1 4 InSITE STORY WOMEN IN DESIGN

Women and men in the design professions are actively working alongside each other as never

before, given the growing numbers of young women making headway into the field. The success and

leadership of women in the design community need to be celebrated and encouraged.

In this issue, women pioneers in the area of design and architecture, considered till very recently the

predominant domain of men, interweave their personal and professional journey illustrating their

crucial role in not only shaping today’s spaces but also the future of design.

Even as global interest in South Asian architecture increases in the context of mainstream modernist history and theory, scholars and practitioners in India continue to ignore the role and contribution of women in the discipline. From the historical viewpoint, it can be said that the long freedom struggle from the British imperial rule not only affected the stylistic characteristics of architecture, but also brought far-reaching educational, social and political changes in the Indian society as a whole. Among other transformations, the status of women was impacted as they came out in the public space to participate in the independence movement in large numbers under the leadership of Mahatma Gandhi.

It is at this time that a small number of women began to take hesitant steps

in the upcoming field of architecture as a few pioneers from elite families broke male bastions to go beyond the traditional confines of the era from the 1940s onwards. The careers of women architects nearly parallel the substantial

1. The wearing of Khadi during freedom struggle, Photo courtesy Mr. Priyavadan Randeria

2. Perin Mistri, born 1913 , the first woman architect of India, photo from the book Parsi Lustre on Indian Soil

EDIfIcE Of thE SOcIEty

Women Architects of India: The Long Journey– Madhavi Desai

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development of architectural modernism in colonial and postcolonial India.

The careers of women architects nearly parallel the substantial development of architectural modernism in colonial and postcolonial India

3. Architectural students in a class, CEPT University, Ahmedabad, photo courtesy Miki Desai

4. The Delhi Land & Finance Sales Office, Gurgaon (2012) by Sonali Bhagwati, Delhi, photo courtesy the architect

In spite of that, there is a tremendous breadth of accomplishments as well as heterogeneity of design approaches and attitudes by women practitioners today. Their collective work and personalities make them the much needed role models and mentors. There are very limited numbers of single woman-headed organisations as well as joint husband and wife practices, which are increasingly popular and successful. A majority of the architects do not call themselves feminists, they reject the label of being “women architects” and believe that the women’s movement in India has not had much influence on their lives/careers.

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In the twenty-first century, a lot has changed. In the past three decades, there has been a sharp increase in the number of women joining architectural degree courses. There are about 500 institutions teaching architecture in India, where 40% to 60% of the student body admitted each year are women, but only about 15 to 17% eventually become active in the field, which is a challenge for the profession to address. Graduates who attempt architectural practice typically veer off towards interior design where there is a critical mass, some take up conservation/landscape, others join non-governmental-organisations, besides finding a career in teaching, research or writing. Some of those who do not drop out of the field altogether move towards fashion/graphic design, furniture/movie making or other related design disciplines.

The architects’ style and aesthetics range from being purely modernist to having absorbed elements of postmodernism, regionalism and rarely, deconstructionism. It is obvious that a singular search for an Indian identity does not exist, it is rather fragmented and takes several directions through cultural transfers and localisation. A few larger practices are definitely affected by global aesthetics and images.

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1 6 InSITE STORY WOMEN IN DESIGN

6. Sarovaram Hotel (BTH) in Kochi (1999 onwards) by Latha Raman Jaigopal, Kochi, photo courtesy the architect

A majority of women are connected with architectural education in myriad ways in spite of their busy practices. The academic connection gives them opportunities to develop a different set of skills and to share their personal expertise with the younger generations. Their extremely self-assured work expresses maturity and confidence. Rather than directly copying Western solutions, they struggle to arrive at an Indian consciousness of design as they move in transnational contexts in an increasingly globalising India. It is time we celebrate women in architecture and also take up the hurdles faced by the majority.•

“Identity is not always a form and shape, but can be an intangible quality in design which is reflective and an emotional expression…”

When I was first entering the architecture industry, in the early 90s, there was a large and vocal opinion that women were simply not able of working at the same level as their male counterparts. Thus, the few women in the industry felt it necessary to work in a stoic, traditionally masculine manner,

The women are responsive to issues of climate change, sustainability, social responsibility and community engagement. They are creatively involved in exploring innovative technology, alternative building materials, regional aesthetics and site-specific context. However, most of the women treat each project as unique, with a rather pragmatic approach to design, preferring to remain free to change and reinvent themselves rather than develop a consistent style as a mark of identity.

Madhavi Desai is an architect, researcher, a writer and an adjunct faculty at CEPT University, Ahmedabad. Her research fellowships are from ICSSR, the Aga Khan Program for Islamic Architecture, Sarai and the Getty Foundation. She is a founder member of Women Architects Forum. She is author/co-author/editor of five books. Her latest book by Routledge is Women Architects and Modernism in India: Narratives and Contemporary Practices.

mmdesai2@gmail.com6

Manthan, Mantra and Mauj – Canna Patel

the idea being to prove that they could design like men, like designers at the time were expected to. How are we supposed to offer our full worth when we are not allowed to be ourselves? Today, the majority of design graduates are women, the field is changing fast. What better time to share some of my experience with aspiring women architects and designers?

I often find that the best way to share my knowledge is to share, in part, my

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life, and while my experiences will be very different to yours, you may still gain something from them. As such, my approach to working life can be split into three core concepts: Manthan, Mantra and Mauj, three M’s if you will. Manthan literally means deep contemplation aimed at concluding an issue, it describes how I deal with my inner dilemmas. By learning to think in depth about my issues, I can better understand them and with that understanding conclude them. As women, we are forced, in many senses, to follow non-linear career paths; we cannot expect constant, driving progress. Inevitably, our careers will be wrought with interruptions, our domestic pressures generally outweigh those of men. I have never managed to split my energy fifty-fifty between the demands of work and domestic life, the balance will constantly shift in favour of either side. However, I am careful not to allow one side to consume the other entirely. One should always be working on something and equally should always have at least a little time allotted for friends, family and most importantly self.

Mantra is your philosophy, a way of thinking and acting that underlines your life. Throughout my career, I have directed myself with a variety of mantras; I believe, that it is often far more productive to focus on reaching short-term goals rather than waiting for one big moment. Humans, after all, walk by placing one foot in front of the other repeatedly until reaching their destination. Early on, when I was starting out in interior design, I realised that to become successful, it was crucial to get published in magazines. Thus, publication became my short-term goal. A designer will often develop the assumption that they will be approached by publicists seeking to use their work. I decided that a far better method would be to approach the publicist myself. To put forward and present my work instead of waiting for someone to notice me. As a result, I was published. Never be afraid to blow your own bugle, to display confidence in your work. Likewise, when presenting to clients, I will always make

known the quality of my work. Too often women are afraid to be sure, of themselves, we are generally expected to be meek and submissive; as it turns out, this is not a valid approach to marketing.

It is hugely important in this (and any other) field to be self-motivated and energised; you must be prepared to acknowledge your weaknesses while holding the will to improve upon them. During my early career, I would often attend design expos and exhibitions to try and learn from the work of others. It is always worthwhile to experience viewpoints and approaches to design that differ from your own. Similarly, I will always try to discuss my ideas, problems and solutions with as many people as I can. Since there has, until recently, been a lack of female mentors in design, I often find myself discussing my work-related dilemmas with successful women in different fields entirely. One can expect to find insight in surprising places.

Mauj means fun, entertainment and leisure. As part of your professional routine, you should reserve time to enjoy yourself. For me this often ties into my work – I am fortunate enough to have a career in something that I love. Teaching is an example. I love to teach; you would never believe how much you can learn from teaching. Outside of architecture, I also enjoy gardening and live dance performances. Holidays as well are a huge part of any successful work ethic. Exhilarate yourself, do things you might otherwise not and above all enjoy the small things. A happy designer, more often than not, is a good designer.

To summarise, while there are hurdles, it is more than possible to be a successful woman in architecture. A woman must juggle domestic and work-related responsibilities with great finesse while also finding time for herself. Manthan, Mantra and Mauj have been the three main concepts that have underpinned my career. Above all, never stop dreaming, despite what others might say or want from you, you hold the ability to succeed. Allowing what others expect

It is hugely important in this field to be self-motivated and energised; you must be prepared to acknowledge your weaknesses while holding the will to improve upon them

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of you to govern your aspirations is to surrender yourself to those not willing to acknowledge your potential. It is perfectly possible for a woman to be both an architect and herself.

To conclude, I wish to share one of my newest projects, the GNFC – Corporate office in GIFT City, a flagship project initiated by the Government of Gujarat to establish a thriving cluster of financial service firms, recently accredited with the IGBC with Platinum ratings. The client’s brief for the space on the 14th floor, was for a high impact and distinctive office space that would help set the tone for other offices in the 20-story office tower, which was one of the two first buildings to come.

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1. Commissioned artwork relates to key elements of the client’s business such as agriculture, chemicals, people and technology

2. The customised table of the boardroom is designed to ease the service of refreshments

3. An Issey Miyake light fixture accents the reception

4. The selective choice of only a few interior elements succinctly composes the space

5. An Indian ambience with a contemporary international flair

6. Light, stackable and yet comfortable chairs, coupled with scene control lights and ELV provides extreme versatility for the multipurpose hall space

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Canna Patel is an architect and interior designer with over 28 years of professional experience. She is the Chairperson HCP Interior Design Pvt. Ltd. (HCPID), widely regarded as a reputable and professionally managed firm. Her Indian upbringing and exposure to cultural diversity and rich heritage has significant influence on her creativity. She has been a recipient of several awards, which includes Women Architects and Designers of India, May 2016 and Women Achievers Awards from JSAF, 2013. She is a Founder Member and Past Chairperson of IIID, Ahmedabad Chapter. In February 2015, she was appointed as Academic Advisory Board for the School of Environment Design and Architecture at the Navrachana University. Her works are being regularly published in various Indian and International publications.

canna@hcpia.co.in www.hcpia.co.in

We decided that as far as possible, we would allow uninterrupted views of the surrounding landscape. However, this was not easy given the 4’ x 4’ columns and a much lower ceiling (to accommodate the ducting for the central AC system). The overall atmosphere emanates a serious, disciplined and hierarchical work structure with calm and comfortable workspace (in incorporating energy saving LED lighting and motion sensor devices). Furnishings were chosen to create an Indian ambience with a contemporary international flair. The choice of colour palettes and motifs celebrates Indian identities of textile carpets and murals, accentuated by the selective use of wood and veneer brings the richness and warmth associated with Indian heritage. Key spaces were greatly enhanced with well thought out commissioned artwork and custom-designed lighting.

The outcome was indeed a very distinctive interior, which while being contemporary was empathically Indian, setting the bar for interiors of PSU office spaces.•

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7. The choice of motifs and colour palette celebrates Indian identity while the choice of special materials evokes a sense of highest authority

8. This work hall contains an interactive wall calendar as well as a graphical wall clock illustrating a balanced work routine

9. The vibrant colour palette of the work hall creates a warm, invigorating working environment to which the pale shade of granite floor then provides

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Breaking stereotypes: Towards an all-encompassing design– Parul Zaveri

When I was seven years old, I was a keen observer of the entire process of designing and building of our house in Ahmedabad, the drawings, plans in particular made a lasting imprint on my mind. Growing up I had extremely rich experiences based upbringing from bungalows to walled cities and rural areas to places of pilgrimage in different parts of India, and exposure to many pioneering individuals from different fields strengthening my decision to pursue architecture as a career.

Our practice Abhikram, meaning ‘Initiation’ in Sanskrit, was established in 1979, to explore all avenues to pursue design directions, and processes, which make the built environment, functionally, psychologically, environmentally and spiritually, more contextual and more comfortable for end-users.

Balprasoon School (1979-80), Ahmedabad, a small project, was one of the first projects handled by Nimish and myself. The requirement was for a small play/nursery area that had to be built in a setback area of the school compound. We believe that the best way of imparting education is through active play, exploration and discovery. Through

this project, we dispelled the notion of a rigid classroom. A pit seemed to be the best option, dug out of the ground with many levels and a temporary roof structure, a geodesic dome made from metal tubes and covered with a plastic sheet, sandwiched between two layers of bamboo matting. This unique project is intended to be used as a prototype during the implementation of the Whole School Development Plan in selected schools throughout Gujarat.

Our personal approach towards architecture is that it should be user friendly and comfortable, and not captivating only. It should be sensitive to the environment and simple in nature.

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1–3. Drawings and images of the Balprasoon School, Ahmedabad, a small play/nursery area designed as a pit with many levels, sheltered by a geodesic dome structure

4–5. The play area steps become tables, benches, and active play spaces for children such as swings and ladders are suspended from the roof

There is clear gender inequality seen when it comes to the magnitude of women in Architecture, in a male dominated industry

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When it comes to the design typology, women architects are more sensitive and compassionate to designing environment-friendly solutions for the society and individuals at large.

Samadhi being one such project, my guru, Pujya Makrandbhai Dave left his body on 31st January 2005. In following two days, the concept of the Samadhi was evolved as desired by Pujya Kundanikaben as though, inspired by him and built on the same location where he was cremated. The site was a raised land with a depression on the southern side, where we, myself and a senior local architect, Pravin Gajjar created a large lotus pond & steps from outside the Samadhi’s sanctum lead down to the water body creating a peaceful, secluded, meditative space. Akin to his spiritual philosophy, the circular form of the Samadhi evolved to represent the Earth and rose gradually in four quadrants of the sloped earth to meet the sky & the universe at the top in the centre, where a polycarbonate dome rested. The entry is from four cardinal directions, widening at the outer circumference, and narrowing as you went into the inner sanctum, focusing on the white marble Samadhi flooded with natural light from the dome above.

During the course of our practice, I realised and accepted a clear gender inequality seen when it comes to the magnitude of women in Architecture, in a male dominated industry. In order

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to address this, I have been a part of the first group of women architects in Ahmedabad in the 80’s to form a platform for Women in Architecture to share their experiences, opinions & issues and to offer other women the encouragement and solutions through dialogue and networking. Things have not changed

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Parul Zaveri & Nimish Patel established Abhikram, a Planning, Architecture, Conservation and Interiors consultancy firm in 1979 and later Panika in 2002. The practice focuses on Sustainable Architecture & Settlement, Institutional & Hospitality Designs, Conservation and Adaptive Re-use of historic buildings and interiors, maximizing use of natural materials, traditional arts & crafts. Parul Zaveri has studied in CEPT, Ahmedabad, India with specific course work at MIT, Cambridge, USA. She is a visiting faculty at NID and CEPT University, Ahmedabad.

abhikram@abhikram.com www.abhikram.com

completely, but the overall scenario is improving and women are more accepted nowadays. In one instance, after the resistance of the contractor and engineer alike, it took breaking down of a poorly constructed arch, personally using a hammer on site, to achieve better quality and workmanship. Being a woman, in principle, I let the women of the house

have a larger say when it comes to the clients. Women know which detail is important for the comfort of every member of their family and themselves, as they are the ones who spend more time in the house maintaining and looking after their families.

It has always been difficult for women to make a mark in this industry, but not impossible. The only thing that holds them back are the responsibilities towards their families after marriage, where long working hours with raising a family are at loggerheads. At our office, the female employees are provided with a more comfortable environment by giving them flexible hours and allowing them to bring their kids along when required.

It is easier for a woman to practice architecture today as the ground has been broken by the front-runners that have proven that a dedicated woman architect can perform as well, if not better, as the male counterpart. There are more women architects, interior designers and engineers than before, successfully securing their position, which helps in bringing about a camaraderie in the design and execution team. Besides, if women themselves start presenting their work in a powerful way, many more glass ceilings could be shattered.

By nature, most women are blessed with an intuitive mind, capable of multitasking and seeing from micro to macro level. When all these abilities are brought into their design, it helps to create a better world to live in for everyone.•

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8–9. The water body outside creating a peaceful space, the light/ventilation factor was creatively handled by providing spaces between the ground and the dome

10. The space around the Samadhi serving the purpose of circumambulation and to accommodate the many devotees during prayer, niches on the inner wall to hold the oil lamps/candles

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I knew that architecture was my calling at a very young age; I have never thought of it as hard work, to me, it is eternally challenging and revitalising. During my architectural edification, I was witness to a very egalitarian class, never feeling less for being a woman. Inspiration has to come from within and the interactions that galvanise us as we go along life. In my case it came primarily from my father as well as from friends and even clients. Moreover, design is not a question of gender; it is a reflection of what a woman or man believes in and what sort of background they have had. I believe that each one designs as a result of one’s personal life experiences, that is what makes you, not your gender.

After returning from America, I established my firm in 1976, joined by my sister Ranjini Kalappa two years later, Somaya and Kalappa was born, a name I retained as a testament to my learning from her. I started with one small project, slowly we began getting repeat clients, I wanted to build, that was my passion. You can talk, read, even design, but you have to be able to build to truly become an architect, focusing for the first twelve years of my career on building, formed the foundation for me to be able to reach where I am today, because I built alone. Now we are ‘SNK’, after my daughter, Nandini joined the practice, already a lawyer and interior designer, refusing to cut corners she forayed into the profession by going back to the rigour of architecture school whilst being married, experiencing motherhood, and working.

We have always been interested in anything to do with crafts & culture and

Forging a Strong Foundation for Success – Brinda Somaya

were lucky to get such a fulfilling project, a dedicated textile gallery namely “The Gallery of Textile and Costume”, at the Chhatrapati Shivaji Maharaj Museum. With a rich background of textiles in our country and a legacy referenced from the Vedic times, it is particularly significant in the Mumbai city, whose

1–2. The Gallery of Textile and Costume, wrapped in a cocoon of black. Colours like red, blue, yellow, and green accentuate different sections of the exhibits

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I believe that each one designs as a result of one’s personal life experiences, that is what makes you, not your gender

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contours were once defined by its textile mills. The gallery draws its design inspiration from the nature of textiles itself; with a theme-based curatorial footprint. The idea of Indian textiles was ingrained in me since childhood because of our strong Indian sensibilities aided by experiences through travel; both my parents were passionate about Indian textiles. Gauging from the historical sense of fabrics, origin, functionality and techniques, the gallery was developed, using the warp and weft – the basic constituents of the weave, and the two most common practices in

textiles – weaving and dyeing – a design vocabulary has been culled out that seeks as it informs.

My appreciation of built heritage came out of living in the old part of South Mumbai called Cuffe Parade; the bus route to my school built in 1960s and subsequently restored was nothing less than a heritage tour, knitting through the fabric of vintage bungalows, renowned buildings and Victorian statues. This included the Rajabai Clock Tower and Mumbai University Library building – a Grade-I heritage building, a preservation and restoration project completed by SNK in 2015. The challenging project includes architectural, structural, services and interior works, including making a future maintenance proposal for this 138-year iconic building.

We have a very diverse practice, not limited to typology, but constant evolution of knowledge and understanding, working for the same client on multiple projects is a gift for an architect, as there develops a deep sense of trust; one such project is the Apartment at Versova. The brief led to the creation of the building levels – a double basement, stilts and six stories, in order to maximise the usage of the permissible buildable area, while retaining the context of the beach and the uninhibited sea view. The sense of flow into the architectural vocabulary of the structure, physical manifested into UPVC slats, a ‘veil’ wrapping the façade, creating strong patterns with the play of light and shadow.

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3–5. The exhibits stand out on garment-donned mannequins in floor-to-ceiling glass cases, lining either side of the gallery space, in a criss-cross fashion

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Having completed her B.Arch. from Mumbai University, Brinda Somaya went on to do her M.A. from Smith College in Northampton, MA, USA. She subsequently started her firm Somaya and Kalappa Consultants in 1978 in Mumbai, and was awarded an Honorary Doctorate from Smith College in 2012. Over four decades, she has merged architecture, conservation and social equity in projects ranging from institutional campuses, rehabilitation of an earthquake-torn village, to the restoration of an 18th-century Cathedral, bringing together progress and history within a single frame.

bsomaya@snkindia.com www.snkindia.com

Women are known to be emotional, but if you are passionate about your profession, you have the right to get emotional about it. The profession is not easy, it requires the right amount of discipline in life, confidence and support from not just family, but also the infrastructure, we try to our best to understand this within our office. Besides, what is important is to have your own life, the independence that it entails, not just financial, but intellectual. There

are problems and prejudices in every profession, and ours is no different. One way to address this is to do our best, to do what we believe in and to mentor others as well. We have done this through Hecar Foundation, through exhibitions and conferences to give women a sense of their work, also through instilling a sense of empowerment in the women labourers at our sites. Very importantly, there has to be networking among women, through different age groups, economic levels, and professions. We make fifty percent of the population, if we stand together, nobody can dare push us over.•

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6–7. Apartment at Versova, the structure stands as a contemporary architectural expression that is representative of its surroundings with its starkness but dynamic flow like movement

8–9. Rajabai Clock Tower with the clock functioning at a height of 85m and a single access required intense safety measures while working on the repair of the Burma Teak windows, louvers, cleaning of the Porbundar stone details, etc.

10–11. The Library building with features like arcades, louvered windows, high vaulted ceilings, stained glass windows, Minton tile flooring, rosewood doors needed meticulous analysis, restoration and upgradation

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Cultivating an Empathic Creative Environ – Sonali Rastogi

We started Morphogenesis in 1996 as a two-person practice working out of a tiny garage. In the midst of a paradigm change in the nascent liberalised economy of the nineties, this decision to set up architectural practice was a poignant one. Today, we are a collaborative of 130 people with our work spread across South Asia and Africa, the global recognition of our work cementing our faith in our vision. Our design approach has often been inspired

by the vast repository of historical wealth of building knowledge and the strong arts and crafts traditions of the region. Sustainability beyond purely energy consciousness – to encompass environmental, social, cultural and financial, has elicited varied architectural responses from us, which sit within our investigation into architecture through three pillars – passive design, resource optimisation and contextual identity.

Over my 20 year journey as a practising architect, there are some projects that have truly been milestones in either my success or in helping shape our firm philosophy or both. Apollo Headquarters (1999) is memorable for being our first significant commission. It won us our first Indian Institute of Architect’s Award and gave us conviction in our chosen path. Pearl Academy (2008) won us India’s first WAF Award, as it caught the global imagination. Having to stretch resource optimisation to its limits due to budgetary constraints, through the use of using of regional ideas, it defined the direction of every project since – where we look at each from the perspective of having no energy, no water and no 1

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1–3. Apollo Tyres Building, the high precision and environment-friendly corporate hub

4–6. The Pearl Academy of Fashion, Jaipur is conceptualise to create an environmentally responsive habitat while catering to interactive space bolstering creativity, fusing rich traditional elements and contemporary architecture

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material. How then, do we approach design? Ever since Pearl, we have also been able to rejuvenate and use traditional crafts to a contemporary format in almost all our work.

We currently have a number of projects going on in the studio, of great diversity across typology, scale, climate and cost. The conscious choice of the firm to explore projects across this broad range allows for cross-pollination of ideas and propagates high levels of design innovation. Particularly exciting are the ones exploring new geographies, hence new local contexts, that push our understanding of sustainability- including a college in Bhutan and a residential township in Johannesburg. We are also designing what is likely to be the world’s largest office spaces for the Surat Diamond Bourse in Dream City, Surat. A practice of our nature demands

adventurous and spirited clients, and ours have been receptive stakeholders of our vision. At the same time we have had a lot to learn from their processes, working with IT giants like Infosys and Wipro, for instance. Or with ITC, which has great green values and its roots are truly Indian.

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7–8. New proposed project exploring new geographies, hence new local contexts that push our understanding of sustainability

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Sonali Rastogi graduated from SPA, New Delhi and AA, London, with a graduate diploma in Housing and Urbanism and Graduate Design respectively. Sonali is Founder Partner of Morphogenesis, one of India’s leading award-winning architecture and urban design practices. Ranked among the Top 100 Architectural Design Firms worldwide by Building Design Magazine, UK in WA100, 2016 for the fifth time, Morphogenesis is the recipient of over 75 awards and has featured in over 500 publications, both International and National. Sonali’s design attitude and her experience and expertise have been recognised by way of awards, including Laureate of the SIA-Getz Award for Emergent Architecture in Asia, Singapore. She lectures globally, has been a part of various academic and design juries, and been a speaker at events such as the Women Leaders in India Conference & Awards.

sonali@morphogenesis.org www.morphogenesis.org

In the context of this edition’s focus – women architects and designers – I have to say that I attribute my success in architecture to the fact that I have never allowed gender to be a factor in my own mind, to begin with. As a result, it has been quite a non-issue in my wider work ecosystem. It is an attitude that percolates across all of Morphogenesis. Having said that, we work actively towards creating a workplace that allows women to stay engaged with the profession, to accommodate the widest range of personal issues that women typically face in their lifetimes. The resultant is an exemplary gender balance where women make up 51% of our workforce, including at leadership level, a figure the firm is intensely proud of. The HR team works hard

to provide an atmosphere that makes this number possible – from working proactively towards challenging stereotypes and reducing gender bias, ensuring the safety of female architects working out of hours, to flexibility in working for new mothers, all unique in the context of architecture practice in India. Moreover, the gender pay parity gap has been and is, non–existent at Morphogenesis.•

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9–11. India Glycols Corporate Office, Delhi, a corporate office reflecting an ideology of transparency, interaction and fluidity while addressing energy efficiency through elements such as courtyards and green roofs

I have to say that I attribute my success in architecture to the fact that I have never allowed gender to be a factor in my own mind, to begin with