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www.siddharthadas.com

THE ART OF COLLABORATIONHead of his eponymously named studio in New Delhi, Siddhartha Das is a Design Consultant, Curator and Design Strategist. He graduated as an Exhibition Designer from the National Institute of Design, Ahmedabad and plunged straight into a world that encompasses everything from scenography to exhibition design, and installations and craft, to publication and photography. He tells POOL about his journey from studying history to using design to bring culture alive.

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What kind of projects does Siddhartha Das Studio undertake?SD: I established Siddhartha Das Studio in 2002, as soon as I graduated, which is rather foolish in retrospect. I wish I had worked and learnt the ropes rather than burn my fingers many times. Over 10 years my Studio has led or collaborated on roughly 100 cultural projects in seven countries across four continents, on different aspects of planning, strategies and design for heritage, public, museum and other cultural spaces.

The Studio maintains a lean core team that has built a vast network of professionals from across the country and around the world to innovativelyconceive and design projects. It blends national with international, rural with urban, and youth with experience. The approach is to collaborate rather than compete. The projects strive to work with culture as a driver of economy and socio-cultural change within the geographical and other contexts within which they are located. I began to gravitate towards these projects that

Heritage Space - Scenography: Painted Pleasures at Jal Mahal, Jaipur, India.

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were thematically in the realm of culture, rather than any particular sphere of design.

Currently the Studio is working on a series of art installations for an international airport, private space and a few hotels across the country; the concept plan for a heritage complex; curation and concept design for a museum complex; set design for a play; curation and design of thematic exhibitions; establishing a visual arts residency; a range of projects with craft communities, which have resulted in a product range sold at a hotels across the country and the world over; and curating and conceiving a cultural festival.

How do you cope with such a variety of work? SD: I began with a sense of wanting to work in a way that would impact people’s lives and coalescing that with all that interested me. Initially this appeared as directionless to many, though with time I built up an exciting repertoire of projects that benefited from my varied experiences - from a background in history, the arts and an early teaching career.

The delicately carved Jaali/lattice work stone lights, made by two talented stone artisans were initially produced at one of the workshops I conducted. The lattice work is combined with a turned hardwood base housing a LED light.

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I studied history before I studied design, and took two years off after my Bachelor’s, travelling around the country, teaching at Rishi Valley School, Andhra Pradesh, and rural schools in Rajasthan and Ladakh; and working with traditional craft and art communities in Rajasthan,

Orissa, Ladakh and Punjab. The latter led me to study design. However these myriad experiences as a young adult living largely on Rs. 800 a month for over two years, had a deep impact on me. It exposed me to the cultural legacy we’ve inherited and squandered and simultaneously to the cross-section of society. This led me to work in the cultural realm in a way that strived to impact society at large.

What was your first major design project?SD: My initial years were spectacularly uneventful. I was done in by my own arrogance of thinking that I was a fairly good designer and would be discovered magically by the people I hoped to work with. Having seen at close quarters how schmoozing in the social circles gets one work, I abhorred the idea and masochistically decided to live a cocooned existence.

Siddhartha with artisans at a workshop in Karnataka. These workshops have been conducted with over 100 craftspeople who work with bamboo, central to their existence, in this remote and much ignored part of India. It addresses the issue of sustainable livelihoods by creating a socially responsible enterprise, led by strategy and design.

Pots made out of Lacquered Wood

Bamboo Salad Servers

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The watershed was probably getting a six-month placement at Victoria & Albert Museum, and the British Museum in 2004. I chose the former and was greatly aided by a Charles Wallace & Nehru Foundation Fellowship. Being at the V&A, one of the great museums of Europe, was exciting to say the least. It exposed me to the throbbing culture of London and the work ethic that typified the V&A. I couldn’t wait to return to India and work on projects.

You recently worked on the scenography for Jal Mahal in Jaipur - tell us something about that.SD: With a vision and enviable resources, an exciting array of consultants were brought together to work on the dilapidated historic pavilion of Jal Mahal. I was given the task of creating the scenography of the interior spaces, titled ‘Painted Pleasures’, and illustrate the notion of pleasure pavilions. The space celebrates the Rajput courtly arts of the 18th century. The curators selected the main exhibits and the text around which I visualized the space and conceived about 40 artworks while collaborating with about 30 traditional miniature painters and craftspeople. Over a period of about 14 months I painstakingly conceived art that was reminiscent of historic

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The scenography of the Jal Mahal (Water Palace) interiors is titled Painted Pleasures and illustrates the notion of pleasure pavilions. The space celebrates the Rajput courtly arts of the 18th century. The curators selected the main exhibits and the text around which the space was visualized and curated and conceived about 40 artworks while collaborating with about 30 traditional miniature painters and craftspeople.

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Jaipur, creating miniature paintings, murals, brass work, glass melon-shaped lamps, mirror-work, all handmade and bespoke. Having largely worked on rather a somber sphere of work that dealt with public spaces, it was a delight to work on an indulgent project as an aberration. This has led me to a whole spate of projects that blend design with art, craft and architecture.

What do you focus on when designing/curating such spaces? SD: Each of the heritage and cultural projects that we’ve undertaken has had a separate trajectory, dictated by the project, contextual to the region, and communities involved. We’ve come up with methodologies that guide our approach and areas of work. For instance, I was invited with eight

others from around the world to redesign the Red Cross Museum in Geneva - the work for an organization that functions at a time of war is very different than that required for a Plaza in Mexico, or a public space in Japan, or a Cultural Complex in South India.

What are the main determinants in the design process?SD: Need, target audience, resources, and how a project can achieve a lot more than has been set out for it

What has been your experience working with international clients?SD: It’s always been thrilling to find like-minded people around the country or the world with whom one shares concerns and can work with.

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‘Threads & Voices’, edited by Laila Tyabji Published by Marg (India)The art book consists of 11 articles by 11 women who set up vibrant grass root organizations comprising craft communities working with textiles. The visually rich book was designed and largely comprised Siddhartha’s photographs of travels to the villages and cities where the authors worked.

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(Top)Chokelao Bagh, Mehrangarh FortMehrangarh Museum TrustJodhpur, Rajasthan, ongoing projectThe project looked at a layered approach to interpreting the garden for the cross-section of visitors to the fort museum of Mehrangarh.On the left - Leaflet design; On the right - Stone sign with an engraved hand glazed ceramic tile.

Indian Triennale British entry Catalogue

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Martand Singh (INTACH)New Delhi, 2002Co-designed the travelling exhibition: Khadi (handwoven Indian fabrics): The exhibition showcased Khadi, handspun-handloom Indian fabric that Gandhi made emblematic of India’s struggle for freedom.

Each experience has been exciting in different ways and has made me realize that we often share the same issues everywhere in the world.

I have often worked as an international consultant, be it to advise on heritage issues in Penang, Malaysia; or as a designer for Museum Rietberg, in Zurich; or as a visual artist in Newfoundland, Canada; or as a design strategist and consultant in Japan, UK or Belgium. It has always been to bring a perspective and background that is very different.

What is the most exciting part of the kind of work you do?SD: My early adult experiences of teaching in schools and working with craftspeople have always made me feel fortunate that I have the luxury of choosing to do what I love; that I was born into a middle class family and not one that lived on the streets; and that I could have access to the education that has got me where I am today. I am also fortunate that I get the opportunity to work with a whole variety of people, from rural and urban, to international settings.

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(Bottom)Museum Rietberg, Zurich, Switzerland, 2005-2006Design and curation of Indian Fans/Pankhas from the Collection of Jatin Das. The exhibition showcased a unique collection of Indian hand-fans, playing with the idea of lightness and breeze in the Indian summer.

(Left)Victoria & Albert MuseumLondon, UKCo-Concept designer for the exhibition: Encounters The Meeting of Asia & Europe 1500 to 1800.The design links the concept of interaction between Asia and Europe through evoking a sense of the exotic & mystery. Exhibits appeared in dark layered spaces like magical jewels.

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What has been your inspiration?SD: The inspirations are always diverse and it would be difficult to single out any one experience or person. I think the fact that I feel as Indian as I feel like elsewhere; as rooted as nomadic; and these have come in unintentionally in my work. I have been fortunate to meet some incredible people, who are all a blur and they appear out of a distant past through some visual or mental bridge and always inspire.

Are there any designers you particularly relate with? SD: Rajeev Sethi, though I can’t compare my nascent career to his full life!

What are your plans for the near future?SD: My aspiration is not to expand but to consolidate. When I look back, where I am now is quite close to where I would

have wanted to be. I would like to take roots and cement the direction I have taken in my work over the last few years. At the Studio we are currently working on curating, conceiving and designing cultural complexes, thematic exhibitions and cross-cultural collaborations and festivals with varied individuals and institutions from across the country and the world. I am currently consolidating the work we do with cultural projects nationally and internationally. Projects undertaken are increasingly from conception to design by creating a network of professionals.

Any closing thoughts?SD: Sharing my work in any forum is always humbling and exciting. Hopefully there are a few potential collaborators who will read this and strike up a conversation or walk into my Studio bursting with ideas…!

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‘Outdoor benches’ for Gateway of India, Mumbai