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Typography

This was also a group effort exploring letter as a form, and starting to explore the basics of layout.

In collaboration with Salil Parekh, Sahil Bhatti, and Yesh Chandra

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Typography

THE BRIEF 

The exercises mainly consisted in trying to understand typography as form, and synesthetic language of its own. I made tessellations to understand the balance and form of type. The main task, however, was to design a panel, exhibiting a particular typeface and highlighting its features after thoroughly studying it in its historic, cultural and synesthetic context. 

The typeface that I had to showcase was Optima, which is a humanist typeface with wedged edges. It is an elegant typeface and was overused in the 70’s, when the trend was abruptly put to an end. These are the main characteristics I chose to showcase, while stating that we should use the typeface again. Highlighting certain letters of the typeface in the composition and using these to explain the characteristics did this.

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Introduction Space

The introduction space is a neutral space, which gives a general sense of the rest of the exhibition. It is a simple static space and gives a brief introduction and insight into the history and relevance of the subject.

Internal and External Causes of Behaviour

This gallery explains the internal (genes, brain etcetera) and external (environment, childhood etcetera) causes of behavior. Here the space shows a dynamic pressure from two sides, (as with the two aspects that a ect our behavior) with panels on either side of the passage. The visitor will view these graphic panels and screens as they walk through.

Lab Experiments

At the end of the passage the visitor walks into the lab, which is a clinical caged space where a version of the Benjamin Libet experiment will be conducted to shock and prepare the audience for the Determinist gallery. This space will also have graphic panels to show previous statistics.

Determinist Gallery

This an abstract manifestation of the elements relevant to the space, like transparent poles, stripes, and other shapes, to communicate the concept of the invisible prisons most prominently, in the most signi cant gallery.

Contemplation Room

In the contemplation room, the elements are composed to create a private space for all the visitors. The furniture follows the language of the previous three galleries to provoke thought and contemplation on the matter so far. This gallery is at a higher level to make the audience feel like this is the time to have an overview.

Self Reflection Room

This gallery is to be plain from the outside, not attracting much attention. On the inside, the content, mostly audio, questions the sense of self and this is shown through the grey patches of confusion and re ective surfaces.

Conclusion Area - I

After contemplation, in the  rst section of the conclusion, the space re ects, subtly, the problems with the justice system and how it can be improved. This is shown through case studies on panels and in audio. The space also tries to create a sense of empathy and awareness.

Conclusion Area - II

In the  nal section, the audience is to feel liberated and free after being spoken to about personal conclusions one must draw through determinism. It speaks about having the ability to change at any point in life and having less of a personal burden.

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THE FREE WILL PROJECT 

THE BRIEF

The brief was to create visualisations for an exhibition on free will, after looking through the content and designing a narraive best suited to the theory and sapce. The exhibition space was to re ect how best to communicate the theory and aid it’s contemplation. I approached the subject taking into account one theory on free will - Determinism based on the book Free Will by Sam Harris. I went on to uderstand the content and in which narrative it would be best recieved and

most relevant.

After this, each gallery space was dedicated to the mood and communication of a section of the theory/narrative, starting from the introduction and relevance of the subject, through the scienti c and philosophical  ndings, leading up to the ethical and personal conclusion/take aways.

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The task was to represent, to the highest degree of accuracy, the town of Portovenere, along the coast of Italy. Portovenere with its port, undulating and escalating landscape, stairs, peculiar buildings (due to the unusual landscape), church, castle and a rocky cascade down to the sea, was a big task, and was to be achieved using photographic documentation, maps, and measurements.

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The task was to represent, to the highest degree of accuracy, the town of Portovenere, along the coast of Italy. Portovenere with its port, undulating and escalating landscape, stairs, peculiar buildings (due to the unusual landscape), church, castle and a rocky cascade down to the sea, was a big task, and was to be achieved using photographic documentation, maps, and measurements.

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My journey in photography has been brief and casual. It has been fascinating and surprising and a lot of fun. While recognising that it is an essential skill in my eld of work, it has also been leisurely, especially with most of my European travel photography while I was on a  five-month exchange program in Politecnico Di Milano, Italy.

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The task was to put up an individual exhibit within a group of exhibits, on any aspect of the riverfront on the Sabarmati River in Ahmedabad, and hence create my own, more detailed, brief. I chose to work on the couples of the riverfront, as they are, much like in any other public space, a significant presence. More specifically, the brief became, to communicate the atrocities of the moral policing of couples in public spaces using the context, physical and cultural, of the riverfront. 

 The research mainly consisted in crafty interviews of the couples, and a clandestine study of couple behaviour, apart from the general study of the physical setting and elements of the riverfront. After research, specific elements were used in the exhibit in the physical abstraction of the space to communicate the main message of the project. People would have to constantly face the wall in the exhibit, much like the couples. and were informed of the concept through the graffiti written in satire and anger about the subject. The general aesthetic was that of the concrete riverfront and in coherence with the rest of the exhibition.

People were also free to interact with and react to the exhibit, by adding to the graffiti and writing on the walls. I further had people actually kissing in ‘The Kissing Booth’ (a title that was meant to be provocative), to foster the spirit of the exhibit.