Rooshad Shroff received an undergraduate degree in Architecture at Cornell University, and a Masters from Harvard University’s Graduate School of Design. [While at Harvard, his work was exhibited at the Venice Biennale of Architecture 2010, as well as the Spanish Pavilion Expo 2010 Shanghai China.] Alongside academics abroad, he also worked at OMA/REX in New York and Zaha Hadid Architects in London.
Upon completing his education, he returned to India and moved into establishing his private practice a decade ago. His firm is based out of Mumbai and structured on the philosophy of integrated design, with a special focus on Indian artisanry and high-end luxury. In addition, he also serves on the board of Lucknow’s Kalhath Institute, which seeks to promote craft in India.
SP: Do you discern Design from Art? If yes, then how?
RS: I don’t think anyone can claim to discern design from art; that’s like asking whether it’s the shell or the yolk that constitutes an egg. They’re part of the same whole. Art is creation; so is design.
SP: According to you, is design a luxury or a necessity?
RS: Well, I’d say you can’t really contextualise it; in my opinion design is a way of life, a culmination of everything you encounter, from your habitat to things that you tangibly experience. Design is not an add-on to one’s existence; it is neither a necessity nor a luxury, it is an intrinsic part of the human experience and it always has been. Because when you stop to think about it, every aspect of life is actually designed, whether it’s a primitive tool dating back to prehistoric times or the couch you’re sitting on in your living room.
SP: What are these objects to you that you create?
RS: I’d say they’re the result of an investigation into the finer nuances of a particular craft? They don’t necessarily commence with a predefined object that needs to be designed, the approach is more from a research perspective of understanding a particular form of artisanry. I familiarise myself with the techniques, the process involved, the materials used, explore its potential and then create something as an outcome of that exploration.
SP: As you speak of your works, you often mention ‘Contemporising the traditional craft.’ My question is why can’t the traditional craft be preserved without contemporising it?
RS: Contemporising a craft doesn’t mean tampering with its time-honoured, traditional techniques; it essentially allows for an evolution into contemporary design. So the practice of the craft remains unaltered, it’s the end result that represents a metamorphosis. There is an inherent difference in reworking a technique and adapting an existing one to achieve a new end result.
SP: According to you, what is a ‘must’ for a design to be good?
RS: Design cannot be sans purpose; it should be able to address a conundrum, to provide a simple solution to the most mundane problem. Whatever its function, it must be capable of launching a clever response to a particular requirement.
SP: Which project has been your most exciting one, to date and why?
RS: Our studio has been fortunate in that we have not been stereotyped into any one genre of design, having had the opportunity of working expansively across the spectrum, from architecture to products and interiors. As a result, each project has been accompanied by its own unique set of enriching experiences, so I don’t think it’s possible to pick just one.
SP: Tell us something about your ongoing projects.
RS: The past year and a half has seen us take on a lot more architectural work, so I’m enjoying this return to my roots, in a manner of speaking. Unfortunately, I am not at liberty to discuss the specifics of any ongoing project due to client confidentiality; NDAs are fast becoming the norm!
SP: Any suggestions you would like to give to the young emerging architects and practitioners?
RS: Work hard, and don’t get seduced by social media. Also don’t pay too much attention to trends or flavours of the month; motivate yourself to do what you’re passionate about.
Image Courtesy: Rooshad Shroff
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