Afleveringen
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Rupali on the limitations of the current tools we have when it comes to understanding our cities...
ââŠoften what happens is that we get our frameworks of thinking from certain âgivensâ. That is something that we have been arguing, that our ways of understanding cities come from these two disciplines - cartography and statistical ethnography - and what those two disciplines have given us is these two tools - the map and the statistic.âŠthese two tools are limiting in the way they understand life. To give you an example, what a map would require is clear boundaries. So if boundaries are fuzzy, they are corroded, they (maps) would start making no sense. For statistics, you have to simplify things, you have to simplify data. So if things are complex, they will not make sense. The other thing that maps and statistics do is they donât allow for experiential ways of thinking of space because you need to quantify, you need to simplify. And they also create certain moralities of space - what is standard? What is good? What is best practice? Or also clear separations between what is inside and outside, what is public and privateâŠ.â
Rupali Gupte is an architect, urbanist and an artist based in Mumbai. She is one of the founder members of the School of Environment and Architecture and currently teaches there. She is a partner at the Bard Studio, Mumbai. She has also been one of the co-founders of the urban research network, CRIT. Rupali has studied architecture (B-Arch, Mumbai University) and urban design (M-Arch, Cornell University). She has earlier worked as: an Assistant Professor at the Kamla Raheja Vidyanidhi Institute for Architecture, Consulting Urban Designer to the Town Administration of Mendefera, Eritrea and Architect at the Kohn Pederson Fox Associates, New York. Her work include research on Indian urbanism with focus on architecture, urban culture, housing, urban form and tactical practices. It crosses disciplinary boundaries and take different forms â writings, drawings, mixed-media works, storytelling, teaching, walks and spatial intervention. This episode was recorded in Nov, 2021
Rupali's Studio -
https://bardstudio.in/
BARD Studio on Instagram -
https://www.instagram.com/bardstudiomumbai/
The school where Rupali is a founder member and teaches currently -
https://sea.edu.in/
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes
https://instagram.com/broadcast.interrupted?igshid=n8p244jdy89u
Here is the link to our Youtube Channel for more such long-form conversations and clips from this episode and all others
https://www.youtube.com/channel/UCqU4_8rLx_kSSk3SsBWdh8Q
Listen to the audio version of our Podcasts on :
Spotify : https://open.spotify.com/show/6ZaXxvmIRkgTwD78c4g9LE
Apple podcasts : https://podcasts.apple.com/de/podcast/broadcast-interrupted/id1561944644
Google podcasts : https://www.google.com/podcasts?feed=aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Jyb2FkY2FzdGludGVycnVwdGVkL2ZlZWQueG1s
Podbean : https://broadcastinterrupted.podbean.com/
Technical Support : Prashant Chavan
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Rupali on the limitations of the current tools we have when it comes to understanding our cities...
ââŠoften what happens is that we get our frameworks of thinking from certain âgivensâ. That is something that we have been arguing, that our ways of understanding cities come from these two disciplines - cartography and statistical ethnography - and what those two disciplines have given us is these two tools - the map and the statistic.âŠthese two tools are limiting in the way they understand life. To give you an example, what a map would require is clear boundaries. So if boundaries are fuzzy, they are corroded, they (maps) would start making no sense. For statistics, you have to simplify things, you have to simplify data. So if things are complex, they will not make sense. The other thing that maps and statistics do is they donât allow for experiential ways of thinking of space because you need to quantify, you need to simplify. And they also create certain moralities of space - what is standard? What is good? What is best practice? Or also clear separations between what is inside and outside, what is public and privateâŠ.â
Rupali Gupte is an architect, urbanist and an artist based in Mumbai. She is one of the founder members of the School of Environment and Architecture and currently teaches there. She is a partner at the Bard Studio, Mumbai. She has also been one of the co-founders of the urban research network, CRIT. Rupali has studied architecture (B-Arch, Mumbai University) and urban design (M-Arch, Cornell University). She has earlier worked as: an Assistant Professor at the Kamla Raheja Vidyanidhi Institute for Architecture, Consulting Urban Designer to the Town Administration of Mendefera, Eritrea and Architect at the Kohn Pederson Fox Associates, New York. Her work include research on Indian urbanism with focus on architecture, urban culture, housing, urban form and tactical practices. It crosses disciplinary boundaries and take different forms â writings, drawings, mixed-media works, storytelling, teaching, walks and spatial intervention. This episode was recorded in Nov, 2021
Rupali's Studio -
https://bardstudio.in/
BARD Studio on Instagram -
https://www.instagram.com/bardstudiomumbai/
The school where Rupali is a founder member and teaches currently -
https://sea.edu.in/
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes
https://instagram.com/broadcast.interrupted?igshid=n8p244jdy89u
Here is the link to our Youtube Channel for more such long-form conversations and clips from this episode and all others
https://www.youtube.com/channel/UCqU4_8rLx_kSSk3SsBWdh8Q
Listen to the audio version of our Podcasts on :
Spotify : https://open.spotify.com/show/6ZaXxvmIRkgTwD78c4g9LE
Apple podcasts : https://podcasts.apple.com/de/podcast/broadcast-interrupted/id1561944644
Google podcasts : https://www.google.com/podcasts?feed=aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Jyb2FkY2FzdGludGVycnVwdGVkL2ZlZWQueG1s
Podbean : https://broadcastinterrupted.podbean.com/
Technical Support : Prashant Chavan
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Zijn er afleveringen die ontbreken?
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Isha Bhatt is the Director of Product Management at YouTube Commerce. She studied architecture at the KRVIA in Mumbai and was a part of the first batch of students. After moving to the United States to study industrial she began her foray into the tech world, completely by chance, as a User Interface designer for Rediff in the late 90âs. As she mentions in Part I of the conversation, the world wide web was being designed from scratch and she found herself completely at home as a designer, in an environment surrounded by engineers.
Looking into the rear-view mirror now, she speaks about her journey as a Design Thinker and Leader - especially as a woman in a male-dominated Silicon Valley Tech Industry, as one full of surprises and challenges without much precedence. Ishaâs longest stint being Paypal (8 years) she narrates stories of being confronted with cultural differences and socio-economic realities of the different parts of the world while working on the design of a product that is meant to make everyday life easier for people across communities.
In part II Isha also elaborates on her anticipations regarding the future of technological innovations. We discuss with her how she seeâs the world of software being received across the world, by communities and what its disruptive capacities might be for various cultural practices. Her wide range of experiences across different product categories like e-commerce (ebay), fintech (Paypal), automobile (Volvo) and currently Youtube gave us a very rich insight into the different aspects of product design.
Isha Bhatt on Linkedin -
https://www.linkedin.com/in/isha-bhatt/
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes
https://instagram.com/broadcast.interrupted?igshid=n8p244jdy89u
Here is the link to our Youtube Channel for more such long-form conversations and clips from this episode and all others
https://www.youtube.com/channel/UCqU4_8rLx_kSSk3SsBWdh8Q
Listen to the audio version of our Podcasts on :
Spotify : https://open.spotify.com/show/6ZaXxvmIRkgTwD78c4g9LE
Apple podcasts : https://podcasts.apple.com/de/podcast/broadcast-interrupted/id1561944644
Google podcasts : https://www.google.com/podcasts?feed=aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Jyb2FkY2FzdGludGVycnVwdGVkL2ZlZWQueG1s
Podbean : https://broadcastinterrupted.podbean.com/
Technical Support : Prashant Chavan
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Isha Bhatt is the Director of Product Management at YouTube Commerce. She studied architecture at the KRVIA in Mumbai and was a part of the first batch of students. After moving to the United States to study industrial she began her foray into the tech world, completely by chance, as a User Interface designer for Rediff in the late 90âs. As she mentions in Part I of the conversation, the world wide web was being designed from scratch and she found herself completely at home as a designer, in an environment surrounded by engineers.
Looking into the rear-view mirror now, she speaks about her journey as a Design Thinker and Leader - especially as a woman in a male-dominated Silicon Valley Tech Industry, as one full of surprises and challenges without much precedence. Ishaâs longest stint being Paypal (8 years) she narrates stories of being confronted with cultural differences and socio-economic realities of the different parts of the world while working on the design of a product that is meant to make everyday life easier for people across communities.
In part II Isha also elaborates on her anticipations regarding the future of technological innovations. We discuss with her how she seeâs the world of software being received across the world, by communities and what its disruptive capacities might be for various cultural practices. Her wide range of experiences across different product categories like e-commerce (ebay), fintech (Paypal), automobile (Volvo) and currently Youtube gave us a very rich insight into the different aspects of product design.
Isha Bhatt on Linkedin -
https://www.linkedin.com/in/isha-bhatt/
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes
https://instagram.com/broadcast.interrupted?igshid=n8p244jdy89u
Here is the link to our Youtube Channel for more such long-form conversations and clips from this episode and all others
https://www.youtube.com/channel/UCqU4_8rLx_kSSk3SsBWdh8Q
Listen to the audio version of our Podcasts on :
Spotify : https://open.spotify.com/show/6ZaXxvmIRkgTwD78c4g9LE
Apple podcasts : https://podcasts.apple.com/de/podcast/broadcast-interrupted/id1561944644
Google podcasts : https://www.google.com/podcasts?feed=aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Jyb2FkY2FzdGludGVycnVwdGVkL2ZlZWQueG1s
Podbean : https://broadcastinterrupted.podbean.com/
Technical Support : Prashant Chavan
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Libny on the difficult choices that architects make when presenting project proposals to the public and what is at stake when dealing with the feedbackâŠ
ââŠ.In this project, the particular museum feasibility proposal, I used Grasshopper and produced these bridges, towers super fast and did some options and I could tweak stuff and we decided â Oh no! It looks too thick, too blah blah blah.. and then BOOM! Enscape â PrintScreen and thatâs it! But the thing is Enscape then looks quite realistic. The bridge that I modelled had glass, frames, rails, really detailed. Maybe it was our fault that we detailed it too realistic so that people think this is THE THING. Itâs not like an idea.
But then if we would have gone maybe even further and provided a webpage and VR, people would have bought this project! Because it is awesome! You go into this bridge and get a view of the whole city, you really understand the potentials of this projectâŠ.â
Libny Pacheco is a Project Architect working at White Arkitekter based out of Uppsala, Sweden. Before arriving in Sweden, he experienced both studying and working as an architect across cultures and continents. In his own words, he describes himself as an experienced project architect, computational designer, strong researcher and problem solver. Libnyâs interest in software, as he explains during our conversation, comes from his environment and the âHeroesâ within the discipline at the time of his education at the Unversidad de los Andes, Venezuela. From studying in Venezuela to working in London, Beijing and now Uppsala, Sweden he lays out for us, during the course of the conversation, a range of experiences â from the abstract universal notions as well the more real and local preferences across cultural boundaries.
Among other more technical and architectural pursuits, Libny is also an active writer/blogger who keeps himself constantly engaged with rethinking architectural thought. He is an avid (re)reader of philosophical, historical and theoretical works and considers these sources to be an integral part of his toolset for architectural production.
Libnyâs arcticle on Medium titled, âParametricism was born Leftishâ â https://libnypacheco.medium.com/parametricism-was-born-leftish-18db51ba08dd
Libny Pacheco on Linkedin -
https://www.linkedin.com/in/libny-pacheco-6548b95/?originalSubdomain=se
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes https://instagram.com/broadcast.interrupted?igshid=n8p244jdy89u
Here is the link to our Youtube Channel for more such long-form conversations and clips from this episode and all others https://www.youtube.com/channel/UCqU4_8rLx_kSSk3SsBWdh8Q
Listen to the audio version of our Podcasts on :
Spotify : https://open.spotify.com/show/6ZaXxvmIRkgTwD78c4g9LE
Apple podcasts : https://podcasts.apple.com/de/podcast/broadcast-interrupted/id1561944644
Google podcasts : https://www.google.com/podcasts?feed=aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Jyb2FkY2FzdGludGVycnVwdGVkL2ZlZWQueG1s
Podbean : https://broadcastinterrupted.podbean.com/
Technical Support : Prashant Chavan
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Libny on the difficult choices that architects make when presenting project proposals to the public and what is at stake when dealing with the feedbackâŠ
ââŠ.In this project, the particular museum feasibility proposal, I used Grasshopper and produced these bridges, towers super fast and did some options and I could tweak stuff and we decided â Oh no! It looks too thick, too blah blah blah.. and then BOOM! Enscape â PrintScreen and thatâs it! But the thing is Enscape then looks quite realistic. The bridge that I modelled had glass, frames, rails, really detailed. Maybe it was our fault that we detailed it too realistic so that people think this is THE THING. Itâs not like an idea.
But then if we would have gone maybe even further and provided a webpage and VR, people would have bought this project! Because it is awesome! You go into this bridge and get a view of the whole city, you really understand the potentials of this projectâŠ.â
Libny Pacheco is a Project Architect working at White Arkitekter based out of Uppsala, Sweden. Before arriving in Sweden, he experienced both studying and working as an architect across cultures and continents. In his own words, he describes himself as an experienced project architect, computational designer, strong researcher and problem solver. Libnyâs interest in software, as he explains during our conversation, comes from his environment and the âHeroesâ within the discipline at the time of his education at the Unversidad de los Andes, Venezuela. From studying in Venezuela to working in London, Beijing and now Uppsala, Sweden he lays out for us, during the course of the conversation, a range of experiences â from the abstract universal notions as well the more real and local preferences across cultural boundaries.
Among other more technical and architectural pursuits, Libny is also an active writer/blogger who keeps himself constantly engaged with rethinking architectural thought. He is an avid (re)reader of philosophical, historical and theoretical works and considers these sources to be an integral part of his toolset for architectural production.
Libnyâs arcticle on Medium titled, âParametricism was born Leftishâ â https://libnypacheco.medium.com/parametricism-was-born-leftish-18db51ba08dd
Libny Pacheco on Linkedin -
https://www.linkedin.com/in/libny-pacheco-6548b95/?originalSubdomain=se
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes https://instagram.com/broadcast.interrupted?igshid=n8p244jdy89u
Here is the link to our Youtube Channel for more such long-form conversations and clips from this episode and all others https://www.youtube.com/channel/UCqU4_8rLx_kSSk3SsBWdh8Q
Listen to the audio version of our Podcasts on :
Spotify : https://open.spotify.com/show/6ZaXxvmIRkgTwD78c4g9LE
Apple podcasts : https://podcasts.apple.com/de/podcast/broadcast-interrupted/id1561944644
Google podcasts : https://www.google.com/podcasts?feed=aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2Jyb2FkY2FzdGludGVycnVwdGVkL2ZlZWQueG1s
Podbean : https://broadcastinterrupted.podbean.com/
Technical Support : Prashant Chavan
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Mukul on the play of ethics and power dynamics that a documentary filmmaker must consider when wielding a cameraâŠ
ââŠ.So, it finally becomes this entire act of trying to say that, âWho am I to speak on behalf of somebody else? I can try to be honest about it and I can refer to a thing such as; If Iâm looking at the North east [India], âWhat is my image of the north east? That people are doing a tribal dance all the timeâŠwhich is the Bollywood image of a certain kind of âtribalââŠI mean, for me itâs very very important to say that, Iâm aware of the power that I have, wielding a camera and trying to on behalf of speak somebody else. Not for a moment thinking that, âIâm here to do you good.â No, Thatâs a problem!â
Avijit Mukul Kishore is a filmmaker and cinematographer based in Mumbai, working in documentary and inter-disciplinary film practices. He is involved in cinema pedagogy as a lecturer, and curates film programmes for prominent national cultural institutions. His films as director include 'Snapshots from a Family Album', 'Vertical City', 'To Let the World In', 'Electric Shadows' and 'Nostalgia for the Future'; and as cinematographer:, 'John and Jane', 'Seven Islands and a Metro,' 'I am Micro' and 'An Old Dogâs Diary'.
On this podcast, we discussed some of his work, specifically with regards to where we see the nature of his line of inquiry as a filmmaker. For instance, we spoke to Mukul about his film âElectric Shadowsâ, which explores a film festival in China where Indian films were screened; and reflects deeply on the impact of cinema on these two cultures, on the act of documentary film-making and the politics of history and memory. For Andy and I, and of course to those of you that are interested in architecture and cities, in the film, âNostalgia for the Futureâ, Mukulâs commentary on Indian Modernism and especially the nation-building narratives of the time bring into focus the culture of conception within architecture and urban design in the country.
An alumni of the Film and Television Institute of India (FTII), in Pune, India , he has made films that explore various social realities while simultaneously exploring how those same realities get reflected in cinema. He is actively involved in cinema pedagogy and until recently was the co-curator of a national film archive.
Link to Avijit Mukul Kishore's films -
https://vimeo.com/avimuk
Instagram
Youtube
Technical Support : Prashant Chavan
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Mukul on the play of ethics and power dynamics that a documentary filmmaker must consider when wielding a cameraâŠ
ââŠ.So, it finally becomes this entire act of trying to say that, âWho am I to speak on behalf of somebody else? I can try to be honest about it and I can refer to a thing such as; If Iâm looking at the North east [India], âWhat is my image of the north east? That people are doing a tribal dance all the timeâŠwhich is the Bollywood image of a certain kind of âtribalââŠI mean, for me itâs very very important to say that, Iâm aware of the power that I have, wielding a camera and trying to on behalf of speak somebody else. Not for a moment thinking that, âIâm here to do you good.â No, Thatâs a problem!â
Avijit Mukul Kishore is a filmmaker and cinematographer based in Mumbai, working in documentary and inter-disciplinary film practices. He is involved in cinema pedagogy as a lecturer, and curates film programmes for prominent national cultural institutions. His films as director include 'Snapshots from a Family Album', 'Vertical City', 'To Let the World In', 'Electric Shadows' and 'Nostalgia for the Future'; and as cinematographer:, 'John and Jane', 'Seven Islands and a Metro,' 'I am Micro' and 'An Old Dogâs Diary'.
On this podcast, we discussed some of his work, specifically with regards to where we see the nature of his line of inquiry as a filmmaker. For instance, we spoke to Mukul about his film âElectric Shadowsâ, which explores a film festival in China where Indian films were screened; and reflects deeply on the impact of cinema on these two cultures, on the act of documentary film-making and the politics of history and memory. For Andy and I, and of course to those of you that are interested in architecture and cities, in the film, âNostalgia for the Futureâ, Mukulâs commentary on Indian Modernism and especially the nation-building narratives of the time bring into focus the culture of conception within architecture and urban design in the country.
An alumni of the Film and Television Institute of India (FTII), in Pune, India , he has made films that explore various social realities while simultaneously exploring how those same realities get reflected in cinema. He is actively involved in cinema pedagogy and until recently was the co-curator of a national film archive.
Link to Avijit Mukul Kishore's films -
https://vimeo.com/avimuk
Instagram
Youtube
Technical Support : Prashant Chavan
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On the core values that Journalists try to abide byâŠ
ââŠI wouldnât say that I have something memorized, Reuters has whatâs called the trust principle which we are all supposed to adhere to and we all do. But I like those because they are just common sense, basically â Donât do anything where somebody feels like their trust has been violated, you know. Donât represent things in a way thatâs gonna make the reader think youâre misleading them. Always be completely upfront with your sources, if youâre gonna quote them and they wanted to be anonymous, talk to them about â Can I say you work for this ministryâŠjust be completely upfront about everything. At the end of the day the trust principle is â Donât violate the readerâs and the sourceâs trustâŠâ
Jake Spring is an American journalist for the Reuters News Agency currently covering Environment and Commodities in Brasilia, Brazil. He has written vivid stories as the first reporter from a major news outlet on the ground during the 2019 Amazon fire crisis and while covering historic fires in the worldâs largest wetlands in 2020. Jake has covered Brazilâs environment and government regulation of agriculture, mining and energy, including votes in Congress and field reporting on the impacts of major policies. Before moving to Brazil he covered the automobile industry from Beijing, China writing on a number of important aspects like the electric car boom and self-driving cars.
Jake is also the host, producer and editor of the Foreign Correspondence Podcast. On the podcast he speaks to journalists from all over the world about their journeys as professionals and collects stories that shed light on the diversity of interests embedded within journalism. He completed a Bachelor of Arts in Asian Studies from Northwestern University in Illinois.
During the course of this conversation we cover quite a wide range of topics like the specifics of working in capital cities as a journalist to discussing why brutalism in architecture has seen a resurgence as a style over social media.
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On the core values that Journalists try to abide byâŠ
ââŠI wouldnât say that I have something memorized, Reuters has whatâs called the trust principle which we are all supposed to adhere to and we all do. But I like those because they are just common sense, basically â Donât do anything where somebody feels like their trust has been violated, you know. Donât represent things in a way thatâs gonna make the reader think youâre misleading them. Always be completely upfront with your sources, if youâre gonna quote them and they wanted to be anonymous, talk to them about â Can I say you work for this ministryâŠjust be completely upfront about everything. At the end of the day the trust principle is â Donât violate the readerâs and the sourceâs trustâŠâ
Jake Spring is an American journalist for the Reuters News Agency currently covering Environment and Commodities in Brasilia, Brazil. He has written vivid stories as the first reporter from a major news outlet on the ground during the 2019 Amazon fire crisis and while covering historic fires in the worldâs largest wetlands in 2020. Jake has covered Brazilâs environment and government regulation of agriculture, mining and energy, including votes in Congress and field reporting on the impacts of major policies. Before moving to Brazil he covered the automobile industry from Beijing, China writing on a number of important aspects like the electric car boom and self-driving cars.
Jake is also the host, producer and editor of the Foreign Correspondence Podcast. On the podcast he speaks to journalists from all over the world about their journeys as professionals and collects stories that shed light on the diversity of interests embedded within journalism. He completed a Bachelor of Arts in Asian Studies from Northwestern University in Illinois.
During the course of this conversation we cover quite a wide range of topics like the specifics of working in capital cities as a journalist to discussing why brutalism in architecture has seen a resurgence as a style over social media.
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Architect | Teacher | Filmmaker
Rohan Shivkumar is an architect and urban designer based in Mumbai. He has studied at L.S. Raheja College of Architecture, Mumbai for his GD Arch. and at the University of Maryland , USA for his Masters in Regional and International Studies in Architecture. He has worked as Project coordinator for the Churchgate Revival project and the Tourist District project with the UDRI and studies concerning Slum Rehabilitation and open space regulations with groups concerned with development in Mumbai. He was part of the Heritage Listing project with the UDRI, a project by the MMR-Heritage Conservation Society.
Rohan is the Dean of Research and Academic Development at the Kamla Raheja Vidyanidhi Institute for Architecture and Environment Studies. Rohan teaches Architectural Theory and Design Studio at the KRVIA at different levels in the Masters and the Bachelors courses. He has also headed the Design Cell of the school for many years. Besides his work as a researcher and an academic in the school, Rohan has an independent practice as an architect, has worked with non-governmental and research organizations as an urbanist, and has written extensively on architecture, urbanism and culture. He is also part of many architecture and art collectives like Collective Research Initiatives Trust (CRIT) and Collaborative Design Studio (CODES). Rohan is also a filmmaker, curator and has worked within the visual arts.
He believes that architecture and the city are the powerful indicators of culture. In them are represented the values system of a society, the aspirations it has for the future, along with its successes and failures. He believes that the academic space is a space to critically examine the role that it plays and be able to suggest modes to recalibrating the modes in which it is practiced. He strongly believes that such a critical examination can happen through rigorously re-examining of some of the presumptions that architecture assumes. Multidisciplinary encounters between architecture, visual art, literature, cinema, sociology and other disciplines can create spaces where new and relevant conceptions of the ethical and aesthetic role of architectural practice can emerge.
On shared values in architecture -
ââŠ..I think those can be encapsulated in the very clarified ideas from the French revolution that is Liberty, equality and justice, and Fraternity. If one is able to calibrate what good architecture is based on those terms â is it just, environmentally, socially just. All those resources perhaps are being spent on something. Or equal or free⊠âŠBut for me whatâs most interesting is the word fraternity in that entire group. Fraternity is family, love, brotherhood. So it seems like it places love as the most instinctive and maybe even irrational imagination as a part of those four things. And I think that is nice when you think about it. Is your architecture a gift to someone you love? Or is it something that youâre sharing?.....â
Links to Rohan's Films -
Nostalgia for the Future, 2017
https://vimeo.com/197254894
Lovely Villa, 2019
https://vimeo.com/332947562
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes https://instagram.com/broadcast.interrupted?igshid=n8p244jdy89u
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Architect | Teacher | Filmmaker
Rohan Shivkumar is an architect and urban designer based in Mumbai. He has studied at L.S. Raheja College of Architecture, Mumbai for his GD Arch. and at the University of Maryland , USA for his Masters in Regional and International Studies in Architecture. He has worked as Project coordinator for the Churchgate Revival project and the Tourist District project with the UDRI and studies concerning Slum Rehabilitation and open space regulations with groups concerned with development in Mumbai. He was part of the Heritage Listing project with the UDRI, a project by the MMR-Heritage Conservation Society. Rohan is the Dean of Research and Academic Development at the Kamla Raheja Vidyanidhi Institute for Architecture and Environment Studies.
Rohan teaches Architectural Theory and Design Studio at the KRVIA at different levels in the Masters and the Bachelors courses. He has also headed the Design Cell of the school for many years. Besides his work as a researcher and an academic in the school, Rohan has an independent practice as an architect, has worked with non governmental and research organizations as an urbanist, and has written extensively on architecture, urbanism and culture. He is also part of many architecture and art collectives like Collective Research Initiatives Trust (CRIT) and Collaborative Design Studio (CODES). Rohan is also a filmmaker, curator and has worked within the visual arts.
He believes that architecture and the city are the powerful indicators of culture. In them are represented the values system of a society, the aspirations it has for the future, along with its successes and failures. He believes that the academic space is a space to critically examine the role that it playsâ and be able to suggest modes to recalibrating the modes in which it is practiced. He strongly believes that such a critical examination can happen through rigorously re-examining of some of the presumptions that architecture assumes. Multidisciplinary encounters between architecture, visual art, literature, cinema, sociology and other disciplines can create spaces where new and relevant conceptions of the ethical and aesthetic role of architectural practice can emerge.
On shared values in architecture -
ââŠ..I think those can be encapsulated in the very clarified ideas from the French revolution that is Liberty, equality and justice, and Fraternity. If one is able to calibrate what good architecture is based on those terms â is it just, environmentally, socially just. All those resources perhaps are being spent on something. Or equal or freeâŠ
âŠBut for me whatâs most interesting is the word fraternity in that entire group. Fraternity is family, love, brotherhood. So it seems like it places love as the most instinctive and maybe even irrational imagination as a part of those four things. And I think that is nice when you think about it. Is your architecture a gift to someone you love? Or is it something that youâre sharing?.....â
Links to Rohan's Films -
Nostalgia for the Future, 2017
https://vimeo.com/197254894
Lovely Villa, 2019
https://vimeo.com/332947562
Follow us on Instagram for Snippets and Updates on all our upcoming Episodes
BROADCAST : interrupted on Instagram
BROADCAST : interrupted on Youtube
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Hannah Schassner, born in 1988 in the Odenwald and grew up in Adelsheim, Germany, is a freelance theatre-maker from Frankfurt am Main. Hannah studied theatre, film and media science, German literature science and art history in Frankfurt and Vienna. Since 2011 she has been working in different fields of theatre, namely in directing, writing and theatre education â even though she absolutely hates the word âeducationâ.
During the course of her studies, she had been concerned with the (political) effects of art, in particular, with the effect of comedy in the performing arts. Her current line of inquiry continues to investigate this theoretical interest through her own artistic practice.
In part I of the conversation, we discuss her obsessions and whims in equal measure but almost always through the lens of the theatre-obsessed-maker. Some of her critically acclaimed works like Kleine Leute, Heilig Blute, and Issa versus Illegal attempt to reveal the state of the discourse on Faith, Racism and Migration.
On different senses of humour -
ââŠ.when the audience starts laughing about people - Ha ha ha, heâs so stupid, and the audience ends with crying about themselves. That was actually the thesis. [Itâs a kind of a] strategy, so I used the Masterâs thesis to analyse a humour strategy which would be political in more artistic or in a more clever way than just being satire, for example or parody. That its always actually about the moment where you feel like, I want to laugh but I canât anymore and when I laugh, I donât laugh about the figures anymore, I laugh about myself because I am not able to find my place here anymore.â
Hannah's primary venues in Frankfurt are LandungsbrĂŒcken and Theaterperipherie.
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Hannah Schassner, born in 1988 in the Odenwald and grew up in Adelsheim, Germany, is a freelance theatre-maker from Frankfurt am Main. Hannah studied theatre, film and media science, German literature science and art history in Frankfurt and Vienna. Since 2011 she has been working in different fields of theatre, namely in directing, writing and theatre education â even though she absolutely hates the word âeducationâ.
During the course of her studies, she had been concerned with the (political) effects of art, in particular, with the effect of comedy in the performing arts. Her current line of inquiry continues to investigate this theoretical interest through her own artistic practice.
In part I of the conversation, we discuss her obsessions and whims in equal measure but almost always through the lens of the theatre-obsessed-maker. Some of her critically acclaimed works like Kleine Leute, Heilig Blute, and Issa versus Illegal attempt to reveal the state of the discourse on Faith, Racism and Migration.
On different senses of humour -
ââŠ.when the audience starts laughing about people - Ha ha ha, heâs so stupid, and the audience ends with crying about themselves. That was actually the thesis. [Itâs a kind of a] strategy, so I used the Masterâs thesis to analyse a humour strategy which would be political in more artistic or in a more clever way than just being satire, for example or parody. That its always actually about the moment where you feel like, I want to laugh but I canât anymore and when I laugh, I donât laugh about the figures anymore, I laugh about myself because I am not able to find my place here anymore.â
Hannah's primary venues in Frankfurt are LandungsbrĂŒcken and Theaterperipherie.
