of India. Starting with only two looms, he was able to connect people and now has built a network of over 40,000 artisans spread over five Indian states, 80 percent of whom are women. His daughter, Kavita Chaudhary steers the design and brand philosophy at Jaipur Rugs. Before joining the family business, she refined her aptitude for design by working with design houses in Chicago and New York. Today we are here to understand the broad landscape of textile design in India at the backdrop of Jaipur Rugs, real design sensibilities of India, and a short but beautiful case study called Manchaha. Questions
https://www.jaipurrugs.com https://www.nkchaudhary.com https://aif.org/manchaha-part-1-what-is-artisan-originals/ https://www.forbesindia.com/article/special/jaipur-rugs-weaves-new-market-with-first-mumbai-store/52723/1 https://www.dezeen.com/awards/2019/shortlists/aas-pass/
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| Education through theatre with Geetanjali Kulkarni (Marathi) | 15 Sep 2020 | 00:49:21 | |
Geetanjali Kulkarni is an actor, who has been performing for theatre, films, and the web. She has been always ahead of her time. Her quest to do something unconventional always paved a different way for her and the people around her. Geetanjali's dedication is contagious and has given certain meaning to the most uncertain profession called Acting... Today we are here to discuss one of my favorite topics, education, but through theatre and acting or should I say performing arts. This Audiogyan will be in Marathi. Questions
If you enjoyed listening to this one, please do check out episode # 13 with Geetanjali's husband, Atul Kulkarni. Excuse for my naive questions then and also the production quality. I was too new to podcasting plus interviewing such a legend was full of pressure. Stay tuned for upcoming episodes. - https://audiogyan.com/2017/04/19/atul-kulkarni/ | |||
| Book Cover design by Pinaki De | 08 Sep 2020 | 00:49:21 | |
Today I have Pinaki De with us on Audiogyan. He is a well-known and multiple award-winning graphic illustrator-designer who regularly works for leading publishing companies like Penguin Random House, HarperCollins, and more... He has designed book covers for over 500 books to date. A Charles Wallace Trust fellow has Ph.D. in comics theory. Pinaki juggles his creative work with academics, as he has a day job as an Associate Professor of English in Kolkatta. You can find more about his work and bio on the links given in the show notes.
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| Animation and thought behind it with Debjyoti Saha | 01 Sep 2020 | 00:34:11 | |
Debjyoti Saha joins us on Audiogyan. For those who follow him on Instagram knows his style of work and the recently gone viral series, Korona. But I am not going to introduce him by that. Debjyoti is an animator, illustrator and draws comics. His work is heavily influenced by his interactions with cities he has lived in, and it’s clear that his observations of such detail, reflects in his animated and illustrated stories. What got me interested in knowing his thoughts and work (which he himself calls) which is not very heavy on production, but has a deep-rooted thought.
Questions
https://www.instagram.com/debjyoti.saha/?hl=en
https://www.joinpaperplanes.com/design-and-living/eye-candy-fishmongers-with-debjyoti-saha/
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| What is contemporary dance? With Ashley Lobo | 25 Aug 2020 | 00:42:53 | |
Ashley Lobo joins us on Audiogyan to share his philosophical thoughts and connect the dots of the western world to India's spirituality through dance. Mark Twain once said, “Work like you don't need the money. Dance like no one is watching. And love like you've never been hurt.” Seems like Mark Twain knew one of the secrets of Bhagwad Gita. Do things without any expectations. To explore these philosophical thoughts and connect the dots of the western world to India's spirituality through dance, I have Ashley Lobo with us Audiogyan. He needs no introduction for people in the field of performing arts. But for those who don't know, Ashley is considered to be a spearhead of international dance in India. His career in performing arts comprises of over 35 years of performing, choreographing, and teaching - in India and overseas.
Questions
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| 34: Satyajit Ray; The Graphic Designer with Pinaki De | 18 Aug 2020 | 00:42:28 | |
This episode is brought to you by MUBI (https://mubi.com/india) , a curated streaming service showing exceptional films from around the globe. Get a whole month free! - at MUBI (https://mubi.com/audiogyan) . MUBI (https://mubi.com/india) showcases a wide range of iconic Satyajit Ray films! Ray, is also our topic of discussion today, but not as a filmmaker but as a Graphic Designer.
I have Pinaki De back with us on Audiogyan. I have given a detailed intro about him and his huge body of work in the previous episode - so here is a quick one. Pinaki is an award-winning graphic designer, illustrator, book cover designer, comic artist, and teaches English literature in Kolkatta.
Thank you Pinaki for giving your time and welcome back to Audiogyan.
In the previous episode we spoke about Book Cover design, this episode is about your passion to explore Satyajit Ray's work of a graphic designer. The director’s revolutionary films often overshadow his work as an illustrator and graphic designer, his graphical sensibilities as rich and diverse as his filmography. Let's jump right in right away...
A brief intro about Ray's breadth and depth of work w.r.t Graphic Design. How he designed type from cassette to film hoardings.
Satyajit Da's contribution to the Indian landscape of graphic design. Which patterns/styles became famous after he did it?
Can you talk about "Agantuk" or also called as "The stranger" poster (which is also available o MUBI). I guess it was inspired by straight lines of the Bauhaus movement.
Tell us a bit about, where was Ray's inspiration from? Kolkatta is social and has been chaotic for a long time, where and how did minimalism seep in, that, it started reflecting in his work?
Can you tell me, which were the top 3 characteristics of his work? For eg: usage of white space, usage of lines and grids, color palette, attention to detail, etc...
Did his usage of graphics/illustrations change after the wave of cheap printing techniques and papers started flowing the market?
Satyajit had made 3 fonts also as a type designer. A bit more about that?
What would you tell students of Graphic Design or illustration to learn from Satyajit Ray? What aspect should be ignored from his work?
Now to tell you a bit more about MUBI - it’s a film streaming service, showcasing the best of Indian cinema on their MUBI INDIA channel and classic international hits on MUBI WORLD with a new film every day on each channel. You can catch some of Satyajit Ray's insightful work on MUBI including iconic films like AGANTUK, GANASHATRU, and GHARE BAIRE. Get access to the best of hand-picked films absolutely free for 30 days at http://mubi.com/Audiogyan
AGANTUK - Satyajit Ray’s last film, Agantuk is a philosophical work that ponders about the evolution of civilization, human nature, and how in the present world value of material wealth far exceeds that of humanity, trust, and love. One of Utpal Dutt's finest performances
GANASHATRU - A scathing commentary on the social system and religious orthodoxies, this film highlights the ever-persistent conflict between rationality and religion, which is fueled by the greed of the powerful and naivete of blind faith.
GHARE BAIRE – Deftly juxtaposes and explores the early 20th-century nationalist movement and the emancipation of women—a recurrent theme of Satyajit Ray’s work. | |||
| 33: Spark of pedagogy with Prem Chandavarkar | 11 Aug 2020 | 00:41:42 | |
Questions
What is your definition of education? How has it changed over the last 30-40 years?
Referring back to the introduction, I spoke about edifice. Do you see any relation between the etymology of the words, Education and Architecture?
What is the link between being civil and being educated?
In the current pedagogical system, what is your argument? How much theory versus how much practical?
What is the long term future of education in India?
I recently had a small revelation, that why have I interviewed so many architects despite being a UI designer. I could also connect a few dots about why am I so interested in architecture and education. "Architect" comes from the Latin word architectus which comes from the Greek word, architéktōn. Architéktōn is composed of two parts: archi: to be the first, and tecton, the builder. That is, the first who builds. I always found the "builder" word to be very fascinating.
On the other hand, Edifice means a building, but it doesn't mean just any building. To merit being called an edifice, a building must be important. A mini temple can be an edifice or an educational building that can transform you can be called Edifice.
Basically, zen, spirituality, education, architecture, place of worship are all interconnected somewhere in my mind at least, and that's why I have none other than Prem Chandavarkar with us on Audiogyan today.
Prem is the managing partner of CnT Architects: an award-winning and widely published architectural practice based in Bangalore, India. He needs no introduction to the people in the world of architecture & education. With the experience of over 40 years, he is an academic advisor and guest faculty at several colleges of architecture. He has been documenting a lot of his thoughts and ideas online through blogs and videos. I met Prem at Frame Conclave last year and was in awe with his lecture on "Human within the architect". I am going to post as many links as I can find in the show notes. This has already being a very long intro so without further ado, I welcome Prem. Thanks, Prem for giving your time, and frankly I am really short of words to thank you for being on the show.
I also thank Ruturaj Parikh from Matter for connecting me and collaborating with Audiogyan.
https://medium.com/@premckar
https://premckar.wordpress.com
(https://premckar.wordpress.com/)
http://www.cnt.co.in/web_20150413/home_index.html
https://www.stirworld.com/author-Prem-Chandavarkar
https://bengal.institute/team/prem-chandavarkar/
http://www.builtconstructions.in/OnlineMagazine/BuiltConstructions/Pages/Prem-Chandavarkar-0416.aspx
https://www.architecturetalk.org/home/73-jyaga-sa9ls-6wtny-6wgg5-4mgza-kdpel-3rn64-nrbkb-2lpnb
https://architecturelive.in/the-central-vista-redevelopment-prem-chandavarkar-bimal-patel/
https://architecturelive.in/essay-what-is-heritage-prem-chandavarkar/ | |||
| 32: What is Posterphilia? with Jahan Singh Bakshi | 04 Aug 2020 | 00:57:44 | |
This episode is brought to you by MUBI. Get the best of Indian and International cinema free for 30 days! Watch now. (https://mubi.com/audiogyan)
A curated streaming service showing exceptional films from around the globe. Every day, MUBI premieres a new film., from timeless classics to cult favorites to acclaimed masterpieces. Every film is handpicked just like, how our today’s guest handpicks great posters. But before we jump to our today’s conversation, Audiogyan has got something for our listeners. Normally, MUBI has a 7-day free trial but for you, listeners, you get a 30-day free trial. All you need to do is, go to http://mubi.com/audiogyan, and sign up for a whole month of great cinema for free.
Today I have Jahan Singh Bakshi with us on Audiogyan. Jahan has worked on digital and creative marketing strategies for films including Masaan, Lipstick Under My Burkha, and Newton. He currently divides his time between script development, film subtitling, collecting, curating, and writing about movie posters. Did I say Movie posters? Yes! Today we are here to discuss Posterphilia as an Audiogyan case study with Jahan.
Questions
What is Posterphilia? Why did you start it?
Can you share in detail the process of curation? What are your criteria? I found few articles like, Kishore Kumar in posters, raining posters - What are your plans w.r.t categorizing these? Any thoughts there?
Have you spotted any micro and macro trend in these Indian film posters? Illustrations versus photos? Be it digital or hand-painted.
Have you formed any opinions and judgments based on the posters you found - For eg: Movies before the 1970s had better-looking posters than today's - aesthetically or any such parameters? Anything like that?
Speaking about posters, one can never go without talking about Ray. The posters which I see on your Instagram, a lot of them are well-designed posters that can compete with Ray's graphical sensibilities. What do you think?
You have written a nice article about what makes a great poster. You have also collected a lot of Holywood posters. What can we learn from them and what can they learn from Bollywood art?
Can you give names of really great poster designers across the globe?
I would like to also ask you about your more recent exploration of Bollywood posters in Japan and other parts of the world. Can you share that bit? Any idea how did they travel that far? Any insights on what made those people redo the entire graphic than just translation of titles in their scripts and contexts.
I understand that the next question itself is an Audiogyan, but if you can briefly tell about plagiarism in posters - How evident is this trend. Today and maybe in the 1960s to 80s where we also copied a lot of music.
I don't have the latest data but, in 2018, India made about 1813 films, China 1082, Japan 613, US 576, France a few hundred, and the least was the UK. 202. Overall we are talking about around 6K films. This is just one year. Cinema has been going for 120 years now. What is the overall plan with this Posterphilia?
Further reading
https://www.instagram.com/posterphilia/
https://mubi.com/notebook/posts/movie-poster-of-the-week-jahan-singh-bakshi-s-top-ten-favorite-bollywood-posters
https://www.filmcompanion.in/posterphilia/
http://www.tasveergharindia.net/essay/amitabh-bachchan-posters.html
https://www.filmonpaper.com (https://www.filmonpaper.com/)
https://www.statista.com/statistics/252727/leading-film-markets-worldwide-by-number-of-films-produced/
https://theposterboys.tumblr.com (https://theposterboys.tumblr.com/) | |||
| 31: Inclov case study with Kalyani Khona | 28 Jul 2020 | 00:48:49 | |
One billion people. 15% of the world's population. World's largest minority. They are under-served. We were disheartened. We had to do something because no one deserves to be alone. This is what is written on the about us section of inclov.in
(http://inclov.in/)
Today I have Kalyani Khona with us on Audiogyan. Kalyani works at the intersection of behavior x design x technology to build products. Currently, she is helping with product strategy for an early age startup in the fintech space. But we are here to discuss a case study of her own startup. Inclov. Kalyani is the co-founder of Inclov, the world's first matchmaking app for people with disability and health disorders to find love. The app matches people on the basis of cure availability, medical condition, level of independence, and lifestyle choices. I was curious to know any aspects of this project including UI and here she is with us here today. There are also a few talks on Tedx and Ink, which I am adding in the show notes below.
Product
The basic question to set the context - What is Inclov and why? Also if you can share any number of users, stats of disabled people in India, and more...
In Audiogyan's 130th episode, I met Upasana Makati. She is the founder of White Print, India’s First English Lifestyle Magazine in Braille for the visually impaired. In our conversation, we spoke about why Lifestyle. To which she said, "why can't these people have fun while reading. Their reading texts are generally always education. Why can't they read a joke or a poem." Similarly, I want to ask you, why matchmaking and not support in any other way?
We see a lot of people saying, differently-abled shouldn't be labeled like that. They are an integral part of our society as any person. So did you face challenges (internal & external) while making a special app of special people?
What is your definition of equality?
Can you share a few incidents which were enriching to know about these sets of people? What steps you took in the app to bring impact or provide solutions to them.
Any most gratifying story which needs to be shared. Especially one where a non-disabled found love in who is disabled.
Design
How do these people discover such an app? What steps did you take to achieve that?
Were there any conscious decisions of making it accessible while designing it?
The app matches people on the basis of cure availability, medical condition, level of independence, and lifestyle choices. In your talk, you mentioned about manually tagging. Tell us more about it?
Who helped you in designing & developing it? A quick shout out maybe. 🙂
Can you also talk about Social spaces?
https://www.inclov.com/index.htmlhttps://www.linkedin.com/in/kalyanikhona/?originalSubdomain=in
https://tedxgateway.com/portfolio/kalyani-khona/
https://www.youtube.com/watch?v=Zgd99dumxEY
https://yourstory.com/2015/12/kalyani-khona
https://audiogyan.com/2019/07/03/upasana-makati/ | |||
| 30: Mixed media design with Isha Pimpalkhare | 21 Jul 2020 | 00:33:05 | |
Isha Pimpalkhare is a mixed media designer/artist, who situates her practice at the convergence of art and design, with a focus on creating emotive and engaging tactile environments. She did her Masters in Textiles from the Royal College of Art(RCA), London, and Bachelors in Textile Design at the National Institute of Design(NID), Ahmedabad.
Questions
Who is a mixed media creative? What qualifies as a mixed media output? What is the output of such types of designers? Any famous people who made it accessible/famous?
If one is following you on Instagram, (I am), what are you exploring with these flowers and different shapes with textures of various materials?
What is devore technique of printing? Can you tell us more about it?
Where is the demand for your type of work in India? Where all can it be applied?
Personal question: What makes you cross these boundaries? Move from one medium to other to express?
https://www.instagram.com/ishapimpalkhare/?hl=en
https://ishapimpalkhare.com (https://ishapimpalkhare.com/)
https://ishapimpalkhare.com/textile-art-pieces | |||
| Ep. 291 - Designing beyond Earth with Susmita Mohanty | 24 Apr 2024 | 01:14:50 | |
This is the 3rd episode of a 10 Part series, "Designer’s Digest” with Dr. Susmita Mohanty, an Indian spaceship designer and a serial space entrepreneur. This series is created in partnership with Godrej Design Lab - a platform that encourages and advances design excellence and exploration. Godrej Design Lab believes in the power of design to make a meaningful change. I am so happy and proud that Godrej Design Lab is supporting the journey of Audiogyan. Designer's Digest is a series about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder and what edge we’ll need to thrive in the captivating world of design. I want to start with a line by Vincent Van Gogh, “For my part, I know nothing with any certainty, but the sight of the stars makes me dream”. Questions
Reference reading
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| 29: What is curation? with Ram Rahman | 14 Jul 2020 | 00:46:08 | |
I love this book called "What is art and 100 other very important questions." by Ernst Billgren. One of the questions his book is, "Who decides whether art is good or not?" and then he has a nice format for the answer. "Short Answer: Glenn D. Lowry. " And then a long answer. "Quality is a moniker for what the people you respect, appreciate. Even if you do not agree with them, there are those who you perceive as authorities in the field on account of their expertise, their position, or the respect they enjoy among their peers. Subsequently, what is considered geniality changes as those people are substituted? The Pre-Rafaelites were considered the best things that had happened in the art world, but well into the twentieth century nobody defended them any longer and their work was automatically devalued as passé. The paintings themselves did not change over time. Quality is a relative term in a similar way as Time (which feels absolute in the present moment)."
Why am I talking about who decides whether art is good or not? - Today I have Ram Rahman with us on Audiogyan who needs no introduction. But just for formality, Ram is a photographer, curator, designer, activist, and a noted contemporary artist based in Delhi.
With such a large body of work, it is impossible to document even a fraction of his thoughts, ideologies, and philosophies. However, I have decided to have a conversation around what is curation.
Welcome Ram to Audiogyan it's a real honor to have you on the show.
What is curation? with Ram Rahman.
How old is a concept of curation? What made us do that?
Why do we have galleries? What qualifies to be in a gallery? What qualifies to be worth the collection? On what metrics does a curator work?
History is told by the rulers. How do you differentiate truth versus mythic truth? Especially in India where there are so many Ramayanas? Also, it is so difficult to exclude any part of history, especially with India’s pluralistic and diverse culture. What are your thoughts on this?
What is your definition of unique or being iconic to a particular time? How has that definition of, one-of-a-kind changed in the last 30-40 years? How stable is this concept of uniqueness in this changing world?
Recently, there has been a growing interest in the time period when your father’s practice was at its peak. You have spoken, written, and exhibited extensively on the works of architects, designers, and cultural producers of this time. Why this time important to understand?
Do you think we as humans are worried we will forget? What is the long term future of museums, galleries, or for that matter, the paintings you've done and photos you have taken? Overall art in India?
Before we sign off, I want to thank Ruturaj Parikh from Matter. This Audiogyan episode is in association with Matter. Matter is an independent publishing house, a group of practicing architects who also deeply care about archiving content in the architecture space. Matter in based on Goa. Link and more details are in the show notes.
https://en.wikipedia.org/wiki/Ram_Rahman
https://www.saffronart.com/artists/ram-rahman
https://www.sac.ac.in/faculty/ram-rahman/
https://post.at.moma.org/content_items/1083-post-presents-the-artist-as-activist?_ga=2.259783114.1551250128.1594120121-133378558.1594120121 | |||
| 28: Can painters be illustrators? With Pratap Chalke (Marathi) | 07 Jul 2020 | 00:28:13 | |
Today I have Pratap Chalke with us on Audiogyan. He is a Mumbai-based painter and an illustrator and well-known artist of the current time. His work is available on Floatingcanvas, artandfound, and kultureshop. With a degree in Applied Art from the B. S. Bandekar College of Fine Art, Sawantwadi, he considers drawing as his core skill around which he brings his illustrations to life. He loves to try out different styles and techniques and explore the possibilities therein. Today we are here to understand the value of drawing if you wish to become an illustrator. This audiogyan will be entirely in Marathi.
Can a good painter/artist be a good illustrator?
What is common and what is different between illustration and painting?
With mixed media, tools, and advance filters, what makes illustration great?
You have played a lot with acrylic and opaque mediums. How different is an illustration and is it achievable in digital illustrations?
What does a curved stroke mean to you? One of my favorite works is Dhaatu Series. Can you share the experience of learning while making it? | |||
| 27: St+Art movement with Hanif Kureshi | 30 Jun 2020 | 00:42:34 | |
St+art India is the brainchild of 5 co-founders all belonging to diverse backgrounds. Founded in 2014 by Arjun Bahl, Hanif Kureshi, Giulia Ambrogi, Akshat Nauriyal, and Thanish Thomas.
St+art India is a not-for-profit foundation with the intent of making art more democratic. St+art explores the synergy between art and its ability to transcend socio-cultural barriers and lead to the exchange of ideas through unique and collectively shared experiences in public space. St+art has made over, 500 artworks in 10 Indian cities with more than 100 artists from over 25 countries. You can check out Episode # 78 where I spoke to Giulia Ambrogi about St+art project and insights into murals.
Today I have Hanif Kureshi with us on Audogyan. Hanif is a Designer, Typographer, and the Artistic Director and Co-founder of St+art India Foundation. He is one of the most sought after artists in India. Today we are here to discuss painting on streets.
Thanks, Hanif for giving your time and it's a real pleasure to have you on Audiogyan.
Topic
St+Art movement with Hanif Kureshi.
Questions
I am quoting you from one of your articles online, "While graffiti was once considered a nuisance, it is now a wonderful showcase of alternative art, a sub-culture that sometimes surpasses the mainstream in its fanbase." - I have 2 questions. 1, Why was it considered a nuisance? 2. How & why did it change?
Is street art an Indian thing? Where do you see it’s rooted in India?
What role does space play while making artworks of such huge sizes? Can you share any particular example/case study?
Borrowing from the Startindia website, "Indian streets are very unique. They are a microcosm of the millions of diverse voices that co-exist in this vast and wonderful nation of ours." - How do you pick subject/theme of what to draw? Both in temporary and permanent structures.
The cut-out type work is very dominant in the south of India. What can be learned from it and push the envelop further?
Can you share a few positives and few negatives while making this street art movement? From establishments, from art creators/lovers and general audience?
How does street art influence the aesthetics of the overall society/area/community?
You guys are also involved with the ‘Smart Cities’ program and the ‘Swachh Bharat Mission’. Can you talk more about it?
What is the long term future of St+art movement?
https://st-artindia.org
(https://st-artindia.org/)
https://www.outlookindia.com/outlooktraveller/see/story/27477/street-art-in-delhi-i
https://www.instagram.com/startindia/
https://www.youtube.com/channel/UCpEHZpPCZN2yeNTXlH41Cyw
https://www.facebook.com/startindiafoundation | |||
| 26: [ACS] Ragya with Aditya Dipankar | 23 Jun 2020 | 00:46:05 | |
जैसे भैरव.. यह सुबह का राग़ हैं। पवित्र स्थानों पर सुबह की पवित्रता अगर आपके मन को सुकून पहुचा सकी तो भैरव क्या कहना चाहता है शायद ही आप समझ पाओगे। सारंग राग गाने से पहले दोपहर करीब २ बजे कीं तपती धूॅंप में किसी गांव ख़ेडे में गोबर से सिंची हुई आंगन में कभी बैठे हो? अगर हाॅं.. तो ही शायद सारंग की रूह तक पहुचना संभव हैं। भीमपलास का अर्थ हैं पलाश वृक्ष के विशाल पत्ते। बसंत की दोपहर के साडेतीन- चार के दर्मियान कभी इस वृक्ष के सायें में खडे रहे हो? तब ही यह विशाल वृक्ष और उसी तरह विशाल भीमपलास क्या कह रहा है समझ पाओगे। and many more such reference are given by the legendary Pt. Kumar Gandharva. The reason why i am saying this is becuase, our today's guest has made an app which serves specific music tracks base don their prahar; timining. BTW, the above piece was originally in Marathi and translated by Rashmi Patwardhan in Hindi.
Well, what does this mean in a nutshell is, every Raag has a specific time and you need more than just a clock to experience the emotion and mood that Raag evokes.
Today I have Aditya Dipankar with us on Audiogyan. He is a Designer and also trained in Hindustani classical music. Aditya has a huge body of work in design from infographics for rural Indians to creating designs for successful brands like Nutanix and Freecharge.
Today we are here to discuss a case study of his project, Ragya.com (http://ragya.com/) . Ragya is a streaming service focusing just on Indian classical music: specifically ‘ragas’ designed to be played at specific times of the day. And that's why I started with Kumar Gandharva's quote.
What is Ragya?
Why & how did Ragya happen?
What was the MVP like, to test it this is worth the effort? Since this a niche subject especially in the online context.
Can you share insights about the algorithm? How does it work? What went behind the scenes?
Enabling the discovery of music through time of the day and serving the relevant Raag is one axis. Do you have any more axis to handle personalization?
How can an artist come onboard? Is there any curation process? How do you keep feeding content?
How do you handle copyright and licenses? How have you been dealing with artists?
What point in time and how did you realize that this has a commercial angle to it? Do you think, subscription model is sustainable in this case?
Can you share any numbers/observations / VOC w.r.t your subscribers
What is the long term future of this project/app/tool/website? | |||
| 24: Design as continuum with Naveen Bagalkot | 16 Jun 2020 | 00:48:55 | |
Naveen, design is not a mere means to an end, but a means of inquiry and exploration of the nuances of human behaviour and experience. Naveen holds a Ph.D. in Interaction Design from IT-University of Copenhagen, Denmark, an M.Des in Industrial Design from IIT-Bombay, and a B.Arch from Vishveshwarya Technological University, India. Currently Naveen teaches at Shrishti School of Arts in Bangalore. His research is within the field of Human Computer Interaction (HCI) and User Experience Design.. Today we will try and understand his views on design and designing, in particular.
You frimly beleive that design is an ongoing process. What is your definition of design? How has it changed over the course? Any milestones which made you realise that design is an ongoing process?
What sort of process is "designing"? A linear? Cyclical? Forming a tree, either top down or bottom up approach?
When do you stop designing?
How do you set goals and milestones when you are considering it to be an ongoing process?
The economist and political writer Thomas Sowell once wrote, There are no solutions, only trade-offs. How do you define trade-off? What are few parameters based on which you are willing to live with those few trade-offs in your solutions?
Is this idea of "designing" scalable in this consumeristic market or should i say commoditised world?
What are your thoughts about education in design? Is design a profession or is it a practice?
What are few areas of research and development required in design in the Indian context? How can one go about exploring it?
Designing with, not for (http://designbeku.in/)
Ooloi Labs (http://ooloilabs.in/)
Vikalpdesign (https://www.vikalpdesign.com/)
Lakshmi Murthy, Industrial Design Centre , IIT Bombay (http://www.idc.iitb.ac.in/students/phd/Lakshmi_murthy.html)
D'Source (http://www.dsource.in/) | |||
| 22: Kyoorius Designyatra Case study with Rajesh Kejriwal | 09 Jun 2020 | 00:51:53 | |
Today I have Rajesh Kejriwal with us on Audiogyan. Rajesh is the Founder CEO of Kyoorius Group and a global director at Saffron, a brand consultancy founded by Wally Olins and Jacob Benbunan. Rajesh is a regular speaker at industry forums, panels and jury sessions at various festivals and awards. He started a platform to fuel a design movement in India, Kyoorius Designyatra, hosted and curated by him. It is now India’s largest design conference and has been rated as the best curated annual conference in the world since 2013. Today we are here to document Design Yatra as a case study and what has gone behind the scenes in the last 12+ years.
I am sure you must have answered this thousand times, but just to set context for Audiogyan listeners, how was DesignYatra conceived and what made you conceive it? How did the name "DesignYatra" come about?
What according to you is the importance of these design events and gatherings apart from empowering creatives to showcase their work and making attendees feel inspired?
How do you decide on each year's theme? From "Design Empowers Businesses." in 2007 to "On the contrary" in 2019. and what the these for this year?
What is the over all process of curating the speakers? What are few metrics on which a particular speaker is selected?
I attended my first DesignYatra last year and it was really wonderful. Full of inspiration to do great work. However 70% of the speakers were non-Indian which made the work less relatable and more utopian for Indian developing country. What is going on when you wish to showcase this kind of work
Design is a such a broad discipline. From Interior to textile to illustrations to industrial products. What sort of brief is given to speakers to make their work relatable to such wide ranging audience?
Can you share few big challenges to organise this sort of an event when design has not reached that tangible projected outcomes which is possible in may be few other domains?
You also don't have concurrent talks going around. Which is very unlike regular conferences. This seems to be a conscious call? Can you share your thought behind it?
I was personally in awe when you spoke about how DesignYatra is handling the carbon footprint of such a massive 2 day long event. Can you tell us it in detail? What is the process and how do you reconcile it?
Have you got any plans of making Designyatra more accessible to the design community? A wonderful talk last year by Ayaaz has less than 1K views, which is sad according to me.
Lastly i would like to conclude by asking what's the story with changing venues and then finally in Goa? :) What are your future plans with DesignYatra and whom can we expect this year? | |||
| 20: Is cooking an art or a craft? With Ashwin Ramachandran | 02 Jun 2020 | 00:57:40 | |
Today I have Ashwin Ramchandran with us on Audiogyan. Ashwin is a chef and runs a small kitchen in south Mumbai called Milliways. He specialises in Asian food. He has over 10 years of experience in the hospitality industry and has worked in ITC Hotels for moe than 5 years. He is based out of Mumbai.
What makes a perfect recipe? Ingredients, timing or love?
Out of the four elements earth, water, fire and air, according to few studies, Aristotle added the ether, the fifth element. There are numerous articles which says, “If Aristotle had cooked, he would have more to say to the world.” Food, cooking and eating has been discussed a lot in the philosophy. What according to you could be the reason for it?
How important is training to become a chef? It’s debatable whether cooking as an art form is older than art itself. Both are means of survival and evolution. In art, we have fine arts, commercial arts and many such disciplines.
Can you draw a parallel in the chef world? Chef for a fine dine where everything is measured versus a home cook (maharaj), versus a cook who makes food for langar? How do these dynamics work? How do these individual look at ingredients?
At an abstract level, what is the co-relation between pairing ingredients or dishes or types of food. Appetisers, main course and Chasers.
How/why do cultures select what to eat? And what is happening with globalisation? | |||
| 19: Making of March Tee with Ashish Acharya & Abhay Singh | 26 May 2020 | 00:40:49 | |
Welcome back to Audiogyan. I am chatting with Ashish Acharya and Abhay Singh who are co-founders of March Tee. March Tee produces truly simple and high-quality t-shirts for men and women. In the first part we spoke about their design philosophy. In this second part, we will be discussing making of March tee products and how did they build such a well rounded experience which establishes a great brand.
What is the story behind March - The word? Why, when and how did it happen? Why T-Shirt and not some other product? What is so Indian about it?
What was the thought behind keeping such a limited and sharp catalogue? Is it venturing new domain of limited knowledge or testing with users or something to do with keeping focus?
What are your thoughts about standardisation? With limited catalogue, you will venture into the uniqlo model of standardisation. While India is diverse and multi-colour? How do you look at these 2 dimensions.
How do you decide to improve product or bring in new line of products? Is it user research and feedback or you individually spotting trends? What is the percentage of showing difference in evolution of product. Do people really care about attention to detail or brands like you bring that culture? What has been your practice in doing so? Any example?
We all designers are inspired by Steve Jobs at some point in time. He made sure even the chargers and USB ports are well designed. In your case, I see similar traits; Can you tell us the story which went behind your packaging and the pencil which says “Do good Work”?
To me and I am very sure for all the following you have, March Tee is not just a T-Shirt but a complete experience. From buying and getting a confirmation mail to getting the product delivered to wearing it and wearing it again after washing. If you have to summarise in 3 or 4 points, what would you say?
Where is this all heading? | |||
| 25: Designing educational institutions with Bijoy Ramachandran | 19 May 2020 | 00:51:26 | |
Louis Kahn once said, "A great building must begin with the immeasurable, must go through measurable means when it is being designed, and in the end must be unmeasured." And what great opportunity to understand architecture in the area of education where i believe these thoughts converge. Today I have Bijoy Ramachandran with us on Audiogyan. Bijoy Ramachandran & Sunitha Kondur are co-fouders of Hundredhands. It is a multidisciplinary design studio based in Bangalore. Their work draws on a keen sense of the urban context by probing questions of scale, character, spatial and visual impact, and remaking of the public domain. Hundredhands has designed a lot of public and educational institutions. Nalanda University in Bihar, Bangalore International center, Neev Acadamemy, St. Andrews School & CMR University in Bangalore.. to name a few. We will try and understand thoughts while designing or architecting educational institutions with Bijoy today.
Which out of the 5 sense is the most critical while designing an education institute? Why? What according to you should be the key characteristics of an educational institute?
In India and most parts of the Indian subcontinent we always had a Guru Shishya Parampara type teaching. So limited students under a tree may be? Was there any particular architecture which became a milestone for this institutionalised education system?
What is the thought behind making the teacher or a professor stand on platform? Is it just about visibility or something more at work psychologically?
When you design institutional projects, what are the critical issues / elements you have to consider / prioritise? What are the 'PRINCIPLES'?
In one of your talks you speak about change or time as an important aspect of constructing an architecture. Can you point any nuanced patterns seen in educational institutions which handle batches and batches of students every year; essentially architecture ageing with time but giving brith to new people in the society
What can be a big difference while designing a school versus designing a college. Looking at age of children and teenagers? How do you consider the diverse user-groups when you design an institution? - From the youngest to the oldest and from learning to play? Do people especially students or small children use the space differently than you envision?
How much of the environment affects learning? How do you create that one? Can we take Neev acadamey for example?
Apart from architecture, which other expertise do you need in order to design a good institutional building?
How do you visualise educational institutes 20 years from now? | |||
| 23: Anatomy of Rap with SIRI | 12 May 2020 | 00:23:38 | |
Today we have a multilingual Kannada rapper SIRI with us on Audiogyan. She is re-enforcing the beauty of being part of a country, that is home to vareity of, different dailects and tunes. SIRI's music has already earned her a significant fan following down south of India. Having impressive flow in rap with English and Kannada, she has also experimented with Hindi and Telugu. SIRI writes, directs, produces and edits her music videos. She is from Bangalore. Today we are here to try and understand anatomy of "rap" as an artform and some insights into the world of Indian Rap community.
Thank you SIRI for giving your time and it's a real pleasure to have you on Audiogyan.
Before we being, i wish to tell the 2 things to my listeners.
This episode is on the backdrop of SIRI and Sez On The Beat’s new track "My Jam" with Artist Originals, JioSaavn’s independent label for South Asian artists.
Second, excuse me for my limited knowdlege on Rap and any naive questions in the flow. My exposure to Rap has been Baba Sehgal, Apache Indian and most recetntly Gully Boy. So bare with it.
Can you start by telling us about contruction of a rap song? Meter, Lyrics, tune, 4 beat, 6 or 8 beat cycle? theme, series, individual track etc...? How are these written, composed and produced?
What is Proto rap? are there any other sub genre and more forms within rap?
Can you share any insights about why there is so much influecne of hiphop on rap. What could be the reasons? Hiphop is about beats and rythm. Was poetry missing in the same vibe which lead to origin of Rap?
How long or short, can be a rap song? What is this format linked to? For eg: Jazz was the song of the oppressed and etc...
Is this form of music / poetry / lyrics seems to be impromptu? How does it qualify to be a form of literature if it's so volatile and made on-the-spot?
Do you have any mukhda kind of a thing in original rap? Something which keeps repeating in intervals? What is the reason for it? If you can share some examples. For a lay man like me, "My Jam" is the maximum exposure. :)
Whats the scene of Rap in South India? Any patterns / observations? With growing supression in India and rest of the world do you think Rap is on it's rising cycle? | |||
| Ep. 290 - Design leadership in startups with Hardik Pandya | 16 Apr 2024 | 01:59:36 | |
This is the second episode of a 10 Part series, "Designer’s Digest” with Hardik Pandya, Sr. VP of Design at Unacademy Group. This series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder and what edge we’ll need to thrive in the captivating world of design. I have a co-host with me, Shreyas Satish. He is the founder of ownpath.com, ownpath is a platform for designers to upskill, find community, and unlock exciting opportunities, and also helps companies grow their design teams. I had Shreyas as a guest in episode 218 when I did a series “Where are the designers” talking to 12 top influential Design leaders from India. And for today’s episode which is also my domain of designing Digital products, we have a perfect guest and a common friend, Hardik Pandya. He is a Design leader with an innate love for building products with good design. Currently He is a Senior Vice President, Design of The Unacademy Group. Previously a Design Lead at Google Search, G Suite and Google Cloud, Ola and more.
Questions
Reference links
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| 18: Design Philosophy of March Tee with Ashish Acharya & Abhay Singh | 05 May 2020 | 00:32:32 | |
When you're not happy with something, fix it. Sounds familiar? Well that’s the line which is written on their website. Today I have Ashish Acharya and Abhay Singh with us on Audiogyan. They are the 2 out of the 4 co-founders of March Tee. Yes March Tee; which is now one of my favourites brand. In fact all I have is March Tee in my wardrobe and mind you this is not a promotion. March Tee produces truly simple and high-quality t-shirts for men and women. They are based in Pune.
Design Philosophy of March Tee with Ashish Acharya & Abhay Singh
Can you start by telling everyone about your background from March Studio days?
March tee is simple. What’s your definition of simple? As a group of 4 and as you 2 individuals.
How important is story telling for March tee? How critical do you think story telling is from a brand / marketing perspective and also from a product building standpoint?
Studio March have always been making good digital products. How has your definition about good, better and great changed over time? How have you been reflecting about it? On what parameters these definitions kept changing?
In poetry is it said that “bad poetry is recognised instantly while good can take years or even centuries”. What is your definition of a good product? I am not hinting anywhere to Dieter Rams. 🙂 (In fact it would be interesting to ask you a more philosophical question; what does timeless mean to you?)
What according to you is the relation between scale and quality? Is it possible that well-crafted products which need attention to detail can be scaled? If yes, how and if no, why? | |||
| 21: Knowing Raja Ravi Varma’s human side with Manu S. Pillai | 28 Apr 2020 | 00:50:51 | |
Raja Ravi Varma born on 29 April 1848 and passed away on 2 October 1906. He was a celebrated Indian painter and an artist. Ravi Varma is considered among the greatest painters in the history of Indian art for a number of aesthetic and broader social reasons. We will try and document a mini biography of him more as a persona and not about his work in particular.
For that I am honoured to have Manu Pillai with us on Audiogyan. Manu is an Indian author and historian who has 3 award winning books in his name. The Ivory Throne: Chronicles of the House of Travancore. Rebel Sultans: The Deccan from Khilji to Shivaji, and most recently The Courtesan, the Mahatma & the Italian Brahmin: Tales from Indian History.
Who were Raja Ravi Varma's Gurus / Mentors / Teachers?
Can you also tell us about his family, upbringing, siblings, wife, parents?
Who were his contemporaries in the art world? Indian and around the world?
Every art emerges out of pain, sorrow, grief or rebel. Were there any triggers in his life to make such path breaking work?
What made him different or stand out from the rest? Was it the art, subjects or pure marketing?
What made him explore portraits as oppose to other forms for art like abstract, landscape and others? How did the Dutch portraitist Theodor Jenson connection happened?
How did he become famous and known as a national figure without social media?
Which was the main painting or time of his life which made him famous?
Can you share a brief background about his oleographs? His connection with various printing press in India? Was Printing press part of the strategy to be famous and distribute his work to rest of the world?
What is the one thing which one should imbibe and one should reject looking at Raja Ravi Varma as a human, since his artistic side is always inspiring. This is mainly for today’s artists and painters. | |||
| 17: [ACS] Building Asphalt; Gojek’s design system with Abhinit Tiwari | 21 Apr 2020 | 00:53:52 | |
Abhinit Tiwari is a designer and a programmer who has been building digital products for past 14 years. He is currently Heading the design team at Gojek. He founded Leftshift technologies where in he built products for BookMyShow, Airtel, Citrus, NH7 and many more. Leftshift was then acquired in 2016 by GO-JEK Indonesia. For those are not aware of Gojek is, it is Southeast Asia’s leading on-demand, multi-service tech platform providing access to a wide range of services including transport, payments, food delivery, logistics, and many more. Abhinit is here with us today to share his insights and learnings while building Asphalt; Gojek’s design system;
What is a design system? How is it different from a brand guidelines or Sticker sheet or pattern library or Front end framework?
How did the name Asphalt come about? What is the story behind “Salam satu aspal”?
Is asphalt based on Brad Frost atomic theory? Are there any other such theories? Did you hunt for more such theories?
Why did you feel the need of building a design system? What were the challenges before that triggered it?
What are building blocks of Asphalt? How long did it take to build it and what was the strategy before taking it on?
It is generally said that design system is a breathing document so when do you take out the ventilator? There have also been articles strongly recommending that it is not a side gig but a full time investment & commitment. How would you respond to that? One important myth associated with Design Systems is that it kills creatively. We have to work in a lot of constraints - How do you look at it?
How big is the team that handles Asphalt and how deeply front end is involved in this ongoing vertical? How big or small this team should be for a fast growing startup? Can you tell us the importance of making all organisms and molecules to be living things with code and not just static sketch or figma files?
Can you briefly tell us how did you build it? What were the key milestones and checks which gave the confidence of you going in the right direction? What was the process of validating your components to be modular and scalable?
Can you share details of any medium size project which got shipped effortlessly at Gojek because of Asphalt?
How critical is a buy-in from the top management and how did you go about doing it?
You can follow Abhinit on Twitter @abhinitial and me on @nimkarkedar and Audiogyan on @audiogyan
Oh, BTW, Gojek is hiring. Visit Gojek.io to know more. | |||
| 16: Abstract paintings & photography with Hari Katragadda | 14 Apr 2020 | 00:44:01 | |
Today I have Harikrishna Katragadda with us on Audiogyan. Hari is a Mumbai based photographer whose work explores communities, environment and personal memories. He uses long-term documentary approach (which is very new to me). he works with alternative photographic methods to incorporate found materials in images. He graduated with a Masters degree from the University of Texas at Austin and started his career as a photojournalist in New Delhi. Today we are here to know more about his work practice, his philosophy and most importantly how has he recourse his work for social change.
How do you define your work of painting? What style is it? Any early life influencers? Any other legends who have played with cyanotype and your style of abstract paintings?
We will start with a more relatable question and then we will go abstract further. In one of your interviews, you have mentioned "Art is an inner exploration as well as a way to address social concerns” - Can you start by telling us what do u mean by that? Any particular artwork series like “Effluence” which enabled you to address social concerns?
What according to you is important while creating an artwork. Be it taking a photo or painting on a canvas? Style, medium, content, context, artists journey? Why?
In your case, you are both a photographer and a painter. What’s your definition of patience?
From whatever your artworks which i have seen, you expression is abstract in nature. Do you find it difficult to express that in photography? | |||
| 15: Indian Gig Poster Archive with Mohini Mukherjee [ACS] | 07 Apr 2020 | 00:36:53 | |
Mohini is a self-taught designer and illustrator from Mumbai and now based in Bangalore. She runs Indian Gig Poster Archive - a repository of posters created to promote independent music in India. She has been an exclusive artist with Kultureshop. Her work is affectionately dismissive of pop culture and its common visual tropes and motifs. Today we are here to document a case study of her project, “Indian Gig Poster Archive”
What is Indian Gig Poster Archive?
How did this idea come about? Why did you start it?
How do you source these posters? Where are you getting these from? How far do these collections go?
What makes these artist share their artwork?
What happens to these posters when the gig is over?
Can you share any worth noting incident / case study which revived the band because it was rediscovered through your project? Any story / anecdote
Do you follow any archiving practice of documenting based on year, genre, artist geography etc…?
Are there any other domains apart from Indie Music which you have discovered while logging these?
What do these posters tell you? Have you found any pattern of how the graphic scene has been evolving in the last few decades?
How has this side project helped you as a designer and as a music lover?
What is the long term future of Indian Gig Poster Archive? Till when do you plan to keep discovering and journaling them?
What is the feeling when you find a pile of old or new posters all at once?
You can follow her on Instagram @mohinimukherjee and the project @indiangigposterarchive. In my case, @nimkarkedar and @audiogyan on Twitter | |||
| 14: Vijay Tendulkar Biography by Ramu Ramanathan (Part 2) | 31 Mar 2020 | 00:23:51 | |
Vijay Dhondopant Tendulkar
Born on 6 January 1928 and passed away on 19 May 2008. Tendulkar Sahab was or should I call is an unarguably a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972).
Welcome to Audiogyan Biographies. Today we will be documenting Vijay Tendulkar with a bit of help from Ramu Ramanathan.
Ramu is an Indian playwright-director with acclaimed plays to his credit. Ramu has previously been a guest on Episode Number 29 of Season 1. He spoke about Stagelife Characters. Ramu is my go to person to understand tidbits about Indian Theatre. | |||
| 13: Vijay Tendulkar Biography by Ramu Ramanathan (Part 1) | 24 Mar 2020 | 00:56:19 | |
Vijay Dhondopant Tendulkar
Born on 6 January 1928 and passed away on 19 May 2008. Tendulkar Sahab was or should I call is an unarguably a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972).
Welcome to Audiogyan Biographies. Today we will be documenting Vijay Tendulkar with a bit of help from Ramu Ramanathan.
Ramu is an Indian playwright-director with acclaimed plays to his credit. Ramu has previously been a guest on Episode Number 29 of Season 1. He spoke about Stagelife Characters. Ramu is my go to person to understand tidbits about Indian Theatre.
I am very curious to know, who were Tendulakar Sahab’s influencers? I am asking this because I was reading, Manus Navache Bait (Man is An Island), one of his first plays, was remarkable. People had never heard such dialogues before. Theatre at that time used very stylised acting and long sentences with very flowery language; it was distanced from reality. Something similar to which you spoke in the Episode 29 about Samuel Beckett and other playwrights trying to bring court room dramas to dining rooms. So do you have any insights what made him start this way?
What was happening in from 1960 to 1990s that Tendulkar wanted to express his thoughts through violence; because according to my limited knowledge, he said, that he lived in a simple middle class family which was doing fine.
What do you think; what made Vijay Tendulkar show violence to create awareness about violence, rather than showing something morally good or ethically sound? What is this style of showing real? Where does this form stem from?
What was his trajectory of him expressing violence throughout his plays? Did it increase due to ongoing unrest or it decreased? From Gidhade to Kamala?
Some of his plays were censored. What made him write so boldly in his new plays, despite being censored?
What is the one thing which young generation playwrights should learn from Tendulkar and what is that one should avoid considering the current times?
https://www.dnaindia.com/analysis/report-vijay-tendulkar-is-a-scathing-interpreter-of-maladies-4810
https://web.archive.org/web/20081201033510/http://www.indianexpress.com/res/web/pIe/ie/daily/19991020/ile20071.html
https://www.youtube.com/watch?v=rTqj3GVs6bM
https://www.youtube.com/watch?v=2bF3GLjn1iI (Part 1 to 6)
https://www.indiatoday.in/magazine/society-the-arts/story/19801231-vijay-tendulkar-indian-theatre-only-complete-philosopher-773665-2013-12-02 | |||
| 12: Short form poetry with Pooja, Sanket and Rochelle | 17 Mar 2020 | 01:31:09 | |
तुका म्हणे बरवे जाण ।
व्हावे लहानाहून लहान . This is an important line by Tukaram, since it illustrates something universal. I am from design background and swear by a line which says, "Less is more”. Having some bent towards listening or understanding poetry, I also loosely interpret this couplet as “realise that, the shorter the better”. In the 100th episode os Audiogyan with Balkrsihna Doshi, I asked him why do all architecture look the same. To which he replied because architects are no longer poets. In my 33rd Episode with Gangadharan Menon, even he said, "The moment we rediscover our poetry, that will be our renaissance.”
On that backdrop, today I have 3 guests on Audiogyan. Rochelle Potkar, Pooja Bhatia and Sanket Mhatre; all, stewards of an upcoming generations of great poets.
Importance of short form poetry?
Rochelle: What are the short form poetries that you have explore? What is a Hiaku?
Sanket: In Marathi we have Charoli? Are there any other forms? What are those?
Pooja: Can you tell what’s the difference between a Gazhal, Sher and Nazm? How have they evolved over time and why is sher so well known versus other forms for layman?
What are the constructs and why? Have they being broken in it’s journey? Art has always been transient. How have these short forms evolved?
Why is haiku only 6 syllables?
Why don’t we have Paacholi? Is it the meter or some other constraint?
Is there conscious effort by poets to keep every Sher integrated in the bigger narrative and yet independent in nature?
Who are the big names who have redefined trajectories? Like Kumar Gandharava in Music.
Who are the Haiku makers who have propagated this form? Is Tanka as famous as haiku?
Chandrakant Gokhale is all time favourite of the youth. Who all have made such impact on different sections of the society through short form poetry?
Sher has been glamourised by Bollywood and also abused? Where is the real substance and how Bollywood got influenced? Any insight there? How did the word Irshad come about?
Topics of Short form poems
In haiku, what are the topics which are explored and yet to be explored?
In Charoli?
In Sher? Is it always about love or passion? Have there been writers writing shre about social awareness like Rahat Indori?
Future
You all have been to various parts of the country talking about poetry and reciting your poetry, what has been your observations?
How is Poetry perceived by a middle class layman?
Where do you see poetry 100 years out in India and other parts of the world? | |||
| 11: [ACS] Tenpoints Braille with Rajdeepgiri Goswami (Hindi) | 10 Mar 2020 | 00:41:34 | |
Rajdeepgiri is a Graphic Designer from Bangalore with over 11 years of experience. He has worked in the various fields of design, like type design, branding, packaging and advertising. Today we are here to discuss a case study with him called Tenpoints braille which is his passion project and he has been working on it for past 5 years.
What is Ten Points Braille?
How did it come about? What made you think about it? You also have other type design projects like Baboo, RupeeRaj, Singlanguage A. Can you tell us about these briefly?
If one has to use this for typing the required text, why do we have you use on 10pt size font and line height 30? How did you arrive at these numbers?
There is a beautiful video of how can one use it. But can you walk us through it orally as well?
Can you share your journey from the first cut of the font, experiments and iterations till you now have arrived at it? How did you keep on validating?
Why Tenpoints braille? How do you think it will help the visually impaired and others? With just 34% Internet penetration in India, one side we have invisible UI, speech to text, image recognition technology developing, What made you think of this idea?
In your research, what were the learnings, especially with visually impaired and hearing impaired people? How do they perceive fonts? Are they aware of serif and san-serif typefaces? What are your thoughts on bringing in revolution; can braille also have serif ans san-serif?
What was the process of making it 13 scripts?
What next? How do you plan to make it accessible?
How can people collaborate with you to make it bigger? | |||
| 10: Subtext in comics with Appupen | 03 Mar 2020 | 01:03:26 | |
Today I have Appupen with us on Audiogyan (loosely translated from Malayalam as grandfather). Appu is a noted graphic novelist and artist from Bangalore. He is the creator of graphic novels ‘The Snake and the Lotus’, ‘Moonward’, ‘Legends of Halahala’, ‘Aspyrus’ and the super hero satire series ‘Rashtraman’. His work is almost wordless narratives with sarcasm and irony. He is the founder/editor of Brainded India. Today we are here to know his thoughts and ideas about art, comics and more...
What does art mean to you. Especially comics as an art form?
Can you briefly share the kind of books you've written and the reasons for it?
You work which I have seen or could comprehend, want to strongly communicate a message. If I can say, your work has a lot of despair - if yes, why? I mean I am saying this as layman, be it titles like Dystopian times, Halahala (which is poison), Aspyrus, brainded and so on… Also the kind of colour palate seems to be dark and grungy. Not just that, you characters like Rastraman, Propogandhi also has subtext to it. Whats going on in here? How would you respond to that?
You don’t seem to like the idea of a superhero, or of gods or god-men either. Ironically you yourself are trying to create a superhero Ratrashman. Whats your response to that? Who is Rashtraman?
I would also like to know what is BraindedIndia?
Do comic as an art form gives you hope? How? | |||
| Ep. 289 - Measure of good designers with Ayaz Basrai | 10 Apr 2024 | 01:19:39 | |
This is the first episode of a 10 Part series, "Designer’s Digest”. This series is about Design as a profession, it’s daily grind, the secrets to climbing the design career ladder and what edge we’ll need to thrive in the captivating world of design. We start with Ayaz Basrai. Ayaz has been on Audiogyan’s 104th Episode where we spoke about “Designing interiors for your city.” He is the founder of The Busride Studio based in Goa and Mumbai along with his brother Zameer. Ayaz Graduated in Industrial Design, specialising in Product Design from the National Institute of Design, Ahmedabad in 2003. Ayaz studio ‘The Busride’ as an independent Design Studio specialising in the design and creation of environments, ranging from Hospitality, Entertainment venues, Film and Production to Exhibitions and temporary installations, and more. Questions asked in the episode
Reference reading
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| 9: Bollywood art project with Ranjit Dahiya (ACS) (Hindi) | 25 Feb 2020 | 00:42:44 | |
Ranjit Dahiya is an artist, entrepreneur, motivational speaker and an arts & design professor all rolled into one. Founder artist of BAP, Ranjit Dahiya is originally from a small town named Sonipat in Haryana. He did his Bachelor's Degree in Fine Art from College of Art, Chandigarh and further went on to do his Post Graduate in Graphic Design from the National Institute of Design, Ahmedabad. Today we are here to discuss his love for Bollywood, murals and documenting a case study of BAP, Bollywood Art project.
Can you start by telling us what is BAP and some background story behind it?
Can share some brief historical background about murals as an art form in India? Which all other Indian cities do have murals or graffiti going on? What according to you is role of mural in society?
India has 2 religions. Cricket and Bollywood. You picked Bollywood. The first ever mural made is a poster from a 1953 film Anarkali. What makes you draw stuff which is pre-2000’s? Do you consider drawing anything apart from Bollywood if not commissioned?
How different it is to detail out the nuances of the subject being painted when you draw on big walls? You have rough strokes or also show the smaller details? How do you decide the level of detailing you wish to achieve? Can you quickly walk us through the process?
What sort of colours are used to keep the painting fresh for some time? With the heat and rains in Mumbai - Have you experimented with colour mixtures to keep those murals long lasting? Mixing acrylic, with emulsion paint or simply oil paints?
When you travel across India, especially in highways and country side, You see lot of walls painted with either Tele-com providers or tractors… in a way actual advertising, which seems to be a paid job. From where do you think your motivation comes for painting old Bollywood stuff?
Can you take a particular example and tell how do you respond to the surface and how does surface responds to your artwork. For eg: If you are painting a Bollywood heroin, can her eyes be 2 windows which are nicely designed? Do you expect the building owners and keep their windows open or closed all the time based on your artwork?
I saw few of your videos online where you draw a rough sketch and then probably a complete artwork on canvas to envision, why can’t or don’t you just draw on huge canvases and hang them? What is the difference in drawing on huge canvas versus actual walls?
With Flex and other mediums emerging to promote films and TV series, what is your one hope and one disappointment when you look at these? | |||
| 8: Think Matter with Ruturaj Parikh | 18 Feb 2020 | 00:56:25 | |
Arthur G. Doughty a dominion activist once said, "Of all our national assets, Archives are the most precious; they are the gift of one generation to another and the extent of our care of them marks the extent of our civilisation.” Today I have Ruturaj Parikh with us on Audiogyan.
Ruturaj is an Architect & Partner at Matter. an architecture, design and content firm based in Goa. He has been involved in architecture, urban design, planning, curatorial and social projects. Ruturaj regularly writes about contemporary works and ideas on architecture relevant to India and its subcontinent. I stumbled upon him when i visited an architecture conference called Frame Conclave this year. Ruturaj designs and writes from Goa.
What is Matter. ? Why do you think Archiving thought / documentation is important & required? Especially post Independence thought?
With so much noise, how do you decipher signal? How do you decide what to archive? What qualifies to be worth archiving?
What are your thoughts on “reflecting on your own work”?
As per my experience, very few professionals are reflective about their work; while academicians, authors & researchers have a more broader vision. Is it true and if yes, why?
Classic work always has a pull and need not be pushed. But it can take really long for people to understand the value. What keeps you going and doing this? | |||
| 7: On canvas and off canvas with Parag Borse [Marathi] | 11 Feb 2020 | 00:57:25 | |
"I feel the real bliss lies only in blankness. And it is only through blankness that the reality can be experienced. The moment we shed our prejudices, we have direct access to the reality. Above all, what matters, is the joyful moments that an artist experiences through portraying the reality on his canvas” - Says are today’s guest, Parag Borse. Parag is an artist whose paintings have been exhibited across the world. He is an award winning artists who studied at JJ School of applied arts. He lives in Karjat a small town between Mumbai and Pune. You can find more on parag borse.com. Today we are here to discuss and understand his philosophical outlook towards paintings. This Audiogyan will be in Marathi.
What do you mean by expression? on canvas and off canvas
What’s your definition of reality? on canvas and off canvas
Can you tell us your thought process from seeing something to putting that on canvas after a very long time?
What according to you is important while creating a painting? Style, medium, content, context, artists journey? Why? And same question from a viewer's standpoint? What he or she should look for?
What are your thoughts on your finished paintings and artwork? How do you see them in retrospective? | |||
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