the design x design exhibition involves showcasing the work of Delhi based designers once a year to facilitate a reading of the emerging trends across various design based creative industries in the city. ‘sesign x design Exhibition: 20 under 35’ attempts to do just that by sharing the design philosophies, working methods and future aspirations of twenty shortlisted designers under the age of thirty-five.
vikrant has been selected by designXdesign to showcase his work in their latest exhibition.
“a spatial experiment to discover different meanings by taking apart the visual tapestry of photographs and delving below its surface meaning”
the deconstruction project, a series of photo art installations is an ongoing spatial experiment by artists thiru and vikrant. self curated, it is an experiment to discover different meanings by taking apart the visual tapestry of photographs and delving below their surface meaning. it is an exhibit, wherein the essence of photographs has
inspired the installations for an enhanced sensory experience.
the key to the unique collaborations by s. thiru and vikrant Sharma lies in the pair’s refusal to be labelled. thiru is a photographer,while vikrant, is an architect by profession. but they are both unconstrained by these convenient labels. over his 10-year career, thiru is known for putting things together in the most unconventional manner,whether it is photography or graphic designing,effectively blurring the lines between the fields of art and communication, between concept and construction.
similarly vikrant who is a principal at hive Design,new delhi has long forged a highly credible reputation with several of his functional and indelible works. he endeavors to show the genuine possibility in creating spaces that emerge through a process of collective dialogue, deciphering contexts, and sharing of knowledge through imagination, inquisitiveness and modesty. his attempt is to remain intuitive, and strive for spaces that are sensory. so the coming together of two such multi-disciplined,creative and technical talents was natural and always had the potential to produce a work of intrigue, not least
because both think far beyond the conventional. they work through an iterative process,
where ideas are explored through the production of mock-ups, models, material
studies, sketches and drawings.
inaugurated by the one and only mr. raghu rai
some of the exhibits that gained major appreciation by the people were:
transcend
inspiration: when pain is within and all around, it’s the sheer joy of being alive that resounds within the heart, banishing all signs of apparent reasons for disillusionment and dismay, making it evident to the world that the elixir of the joy of life is truly yours. that which you resist persists. it’s all about transcending pain and enhancing life whilst embracing it. the little boy’s glee, despite disfigurement truly portrays the sentiment. description: a triptych installation, where the first two artworks have paper pyramids with contrasting edges and the third – the image of the smiling boy, printed on canvas. the first artwork is made up of red paper pyramids, with white edges depicting the positive attitude and the second portraying the triumph of joy over sadness. location: ludia village, kutch, gujarat size: 10 ft x 3 ft medium: hahnenühle photo rag & paper pyramids sculpture
smile
inspiration: inspired by collective memories that somehow magically seem bound to that one captivating moment that seemed to define it, like an entire experience of journey seemed tied to a smiling face. description: a three layered artwork with the first two layers presenting stamp like perforations. the top two layers are a mosaic compilation of photographs from thiru’s kutch trip. the topmost layer is in black and white while the middle and third layers are in colour. the third being the pivotal image, with the top two layers offering visual play to stimulate viewer interaction, with the revelation of newer compositions.
the tear away pieces are meant as souvenirs for people to take back along with them. location: ludia village, kutch, gujarat size: 3.7 ft x 2.7 ft medium: print on archival paper
a life less ordinary
inspiration: life should not be a journey with the intention of arriving safely in a pretty and well preserved body, but rather to occasionally skid on the roadside, struggle through a cloud of smoke, be completely consumed and worn out… with an eventual exclamation … ‘wow! what a ride!’ description: inspired from the quintessential tile puzzle, this almost life size installation is made up of two layers printed on red oak veneer. the top one being divided into 8 movable squares, while the bottom one with 9 landscape images intends to communicate how well the bike (metaphoric) has made use of its time and purpose in life. by giving the installation dynamism, we intend to ‘give back to the bike its character’ – of always being in motion.
the installation invites the audience to play with it and thereby relay the message to do, see and play more. location: diu, aaman & diu size: 4 ft x 4 ft medium: orint on veneer (red oak)
envisioned as an open culture studio that breaks hierarchical norms, the long rectangular volume was split in two parts – the entrance and meeting space cordoned by a glass partition from the main work area. the studio, albeit visibly accessible, maintains its sanctity by controlled admission of staff. the large open area is composed of three prominent features – a linear work top suspended from the ceiling,
the reference and utility wall, and the creative wall, which houses prints of work done by Hive. “natural light was imagined as an integral part of the architecture, where it permeates through the linearity of the space, and objects and users arranged along it,”
the large glazed opening at the end of the studio is intentionally kept void of blinds or curtains, using film in graphic patterns on the glass to cut excess light. worktables placed transversal to the window ensure there is no glare on computer screens; instead the volume is filled with a diffused north light that reflects off the whitened walls and lightened floor. supplementing the ample natural light is a series of plumen lamps suspended above the table. “the fixtures are an integral part of the architecture of the space rather than additions to the ceiling. the 8 meter suspended worktop was the heart of the
space and the lighting had to become a part of its design rather than just a tool to highlight it” .
the shyam mandir in gurgaon is an ongoing project of hive displaying the varsity of terrains that hive work on. following the many rules that come with building an indian temple, hive has been successful in blending the traditional and the modern aspects of architecture.
with brick exposed walls and ample of natural light falling from the open ceiling, hive has managed to stick to the natural essence of a temple. while every idol has its own space we can see the air connecting each of them to make the worshiper surrounded with love.
envisioned as an open culture studio that breaks hierarchical norms, the long rectangular volume was split in two parts – the entrance and meeting space cordoned by a glass partition from the main work area. the studio, albeit visibly accessible, maintains its sanctity by controlled admission of staff. the large open area is composed of three prominent features – a linear work top suspended from the ceiling,
the reference and utility wall, and the creative wall, which houses prints of work done by hive. “natural light was imagined as an integral part of the architecture, where it permeates through the linearity of the space, and objects and users arranged along it,”
the large glazed opening at the end of the studio is intentionally kept void of blinds or curtains, using film in graphic patterns on the glass to cut excess light. worktables placed transversal to the window ensure there is no glare on computer screens; instead the volume is filled with a diffused north light that reflects off the whitened walls and lightened floor. supplementing the ample natural light is a series of plumen lamps suspended above the table. “the fixtures are an integral part of the architecture of the space rather than additions to the ceiling. the 8 meter suspended worktop was the heart of the
space and the lighting had to become a part of its design rather than just a tool to highlight it” .
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