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designs Goa Cozinha This 20-week space design and exhibition planning project was undertaken with a client, where I served as the lead designer. I was given full creative freedom to execute the project, which I completed independently. Introduction  Goa Chitra, an ethnographic museum, founded & curated by Victor Hugo Gomes, is a conglomerate of three museums – Chitra, a treasure-trove of Goa’s rich agrarian past, Chakra, a huge collection of carts, palanquins, cradles, and Cruti, documenting Goa’s colonial past. Goa Cozinha, the fourth museum in the conglomerate would be dedicated to the unique story of the culinary history and traditions of Goa, celebrating the journey of food from the farm to the table through various cooking practices both that are followed today and have been forgotten. This fascinating narrative would be illustrated by the innovative use of miniatures that are 1:10 scale high fidelity models of artefacts, objects and other elements. Design Brief How might we best plan and design the museum experience by organising the content in terms of information & supporting miniatures and presenting it within the given space in a manner most comprehensive and meaningful for the visitor? Project Scope & Limitations Being involved from the project’s inception, my role extended from research, planning, and organization to designing the physical space and detailing the exhibition. Working independently under my mentor’s guidance, I managed all aspects of project planning, including work breakdowns, dependencies, milestones, and deliverables. The Research Phase The Interpretation Model The interpretive museum model emphasizes engaging visitors through storytelling, context, and multiple perspectives for a cohesive and interactive experience. Exhibitions are organized with a layered interpretive hierarchy, beginning with the “Big Idea” or overarching theme. This is followed by major themes, sub-themes, or individual stories, supported by key messages that form the conceptual framework. Critical questions encourage visitors to engage actively, seeking answers throughout the experience. This model was studied in depth to be applied in the plan proposed. Site Study The new museum had to integrate seamlessly with the present visitor experience. Understanding the context and surroundings was essential before focusing on the allocated space—a red laterite brick structure in Goan architectural style, featuring bay windows, arched doorways, and a tiled roof. The goal was to celebrate these unique characteristics while working within the space. Floor plans were carefully drafted and studiedalongside context key maps. Visitor Profiling Goa is a popular destination for both national and international tourists, and the museum attracted a wide range of visitors. From a museum administration perspective, a significant portion of visitors fall into three categories: walk-in tourists, pre-booked tourist groups, and student groups. These visitors vary in terms of motivation, interest levels and background knowledge, and the museum must cater to all these segments. Additionally, the ‘Theory of Need’ for museum visitors was studied to better understand their expectations and requirements. Methodology  Setting up a museum from conception to inauguration is a complex process. This project offered a unique opportunity to apply design methodologies and systems thinking. After research, the incremental iterative model was chosen for execution.This approach combines linear and iterative processes, dividing the project into smaller cycles where each increment leads the next. Each cycle followed a mini-waterfall model, completing the design phases of research, ideation, development, and delivery. The entire project was executed in five such cycles. The Execution Phase Information Architecture Brief: How to best structure the expansive content matter in a way that would be comfortably understood by the visitor A thorough review of the provided books and research materials formed the basis of the content development. A connected narrative was proposed, integrating aspects like history, traditions, artefacts, and recipes under each topic rather than separating them into disjoint sections. Once the horizontal flow of topics was established, they were expanded vertically with relevant subtopics. This framework was then overlaid with potential illustrative elements, such as sketches and models, for the final display. Navigation in Space Brief: How to optimally organise the given interior museum space in terms of movement and navigation for the visitor During the research phase, while designing the museum circuit for visitor navigation, various theories were studied, including spatial arrangement systems, access systems, the concept of arterial flow, and the psychological perception of space and movement.After exploring and ideating potential circuits, the final plan was proposed, carefully tailored to the museum’s unique context, limitations, and special features. Narration & Navigation Brief: How to design the journey through space by integrating the narrative flow with the proposed navigation circuit while also factoring in standards of anthropometry During the research phase of this cycle, museum theories on spatial relationships, the concept of possession, Gestalt psychology, and the balance of perception were explored. Ergonomic and anthropometric data were also considered to ensure seamless integration of narration and navigation. Divider panels were proposed to guide movement and maximize display space. By the end of this phase, the content was thematically grouped for the four halls, with specific topics allocated to each wall. Aesthetics In this cycle, a design system was developed, including a mood board, color palette, and font selection. Drawing inspiration from the Goa Chitra Complex, the proposed palette incorporated the exposed red laterite brick walls, the mustard yellow hues typical of Portuguese influence, and the greens of the organic farms and fields. The psychological impact of colors in spatial design was analyzed, and font sizes, hierarchy, and contrasts were carefully experimented with to achieve a cohesive and effective visual identity. Display Detailing Brief: How to best present the content and artefacts in the space, keeping in mind display standards. In this final cycle, the detailed graphic design of all panels was undertaken, seamlessly integrating content, illustrations, artefacts, and miniatures. The nature of the panels, whether display cases, wall-mounted frames, or free-standing installations, was carefully determined based on the specific requirements of each display.A professional content writer and graphic designer were onboarded at this stage to deliver the final designs. This phase marks the final and ongoing stage of the project. Project Scope

designs A Ray casting Long Shadows This poster was created as an entry to the poster design contest organized by the National Film Development Corporation of India at the 53rd International Film Festival of India, Goa, as a tribute to the legendary filmmaker Satyajit Ray. Inspiration & Ideations The movie ‘Hirak Rajar Deshe’ is a Bengali dystopian musical that follows the adventures of the pair of musician protagonists in the Land of the Diamond King, an evil tyrant. It is Satyajit Ray’s incredible storytelling and vision that makes this film truly iconic. The story, at a one level, is a children’s film full of fun, humour and magic. But a deeper look will reveal the thought provoking social and political messages that remain relevant even today. The movie was a childhood favourite and I had overlooked the nuanced and sensitive side until I watched it again with the new-found maturity. I wished to celebrate that aspect of the storytelling in my poster. Modelling & Composition I selected key elements from the story that symbolised the entire narrative to an observant viewer: the book, representing knowledge; the diamonds, symbolising the King’s greed; and the catapult, standing for resistance.These elements were individually modelled in Rhino 3D and composed in Adobe Substance Stager, allowing me to experiment with lighting, shadows, and composition to achieve a dramatic effect. Rendering & Lighting To emphasise the film’s darker and more mature undertones, the entire composition was dimly lit, with the focus directed toward the diamonds. The menacing shadow of the Diamond King, the titular character and antagonist, loomed over the three narrative elements. I carefully adjusted the intensity and position of the light, textures, and layout of the poster to enhance the desired atmosphere. Typography & final Design For the typography of the film’s title, I chose to pay homage to the original posters and the vintage style of that era. The final editing and refinement were done in Adobe Illustrator and Photoshop, ensuring the design retained its retro aesthetic while integrating modern techniques. Final Note This project provided an interesting opportunity to experiment with a mix of software and techniques to achieve the final outcome. The concept was more interpretive than direct, conveying a story at first glance but offering profound meaning to those familiar with the movie. It was my tribute to the celebrated maestro, Satyajit Ray. I was honoured to have my design selected among the top entries for the “One and Only Ray” poster design contest, where it was exhibited to an international audience at the film festival.

designs Something Is Eating Us This experimental animation was the culmination of a 4-month-long exploration undertaken by Studio Kulfi for Breakfast, a cross-disciplinary team of five designers, during the De Rerum Natura exchange seminar conducted by Kunsthochschule für Medien Köln. Ideation & Concept Having been assigned an evocative sound piece from Studio El Palmeral, our process began with group discussions and dialogues, aiming to interpret it in a way that resonated deeply with us. Staying true to the seminar’s theme, the narrative unfolded along the lines of humanity’s metaphorical train of ignorance, blindly chasing greed while ignoring the exploitation and destruction of both the planet and ourselves. Moodboard The diverse skills and unique visions of each team member merged to create an intriguing blend of styles in the final film. Crafting the mood board laid the foundation for this collaboration, where inspirations, treatments, aesthetics, emotions, and their nuances were seamlessly interwoven. Through the visuals, we aimed to convey a raw,unpolished feel, capturing the grim message with a sense of childlike honesty and naivety. Character Development  The main character in the story embarks on a journey from an impressionable toddler to an oblivious youth, eventually transforming into a grotesque, greedy glutton. As a metaphor for humanity, the monster was designed to be human-like. Its appearance captured only the simplest essence of its personality, reflecting the universal soul of modern man, childlike in understanding and blissful in ignorance. Story Board & Final Concept The narrative drew parallels between the train and the journey of life, wherein in each stage or coach, humanity sinks deeper into a cycle of exploitation. From birth, the young and impressionable are shaped by political propaganda, and as they grow, they succumb to an insatiable desire to consume, eventually to the point of sickness. The final concept unfolded as a multilayered sociopolitical metaphor, portraying humanity’s gluttonous greed and utter indifference. With theworld burning in the background, these destructive patterns can ultimately end only in the inevitable embrace of nature’s final reckoning. Exploration & Experiments  At this stage, creative liberty was embraced to experiment with various mediums and techniques, seeking the one that resonated best. Thoughtful consideration was also given to how individual strengths could be leveraged and showcased effectively to bring the final film to life. The Sets & Props The background sets and props were designed to align with the film’s raw and unpolished aesthetic. Repurposed waste materials were used to emphasise the theme of mindless production and overconsumption, inevitably leading to excessive wastage. Crayons were chosen for colouring to evoke a sense of childlike exploration, tying into the narrative’s essence. Props were kept simple and minimally detailed, focusing on their essence to reinforce the thematic message. Composing & Editing The character was brought to life through hand-drawn 2D animation, with each frame meticulously coloured individually. Guided by the keyframes, the physical sets were photographed and filmed to align with the character’s movements. The animation was then superimposed onto the photos and video scenes. During final editing, green screen techniques were used to incorporate videos into the windows and TV, adding depth and detail to the visuals. The Final Film & Reflections The successful production of the short film, achieved through the collaboration and synergy of five individuals with diverse skills and styles, was a deeply rewarding accomplishment.Beyond designing and creating the sets and props, the experience provided me with invaluable lessons in team and project management, keeping the group motivated, cohesive, and on track to meet deadlines. Additionally, it offered firsthand insight into the end-to-end process of producing an animated film, making it an immensely enriching journey. Studio Kulfi for Breakfast It was the collaborative effort of the team that made this short film possible.The concept, story, mood board and all other major decisions were taken in the meetings together. Later, the colouring and editing were done as a supportive team effort, with everyone pitching in remotely.   Credits:Storyboard & Line animation:    Sahil BetigeriCharacter Design:    Sahil BetigeriColouring & Clean-up:    Ahona Mukherjee, Megha Lara, Saurav Singh, Rishita LoitongbamSets & Props:    Ahona MukherjeeDigital Backgrounds:    Rishita LoitongbamEditing:    Ahona Mukherjee, Megha Lara, Saurav SinghPoster Design:    Saurav SinghProduction & Management:    Ahona Mukherjee  

Miniatures Two Cups Apart – Chai Two Cups Apart is my first and current conceptual work as part of my studies at Kunsthochschule für Medien, Köln. It is a two-part installation reflecting on the social spaces of contemporary India, everyday dialogue and discourse and the pauses in quickly moving lives. The first piece, as shown here, captures the humble roadside tea stall or chai tapri.  Exhibited: Lempertz Kunsthaus vitrine, Köln 2026 as part of Urban stage The Concept and Moodboard Although this is a space deeply familiar, memory often softens or overlooks the smaller details that quietly shape a place. To reconstruct it faithfully, I turned to multiple references, searching for the textures, objects, and imperfections that make the space feel lived in, familiar, and real. The Build and Development The structure was built from wooden sheets, then painted, textured, and distressed before being placed within the diorama of aged plastered walls. From the milk-stained kettle and pots to the tea strainer, plastic jars, and tea cups, each detail was slowly handcrafted to reflect the character of the space. The lighting circuit was incorporated in the final stage. Urban Stage x Lempertz Kunsthaus The humble street-side chai shop.It is an informal and open space where conversations from life and work to politics and just passing moments flow. It is accessible, habitual, and deeply embedded in daily routines. A quick pause for a warm cup of tea, a smoke, a lunch or even the daily news.Open to all.But is it really?Are you welcome here? Or more importantly, are you comfortable? Exhibited at the vitrine of Kunsthaus Lempertz in Koln. Image Gallery The second part of the installation is, in contrast, the café that mirrors many of these social functions but operates within a different economic and cultural framework shaped by aspiration and global influence. Though both spaces respond to the same human need for connection and pause, they exist on separate social planes, divided by class.

Miniatures The Great Amalodbhavi This miniature recreates the joint where we spent much of our time during college. Built as a nostalgia piece, it captures the familiar setting of shared meals, long conversations, and everyday routines. The added lighting brings warmth to the space, preserving a small but meaningful memory from that period of life. The Process The main structure was first designed in 3D software and laser cut for assembly. Lighting played an important role in recreating the atmosphere of the space, and so the circuit was incorporated into the build. Elements like the chairs and tables were 3D printed, while smaller details such as the plates of food were handmade using clay. Printed posters and other details were added to complete the scene. Image Gallery

Miniatures The Goan Kitchen A snapshot of a traditional Goan kitchen, capturing the spices and utensils central to local cuisine. It features vessels like the ‘gurguret’ or rooster pot, along with the stone mortar and pestle and other everyday culinary essentials, reflecting a lived-in rhythm of cooking and craft. Made for Goa Chitra Museum Conglomerate, Goa, India The Build The requirement was to display the spice-related utensils within their traditional context. The walls were designed to resemble the red laterite stone commonly found in the region, paired with matching red stone flooring. The small wooden stools and shelves were handmade from wood, while the spices, mortars, and other details were sculpted from clay. Image Gallery