The exhibition Srimad Ramayana: A Story through Pattachitra Paintings was gracefully inaugurated by the divine presence of Jagadguru Sri Sannidhanam at Shankara Giri, Sringeri . His presence imbued the exhibition with spiritual depth and sanctity, affirming its purpose as more than a visual display—as a medium of cultural transmission rooted in devotion and tradition. Curated by the Shankara Advaita Research Center and designed by Tacit , the exhibition brings the timeless narrative of the Ramayana alive through the rich visual language of Pattachitra painting , offering visitors a contemplative journey where art, history, and spirituality converge. Remarkably, the entire exhibition was conceptualized, curated, and installed in a record time of nine days , made possible through focused collaboration and shared reverence for the epic. Curating the Ramayana as a visual narrative At the heart of the exhibition is a carefully sequenced presentation of 83 Pattachitra paintings , drawn from the book Srimad Ramayana . Tacit developed a structured panel system that arranges the works chronologically , transforming the exhibition space into a continuous visual narrative—from the origins of the epic to its defining moments and moral climaxes. To support this flow, the structural panel system was conceived as a simple, modular, and mobile exhibition format . The design intent was to keep the focus on content while ensuring ease of deployment. The panels are lightweight, stackable, and compact , allowing them to fit into a small carrier and be transported with ease. This makes the exhibition inherently scalable—capable of reaching villages, schools, and community spaces beyond formal institutions. Importantly, the system can be installed within a couple of hours , with a clear and intuitive assembly logic that minimizes on-site complexity and reduces the possibility of errors. This approach allows the exhibition to be set up quickly and repeatedly, without compromising the integrity of the artworks or the narrative structure. Living traditions: artists and demonstrations A defining dimension of the exhibition is the presence of the Pattachitra artiste Karunakara Sahu from Odisha , whose mastery of the traditional form brings authenticity and depth to the visual narration. During the exhibition, the artiste demonstrated the painting process for visitors, offering insights into the disciplined craft traditions—natural pigments, precise line work, and narrative detailing—that define Pattachitra. Select original paintings were also displayed, reinforcing the exhibition’s role as a celebration of a living artistic lineage rather than a static display. Engaging young minds through participation Recognising that epics endure through intergenerational engagement, Tacit introduced child-focused activities to make the exhibition accessible and joyful for younger audiences. A Ramayana "Vesha" Photo Booth allowed children to dress as characters from the epic, step into their roles, and capture memories—learning through play and imagination. Complementing this was a colouring activity featuring line drawings derived from Pattachitra compositions. This hands-on exercise sensitized children to the visual grammar of the art form, encouraging early familiarity and appreciation. The exhibition remains open to the public for a couple of months at Shankara Giri, Sringeri, allowing repeated visits and deeper engagement for devotees, families, students, and art enthusiasts alike. A blessed confluence For Tacit, this project has been a deeply humbling experience. To design and install an exhibition that weaves together epic narrative, traditional art, pedagogy, and spirituality within the sacred setting of Sringeri Sharada Peetham is both an honor and a blessing. On Official Sri Sringeri Sharada Peetham Website View Instagram Reel here > View Project Page >

Jeewanu - Board Game The question “How did life originate on Earth?” has fascinated scientists and philosophers for centuries. As part of a special edition of the Archives Public Lecture Series , this enduring mystery was explored through an extraordinary confluence of ideas, history, and design. The event brought together a reflection by Prof Vidyanand Nanjundiah on the origins of life, an introduction to the scientific history of Jeewanu and contemporary work in Dr. Shashi Thutupalli’s lab , and the launch and walkthrough of archival papers belonging to Dr Krishna Bahadur and S. Ranganayaki , the co-discoverers of Jeewanu. It was an evening that moved seamlessly between past and present—between speculation and experiment—inviting the audience to reconsider how life-like processes might emerge from non-living matter. Dr Shashi Thutupalli explaining the Jeewanu experiment at NCBS The forgotten story of Jeewanu The story at the heart of the event is as audacious as it is poignant. In a small chemistry lab in Allahabad in the 1950s, Krishna Bahadur and Ranganayaki asked a deceptively simple question: Can particles of life grow out of ordinary, non-living chemicals? They mixed clear solutions of simple molecules—sources of carbon, nitrogen, phosphorus, iron, and molybdenum—into what appeared to be a lifeless abiotic soup and exposed it to sunlight. What followed was unexpected. Tiny spheres appeared, grew, and multiplied, filling the liquid with a new microscopic world. Bahadur named them Jeewanu , Sanskrit for “particles of life.” Initially, the results caused a stir. But as others struggled to reproduce the experiments, scepticism grew. Accusations of contamination and methodological flaws followed, and over time, the work was sidelined and largely erased from mainstream scientific narratives. Decades later, with modern tools such as advanced microscopy and mass spectrometry, scientists returned to this overlooked trail. They found that simple chemical mixtures could indeed self-organise into protocell-like compartments—structures that grow, change shape, and host rich internal chemistry. Whether these entities can be called “alive” remains an open question, but the Jeewanu story has re-emerged as a fertile ground for inquiry, curiosity, and debate. Turning a scientific question into a shared experience It was during a playful internal discussion at Tacit —on discovering this remarkable story—that an idea took shape: What if this experiment could be experienced, not just explained? That question led to the design of Jeewanu , a co-operative board game developed in close collaboration with the Jeewanu Lab at NCBS (National Centre for Biological Sciences) . Designed over the course of a year, the game was created through sustained engagement with Dr. Shashi Thutupalli , carefully studying the scientific, historical, and experimental nuances of Jeewanu. The aim was not simplification, but translation—finding a way to simulate the experience of scientific work rather than merely its outcomes. Inside the game: science as collaboration, uncertainty, and play In Jeewanu , players step into the roles of scientists in a modern laboratory: principal investigators, collaborators, postdocs, PhD students, interns, technicians, and even an AI robot. Together, they attempt to recreate, test, and extend the original Jeewanu experiments—on the tabletop rather than at the bench. The game is deliberately co-operative . All players win or lose together, mirroring the collective nature of real scientific research. Players must manage resources, design experiments, respond to constraints, and fend off real-world threats and sly saboteurs that can derail their work. Across four narrative episodes, players: Stumble upon the accidental recreation of mysterious blue droplets and crystals, Flash back to the time of Bahadur and Ranganayaki, learning how they worked under pressure and doubt, Return to the present to identify the conditions that reliably yield Jeewanu, and Leap into the future to explore whether more life-like protocells can be deliberately designed. The mechanics— co-operation, deck collection, and traitor dynamics —were refined through extensive play-testing with lab experts, PhD students, laboratory practice specialists, and experienced gamers. Each iteration helped balance scientific fidelity with engaging gameplay. A different way of doing science communication Jeewanu is not a teaching aid in the conventional sense. It is an invitation to think like a scientist—to experience uncertainty, collaboration, failure, persistence, and wonder. By turning a real scientific puzzle into a shared, playful experience, the game opens up new ways of engaging with deep scientific questions, making them accessible without making them trivial. Tacit is deeply proud to have collaborated with Jeewanu Lab and NCBS on this project. The game was presented as part of the Archives Public Lecture Series event, alongside reflections on the history, revival, and future of Jeewanu, grounding play firmly in scholarship and archival memory. Availability Jeewanu is being published in limited numbers . Those interested in owning a copy can leave their phone number and address to register their interest.👉 Click the link to submit your interest and be part of this ongoing scientific story. At its core, Jeewanu—both the experiment and the game—asks the same enduring question: Where does life begin? And perhaps just as importantly, it reminds us that science itself often begins with curiosity, courage, and the willingness to play with ideas. Team Game Design : Aditi Bathija, Kiran Kulkarni Visual Design : Tanya Kumar, Sindhu Kulkarni NCBS content team : Nayan Chakraborty, Dr. Shashi Thutapalli

The Freedom Fighters Memorial in Chikmagalur , inaugurated on Gandhi Jayanti by the Brigade Foundation , stands at Hosamane Circle as a place of remembrance, reflection, and resolve. More than a commemorative structure, the memorial is conceived as a civic space—one that invites citizens, especially young minds, to encounter the values, sacrifices, and courage that shaped India’s freedom struggle. Freedom Fighters Memorial, Chikmagalur Panels depicting Freedom Fighters etched on Jaisalmer stone From the first step, the experience as designed by the architect is intentionally spatial. Visitors ascend a series of stone steps that lead them toward a mural of Mahatma Gandhi , depicted in his iconic spinning-wheel pose. This act of walking upward is symbolic: a gradual transition from the everyday city into a landscape of memory. The use of rough stone throughout the memorial echoes the hardship and endurance that defined the freedom movement, grounding the experience in material honesty rather than ornamental excess. Environmental graphics as architecture, not add-ons Our approach to the environmental graphic design was rooted in integration. The signage and graphics are not applied layers; they are embedded into the architecture itself. Carved into stone and paired with Jaisalmer golden-yellow stone panels , the narratives of India’s freedom fighters emerge as part of the built form. This ensures durability, dignity, and a sense of permanence—qualities essential for a memorial meant to endure across generations. Rather than relying on conventional plaques or panels, the design treats information as architectural presence . Names and stories are revealed through proportion, placement, and rhythm, allowing visitors to encounter history as they move through space. Monumental, yet quiet A key design intent was restraint. The graphics are simple and silent , avoiding visual noise or dramatic illustration. This silence is deliberate—it creates room for contemplation and respect. Yet within this quietness lies depth: the scale, materiality, and spatial sequencing communicate the heroism and sacrifice of the freedom fighters without overt dramatization. The memorial narrates the stories of 20 figures such as Rani Abbakka Chowta, Kittur Rani Chennamma, Dr. B R Ambedkar, Subhash Chandra Bose, Bhagat Singh, Rani Lakshmi Bai , and many others—not as distant icons, but as presences woven into the everyday life of the city. Standing among us, not framed before us One of the most important ideas guiding the graphic and spatial language was to avoid portraiture in the conventional sense. The freedom fighters are not framed, isolated, or elevated onto pedestals as distant figures from the past. Instead, they are positioned at varying heights and angles , distributed across the plaza so that they feel as though they are standing among us . As people walk through the open plaza, these vertical follies create a subtle sense of protection and guardianship —as if history is watching over the present. The experience is immersive rather than observational; visitors are not merely looking at history, they are walking with it. Past and future, facing each other The location of the memorial adds a powerful layer of meaning. On one side lies the narrative of the past, embodied in stone, struggle, and sacrifice. On the other stands a neighbouring school , representing the future. This juxtaposition is not accidental—it reinforces the memorial’s role as a bridge between generations, reminding young citizens that their freedoms are rooted in real lives, real courage, and real loss. Designing for collective memory The Freedom Fighters Memorial in Chikmagalur demonstrates how environmental graphic design can go beyond information and aesthetics to shape collective memory. By integrating graphics into architecture, embracing material honesty, and choosing silence over spectacle, the design allows history to speak with dignity. Here, remembrance is not imposed—it is experienced . And as citizens pass through the plaza, the memorial quietly fulfills its purpose: keeping the freedom struggle present, personal, and profoundly human. Team Client: Brigade Foundation Architects: Sanjay Mohe, Mindspace Illustration: Srikantha Umakanta Construction : Inverika Environmental Graphics : Tacit Pictures during Inauguration

On December 12, 2025 , Prof. Kirti Trivedi marked an extraordinary milestone— 50 years of design practice and pedagogy —by opening a deeply moving exhibition that brought together a lifetime of work across product design, exhibition design, publication design, and design education . More than a retrospective, the exhibition felt like a living archive: a rare opportunity to witness how design thinking in India has been shaped, questioned, refined, and carried forward over five decades. Prof Kirti Trivedi A Journey Through Design Born in 1948, Prof. Trivedi’s journey into design began with a degree in Mechanical Engineering from the University of Indore. He then pursued a Postgraduate Diploma in Industrial Design from IIT Bombay, followed by a Master of Design from the Royal College of Art, London. This blend of engineering rigor and humanistic design inquiry has remained a defining thread throughout his work. His formative experiences in Japan in 1981—working with leading design offices and studying under Kohei Sugiura as a UNESCO Fellow—deepened his sensitivity to culture, systems, and visual language. This experience shaped a design worldview that is both global and profoundly rooted in Indian traditions. Teaching and Mentorship Since 1976 , Prof. Trivedi has been a cornerstone of the Industrial Design Centre (IDC), IIT Bombay . He has taught generations of students in Graphic Design, Typography, Design Methods, and Design History . In 1984, he initiated India’s first Master’s programme in Visual Communication , a landmark moment in the country’s design education landscape. Alongside teaching, his long-term project documenting the design traditions of India —begun in 1981—stands as an invaluable scholarly contribution. This project bridges classical knowledge systems and contemporary design practice, enriching the field. A Diverse Portfolio His professional work spans an extraordinary range. From permanent museum exhibitions such as “My Life is My Message” at Sabarmati Ashram, to exhibitions on Vinoba Bhave and Jamnalal Bajaj , Prof. Trivedi has consistently demonstrated how design can operate at the intersection of culture, public life, and everyday use. He is perhaps best known as a master book designer , with acclaimed work for publishers like Marg , Mapin , and Osian’s —books that have been celebrated internationally and exhibited at the International Biennale of Book Design in Brno . The Exhibition Experience The exhibition celebrating his fifty years was, in itself, a textbook in spatial storytelling . It wasn’t merely a display of finished artifacts; it was an environment that revealed process , thinking , and values . Visitors encountered typography as structure, layout as narrative, and design as a cultural act—lessons that many of us have learned directly from him in classrooms, studios, and conversations. For designers, the exhibition functioned as a rare form of immersive pedagogy: a space where history, practice, and philosophy coexisted seamlessly. Personal Significance For Tacit , this exhibition held a deeply personal significance. Prof. Kirti Trivedi is our design mentor and guru . We have been extraordinarily fortunate to learn under him—absorbing not just skills, but a way of seeing design as a serious, ethical, and culturally grounded discipline. His insistence on respecting content, understanding history, and designing with intellectual honesty continues to shape how we practice today. His body of work stands as a historical achievement in the fifty-year evolution of design in India . The influence he has had on hundreds—if not thousands—of designers, educators, and leaders is impossible to quantify. A Learning Experience Tacit was honored to volunteer in assisting the setup of the exhibition and to help create a rich, reflective atmosphere for designers and visitors in Bangalore . Being part of this process was itself a learning experience—an extension of Prof. Trivedi’s pedagogy, enacted through space, objects, and dialogue. The exhibition reminded us that graphic design is not merely about aesthetics or trends, but about meaning , memory , and continuity . As Prof. Trivedi’s papers, lectures, books, and students continue to travel across institutions and generations, one thing is clear: his legacy is not confined to objects or exhibitions. It lives on in the questions he taught us to ask, the care he brought to every detail, and the deep respect he instilled for design as a cultural and intellectual pursuit. Celebrating fifty years of his work is, in many ways, celebrating the very soul of graphic design in India. Conclusion In conclusion, Prof. Kirti Trivedi's journey through design is a testament to the power of creativity and education. His work has not only shaped the landscape of design in India but has also inspired countless individuals to approach design with integrity and cultural awareness. As we reflect on his contributions, we are reminded of the importance of design as a tool for communication, understanding, and connection in our ever-evolving world. The legacy of Prof. Trivedi will continue to inspire future generations, encouraging them to explore the depths of design and its impact on society. His commitment to fostering a rich design culture in India will resonate for years to come, guiding us all in our creative endeavors.

Beeja, sprouting A seed rests in the soil without instruction.It carries no image of the tree it will become.What it holds is a direction. Given light, water, and time, the seed does not decide its form. It responds. Roots move downward. The stem moves upward. Leaves appear when the conditions allow them. What we later recognise as beauty is not intention, but consequence. Nature does not rush toward expression. It first establishes order. Creation, in this sense, is not an act of making, but an act of allowing. The same elements—earth, water, fire, air, space—are present everywhere. Yet their outcomes are never identical. A palm tree and a banyan stand on the same ground and grow into entirely different forms. Each follows its own inner necessity. Nature does not seek variation, but it never produces repetition. In Languague... Beejakshara This idea of creation as unfolding rather than construction is embedded deeply in the Sanskrit language. Meaning does not begin with explanation. It begins with sound . At the smallest level are bījākṣaras —seed syllables. They are not descriptive words. They are condensed fields of meaning. The bījākṣara Hrīm (ह्रीं) is one such seed. Traditionally, it is said to give rise to multiple meanings, not by definition but by resonance. From Hrīm emerge qualities such as lājjā (modesty), śrī (auspicious beauty), smṛti (inner remembrance), dhṛti (steadiness), and medhā (clarity of intelligence). These are not separate ideas assembled together. They are different expressions of the same inner tone. Hrīm is often broken down into its sonic components— ha , ra , ī , and ṁ . Each carries a force: movement, fire, expansion, and containment. When held together, they do not point outward to an object. They turn attention inward. Like a seed placed in the right soil, Hrīm does not instruct the mind; it prepares the ground in which meaning can arise. In Music... Raaga Families - Thaat Music follows a similar logic. A rāga is not a melody but a generative condition. Hamsadhvani , for example, is built from a precise selection of swaras— Sa, Ri₂, Ga₃, Pa, Ni₃, Sa . Certain notes are absent. Certain movements are emphasised. Its characteristic phrases lift upward quickly, avoiding heaviness. From these constraints, a distinct presence emerges. For example Hamsadhvani (Raga)is traditionally associated with maṅgala —auspicious beginnings. It evokes clarity, freshness, invocation, and lightness. This is why it is often played at the start of concerts. The rāga does not state joy; it creates the conditions in which joy naturally appears. Different musicians may render it differently, stretching or compressing time, but the rāga remains recognisable. The seed holds. In Architecture.... Beeja - Diety Roopa/Form - Temple complex Architecture, too, follows this inner logic when it is rooted in tradition. The Jagannātha temple in Puri begins not with architectural flourish, but with a radically simple seed—the deity itself. Jagannātha is not anthropomorphically complete. He is circular-eyed, stump-limbed, unfinished. A form that resists refinement. This seed-form shapes everything around it. The temple does not attempt to beautify or complete the deity. Instead, it builds protection, procession, and enclosure around this powerful centre. The towering śikhara rises like an offering, while the garbhagṛha remains dark, compressed, and inward. The architecture is not expressive in itself; it exists to hold intensity. Movement through the temple mirrors the deity’s nature. Pilgrimage, circumambulation, the annual Rath Yātrā—these are not decorative rituals. They are spatial expressions of the same seed idea: the god as cosmic presence, accessible yet overwhelming, simple yet immense. The architecture unfolds outward from this core, just as a tree expands from its seed. This is Vāstu in its original sense—not prescription, but alignment. An effort to allow form to arise from essence, rather than impose form upon it. Conclusion Nature includes decay as part of creation. Leaves fall. Sound dissolves. Stone erodes. Even Jagannātha’s wooden form is periodically renewed. Nothing is designed to remain untouched. What continues is not the object, but the principle. Modern design often attempts to resolve everything too early. It seeks finality where nature prefers process. But seeds do not aim for completion. They aim for continuity . Design, then, becomes less about expression and more about responsibility. The responsibility to listen, to reduce interference, and to create the right conditions for something essential to emerge. When this happens, the result does not call attention to itself.It feels natural.As though it had always been waiting to exist. This way of understanding creation is not metaphorical but foundational in the Indic tradition. Vedic Reference The Vedic view does not describe the universe as something made , but as something that emerges . The Ṛg Veda speaks of an underlying order— ṛta —through which forms arise when conditions align, not through force, command, or manufacture. Ṛta is not imposed upon the world; it is the rhythm by which the world holds together. ऋतं च सत्यं चाभीद्धात् तपसोऽध्यजायत । (Ṛg Veda 10.190.1) Ṛta and satya are said to be born of tapas —an inward intensity, not an external act. Order precedes structure. Truth precedes form. Creation is described not as intervention, but as consequence. The Upaniṣads return repeatedly to this idea, refusing the image of a craftsman-like creator. Instead, they speak of a source from which beings unfold naturally—sustained without effort, resolved without violence. यतो वा इमानि भूतानि जायन्ते ।येन जातानि जीवन्ति ।यत्प्रयन्त्यभिसंविशन्ति । (Taittirīya Upaniṣad 3.1) That from which these forms are born,by which they live,and into which they dissolve. There is no drama of construction here. No insistence on completion. What exists arises, abides, and withdraws—like breath, like sound, like growth. In this worldview, sound precedes structure . Vāc is not merely speech, but the principle through which form becomes perceptible. Meaning does not exist independently of resonance; it appears only when sound is received, held, and allowed to settle. वाचारम्भणं विकारो नामधेयं । (Chāndogya Upaniṣad 6.1.4) Form is a modulation of speech;difference is only a name. Whether in mantra , music , or architecture , creation is treated as an act of alignment with an underlying order. The human role is not to impose design, but to recognize the seed and prepare the space in which it can reveal itself. This is why the bījākṣara does not describe, the rāga does not declare, and the temple does not explain. Each establishes a condition. Each listens before it acts. When alignment is correct, form appears inevitable.When it is not, no amount of intention can save it. This is not minimalism as reduction, but as restraint.Not silence as absence, but as readiness. Design, then, returns to its original responsibility: to honor continuity over control, process over performance and emergence over expression. When this happens, the result does not announce itself. It feels inevitable. As though it had always been waiting to exist.

In June 2025 , the Venkatappa Art Gallery in Bengaluru reopened after an extensive restoration led by the Brigade Foundation , marking both its Golden Jubilee and a renewed chapter in the city’s cultural life. This historic institution—originally established in 1975 to honour the multifaceted legacy of painter-sculptor K. Venkatappa —has long been central to Karnataka’s artistic identity. Its renovation not only revitalised the physical structure but also reimagined how visitors navigate, engage with, and understand the space. While structural refurbishment, lighting, expanded galleries, a sculpture park, café, and restoration room now enhance the gallery’s capacity, the wayfinding and environmental graphic design plays a vital role in shaping visitor experience. Our design approach was guided by clarity, cultural relevance, and visual restraint—ensuring that the navigation system supports the architecture and exhibitions without overshadowing the artworks themselves. Simplicity as Strategy: Navigating without Noise In any art gallery, signage can easily become visual clutter, competing with the artwork it is meant to support. For Venkatappa Art Gallery, we adopted simplicity as the core principle . Each graphic element was designed to be functional, legible, and unobtrusive , helping visitors orient themselves through the galleries, circulation paths, and public spaces. The objective was clear: the graphics should guide—not dominate . The signage system was developed to be visually calm so that wayfinding cues become intuitive. Typography, spatial placement, and material finish were chosen to integrate seamlessly with the architectural language of the gallery. The graphics do not interrupt the visual rhythm of the exhibits; instead, they act as silent markers that enhance spatial understanding without distracting from artistic engagement. Cultural Relevance: Color as Identity While simplicity guided the form of the wayfinding system, colour served as its identity. Recognizing the gallery’s cultural roots and contextual heritage, we introduced color as a strategic identity marker —a visual thread that ties together different parts of the gallery while echoing the vibrancy of Karnataka’s artistic traditions. The colour palette was chosen to be distinct yet harmonious with the gallery’s interior finishes and the ambience of the exhibitions. Used sparingly across key graphic elements—signage backgrounds, directional cues, and space identifiers—colour becomes a subtle wayfinding tool that supports the visitor’s journey through the building. This approach ensures that the graphic language remains culturally resonant —invoking an aesthetic that feels rooted in place—while also functioning as a disciplined system of navigation. Consistency in Signage: A Unified Visual System One of the challenges in revitalised heritage spaces is the integration of new communication systems with existing architectural character. The wayfinding solution at Venkatappa Art Gallery addresses this by establishing a consistent signage system —one that speaks with a single visual voice throughout the gallery’s public areas, circulation zones, exhibition rooms, and ancillary facilities. Consistency enables visitors to build familiarity quickly: directional signs, room identifiers, informational panels, and accessibility cues all share a cohesive visual grammar. This uniformity supports legibility and reinforces the gallery’s identity as a place of cultural continuity rather than a generic venue. Typography and form Typography choices were guided by linguistic priority and spatial harmony. Kannada was treated as the primary visual language , reflecting the gallery’s cultural context and ensuring prominence in wayfinding. Baloo Tamma was selected for Kannada for its rounded letterforms, inherent warmth, and high legibility without reliance on stylised variants. The English typeface was chosen to align structurally and visually with this character, resulting in the use of Gotham , whose geometric clarity complements the Kannada forms without competing with them. Signage frames were kept predominantly vertical , echoing the vertical rhythms present in the gallery’s architectural elements. This alignment reinforces spatial continuity and allows the signage to integrate naturally into the environment rather than appear as an imposed layer. Design process: Testing clarity in real space The signage system was developed through a rigorous, site-responsive process. This began with a detailed study of site conditions —including circulation patterns, sightlines, lighting, and viewing distances—to understand how visitors move through and perceive the gallery. Typeface choices were then tested for legibility at multiple scales, ensuring clarity without visual intrusion. Color was introduced cautiously and evaluated for its impact on consistency and identity , as well as its interaction with walls, artworks, and ambient light. Crucially, design decisions were validated through full-scale (1:1) mock-ups . Printed samples were tested on site to assess visibility, reading comfort, and overall feel within the actual spatial context. Feedback from these trials informed refinements before stakeholder approvals were sought. The process continued through 1:1 flex print testing , final production, and on-site guidance during installation—ensuring that the signage performed exactly as intended once embedded into the gallery environment. Respecting Art and Architecture Perhaps the most important guideline in this project was a commitment to respect for the art and architecture . The gallery’s renewed spaces—including dedicated galleries for Venkatappa and K.K. Hebbar, plus new galleries for contemporary and emerging artists—required a design approach that accommodates diverse artistic contents. The environmental graphics do not compete for attention; they enhance spatial cognition . By keeping forms simple and integrating colour strategically rather than decoratively, the wayfinding system maintains a supportive presence—informing without interrupting, guiding without overwhelming. A Framework for Engagement and Continuity The revival of Venkatappa Art Gallery is an important cultural milestone, and the environmental graphic design is a key component of how this institution now communicates with its audiences. Through a simple, culturally relevant, and consistent visual system , we aimed to: Help visitors navigate the gallery with ease Support the architecture and exhibitions without overpowering them Create an identity marker that reflects cultural context Ensure clarity and consistency across all signage In doing so, the design contributes to the gallery’s larger mission: making art accessible, legible, and engaging for all visitors—whether they are lifelong art lovers, students, or first-time spectators. By weaving wayfinding into the architectural experience, the gallery becomes not just a collection of spaces, but a coherent environment where meaning flows naturally from one encounter to the next. Ultimate aim: Environmental graphics should mediate between space, art, and visitor —not dominate, but dignify; not distract, but direct. In Venkatappa Art Gallery’s revival, that delicate balance was the guiding principle of design.

We believe design as an act of connecting ourselves with reality in the process we may illuminate and liberate. It is as much an internal process to refine your own self. As designers and by designing, we hope to become better listeners, sensitive creators and responsible members of ecosystems. Everyday we engage with our collaborators who struggle in finding sense of current realities, meanings and connections with ever-changing cultural world. We walk together in discovering subtleties, unobtrusive beauty, hidden structures, mystery connections, seed of ideas, origin of a fountain, or many such unexplainable forces that drive creation of experiences. We engage by getting to know better, building trust and deepening relationships. We often view a business as a self sustaining responsible community that is strong and relevant to other communities, rather than a profit making entity dominating others. Design interventions tend to (hopefully) act as humanizing agent to improve relationships between communities. Not to forget our relationship with nature. Innovations in last two centuries have accelerated production and innocently if i may say, we have cluttered our beautiful world with unnecessary objects, symbols, information and services. New generation is conscious and cautious of this. We collectively want to heal this explosion. We may walk different paths. We may discover new worlds or we may discover ourselves. At Tacit, we immerse to enliven the current moments. We like to spend time on learning what our senses say to us without too much intervention of symbols. The process looks slow but opens our senses, connections actively. We do not claim to solve problems, but we may touch that is “essential” — that which makes us feel better holistically, genuinely and make us collectively wiser in the process. Cyclic Process We see design as an act of creation deeply and consciously responding to the situation in hand. We respond by absorbing context (Rikta), unearthing the essential/subtle (Rasa), development of form/experience (Roopa), engaging time (Kala) and oneself (Mana) in an endless cyclic process. The spiral of a sea shell helps us to visualize our process with ease. It suggests creation and growth of the shell in its biological constraints. I guess, its a natural conditioning growing up here in India. What does design impact? This process or act of creation today sits in a larger context of our life. A framework helps to visualize key variables influence a design act and highlights the need to examine how those key variables might differ/affect and under what circumstances. We visualized a framework “Design Playground” for design in general. We listed “key essentials” that we touch in the “act of creation”. We often spend a good deal of time dealing with these “constraints” as well as “opportunities”. Each time one starts talking or critiquing design we mostly stumble upon these essentials. We as designers eventually respond to each one of them sensitively and creatively. While the above diagram is more subjective and personal, this is objective and measurable. Aesthetics that make it alive, working on efficient functionality, influencing how people live (socio politics), and how we use/manage earth (environment), with an ability to maintain rates of renewable and non renewable resources depletion that can be continued indefinitely(Economic Sustainability), in our contexts of creation. Each time we design we create new knowledge influencing next generations of creators that shape human behavior endlessly. Each time we create, we seem to move around in these eight zones, mostly aspiring to liberate from it. We attempted to evaluate a couple of our projects to visualize our engagement in projects. We recorded our inputs (effort/process) and output (influence/impact) on a scale rating. It looks something like this. What you see above are two projects mapping of our engagement. We noticed some interesting findings. An artifact may not have looked very pleasing aesthetically but can have larger impact engaging with users meaningfully, even though we have put substantial effort dealing to make it look pleasing. We create new knowledge each time we engage in a project even if do not intend to. We often fail to document it. Writing about our journey in the form of stories help to share this knowledge. We have a lot of work and thinking to do on environmental factors, not many really know concrete solutions. This is great area for progressing in this millennium. Creation contexts — Creator, consumer, producer/client relationships improve with transparency of communication. The easier you make it to talk with each other, more productive are the projects. There is no winning formula! We have to compose/improvise consciously, constantly …….and so on. Above exercise is a glimpse of how we work. At Tacit, we deal with “concepts” and “contexts” on a daily basis. We embrace this complexity of each project. We enjoy these constraints and the impacts we can create by the clarity one can bring in the process of creation. Those keen to know in detail, please do connect me via comments. Thanks for reading.

Bangalore is widely celebrated as India’s technology capital — a city shaped by software, startups, and UI/UX-driven product thinking. Yet, beneath this digital-first identity lies a quieter hunger: a longing to reconnect with the tactile, the printed, and the deeply philosophical roots of design. This spirit came alive at a exhibition curated by Prof. Kirti Trivedi at the Bangalore International Centre (BIC) . Organised with the support of Tacit , along with a group of dedicated IDC, IIT alumni , the exhibition set out with a clear and meaningful purpose: to introduce Bangalore’s design community to the rich, often underrepresented world of graphic design and book design . In a city where screens dominate creative practice, the event opened up much-needed conversations around the relevance, beauty, and intellectual depth of graphic and print media. Why This Exhibition Mattered The idea to bring this exhibition to Bangalore was deeply personal for us as founders of Tacit. Our first encounter with Prof. Sugiura’s work was at the CDS Design Department in Indore , where the same exhibition was organized by Prof. Kirti Trivedi . Experiencing the originals in that academic setting was transformative. It reshaped our understanding of graphic and book design—not as supporting disciplines, but as profound intellectual and cultural practices. Walking through the exhibition in Indore, we felt an unmistakable responsibility to carry this experience forward and share it with a wider design community. That moment planted the seed for bringing the exhibition to Bangalore, where we hoped it could inspire designers navigating a landscape dominated by digital and UI/UX practices. Tacit’s goal was not merely to host an exhibition, but to spark dialogue. As UI/UX design increasingly defines the professional landscape in Bangalore, the exhibition asked an important question: What happens to graphic design, print, and the book in a world driven by interfaces and experiences? Rather than positioning print in opposition to digital, the exhibition highlighted how graphic and book design operate at a deeper level — shaping meaning, rhythm, structure, and spirit. It invited designers to slow down, observe, and engage with design beyond usability metrics and screen resolutions. The Master at the Centre At the heart of the exhibition was the extraordinary work of Prof. Kohei Sugiura of Japan , one of the greatest book designers in history. The highlight of the show was Prof. Kirti Trivedi’s personal collection of original works by his teacher — rare, powerful, and deeply moving artifacts that revealed the immense breadth of Sugiura’s philosophy and practice. These originals were not just displays; they were lessons. They demonstrated how design can move from the eye to the mind , how it can map content intellectually while evoking emotion, spirituality, and essence. For many visitors, this was a first encounter with design that felt almost sacred in its intent and execution. A Teacher’s Dedication, A Generation Inspired One of the most inspiring aspects of the exhibition was Prof. Kirti Trivedi’s unwavering dedication. He single-handedly installed the exhibition , carefully crafting what many visitors described as a “graphic garden” — a space where works spoke to one another, and where viewers could wander, reflect, and absorb. This act itself became a powerful message. Beyond curation, it was a gesture of gratitude from a student to his teacher, and a living example of how knowledge, when passed on with humility and care, can ignite future generations. Prof. Trivedi’s effort resonated deeply with young designers in Bangalore, many of whom left the exhibition rethinking not just design, but their relationship with their craft. Opening New Conversations in Bangalore By bringing together Tacit, alumni from IDC and IIT, and the wider design community, the exhibition succeeded in opening a much-needed conversation in Bangalore: Design is not only about speed, interfaces, and problem-solving — it is also about meaning, culture, and inner spirit. The exhibition reminded us that graphic design and book design are not relics of the past, but essential disciplines that continue to shape how we think, read, and understand the world. In a city dominated by technology, this exhibition offered something rare — a pause, a reflection, and a reconnection with the soul of design.

Tacit partnered with traditional Indian artistes to create series of Puzzles called PuzzleDesh. It kickstarted the business, product development, brand positioning, marketing and distribution system for PuzzleDesh printing and selling 10000 copies. Founding Partners : Sindhu Kulkarni, Kiran Kulkarni, Srinivas Bylhalli Founders Vision : To enable the rich indian stories celebrating it by the process of play via beautifully crafted board games and puzzles Challenge: Facilitate a meditative experience through interactive engagement with legendary narratives portrayed using traditional Indian painting styles. Strategy: Carefully select significant mythological tales from India that portray divine elements, allowing participants to emotionally resonate with the narrative through the process of assembling puzzles. Collaborate with skilled traditional artists, transform their artistic creations into digital format, and feature their work prominently on puzzle boxes, thus generating recognition for the artists and promoting their classical painting techniques. Solution: Introduce a collection of 10 distinct puzzles, each illustrating pivotal mythological narratives from India. Crafted with intricately designed puzzle pieces, these puzzles are tailored for both celebratory occasions and daily meditative practices. In a world dominated by digital entertainment, PuzzleDesh emerges as a captivating fusion of traditional pastimes and storytelling. Through a partnership between Tacit and traditional Indian artists, this innovative endeavor brings the ancient art of storytelling and the meditative allure of puzzles into harmonious convergence. This distinctive venture not only revives the fascination for traditional board games but also resurrects the captivating mythical stories of India in a tangible and engaging manner. The Visionaries Behind PuzzleDesh: Founding Partners At the helm of this creative venture are the visionary founding partners: Sindhu Kulkarni, Kiran Kulkarni, and Srinivas Bylhalli. Fueled by their shared passion, they embarked on a mission to celebrate India's rich cultural heritage by transforming timeless tales into interactive puzzles. Their vision was unwavering—to infuse the process of play with the essence of India's narrative traditions. The Essence of PuzzleDesh: A Tale-Woven Puzzle Collection The centerpiece of PuzzleDesh's offerings is a collection of intricately designed puzzles. Each puzzle piece serves as a portal, transporting players into the enchanting world of Indian mythology. This curated assortment of puzzles serves as a bridge between generations, merging the allure of age-old legends with the tactile pleasure of puzzle solving. Navigating the Challenge: Blending Meditation and Engagement A central challenge for PuzzleDesh was to seamlessly merge meditative engagement with storytelling. The founders aspired to craft puzzles that would enable players to immerse themselves in stories, shedding stress and losing track of time—a tranquil journey through ancient narratives. The Strategic Thread: Fostering Artistic Connections PuzzleDesh's strategy was as ingenious as it was culturally resonant. The team embarked on a quest to curate pivotal mythical stories from India's vast trove. These narratives were then meticulously portrayed through traditional painting styles, drawing inspiration from diverse regions of the country. But the innovation didn't cease there. PuzzleDesh acknowledged the value of collaborating with traditional Indian artists. These often-overlooked artisans were provided a platform to shine. Their intricate artwork was digitized and prominently featured on puzzle boxes. This not only introduced players to the artists' distinctive styles but also contributed to the preservation of traditional art forms. The Culmination: Meditative Artistry and Play PuzzleDesh's achievement manifests as a series of ten puzzles, each embodying a pivotal mythical tale from India. What elevates these puzzles is their uniquely shaped pieces, intricately designed to mirror the cultural essence of the stories they portray. These puzzles transcend mere games; they become conduits of relaxation, education, and artistic appreciation. From festive gatherings to serene evenings of introspection, PuzzleDesh's puzzles find a place in diverse corners of people's lives. They emerge as bridges between generations, sparking discussions about India's cultural legacy and fostering an understanding of the narratives that have woven its identity. In Conclusion PuzzleDesh stands as a testament to the power of collaboration, cultural heritage, and imaginative play. By revitalizing traditional art forms and blending them with the joy of puzzle-solving, PuzzleDesh has kindled a flame of curiosity and celebration. As these puzzles grace households, they breathe life into India's timeless myths and stories, ensuring they remain cherished for generations to come.

Class room tents, Bangalore Steiner School “We want to shift our school with 125 children to a new temporary place in less than 2 months, can you help us design this?” asked the school authorities." 50 days! seemed an impossible task looking into the current realities of the state of building construction in Bangalore. The site of 5 acres was chosen around 30 km outside the city in a 20-year-old farm, which also housed pigs and goats. How did we ditch our traditional approach to architecture to come up with alternative ideas to meet the construction needs of this school in a short time? In the following reading, we will share our approach and learning while designing this school. When we met the founders of Bangalore Steiner School a few months ago, we found ourselves drawn to the problem they were attempting to solve. We were excited about the possibilities and the level of impact our work would have. The founders wanted to relocate, and transition to a larger campus in the most cost-effective, friendly way without compromising the educational philosophy of the school, and the spirit of students, teachers, and parents. The goal for design for us was largely the same. Background Steiner schools are based on the educational philosophies of Rudolf Steiner an Austrian social reformer, architect, and philosopher. Steiner schools follow a curriculum based on stages of child growth and development marked by observable changes in a child’s gradual learning abilities. The method of education is designed to be responsive to the various phases of child development. The total Steiner curriculum has been likened to an ascending spiral: subjects are revisited several times, but each new exposure affords greater depth and new insights. He emphasized an education method on the balanced development of Hands, Heart & Head. For more on Steiner education in Bangalore, you can visit here . Steiner schools are programmatically different from traditional State, CBSE or ISCE-run schools as they do have a different curriculum. They base their curriculum on the following Steiner philosophy. Early Childhood (0–7) — Realm of willing — educate the body intelligence through senses, Middle childhood (7–14) — Realm of feeling — educate the emotional intelligence through feeling, Adolescence (14–18) — Realm of abstract thinking — educate the mind. When founders described the situation, we brainstormed on how to tackle the current situation and bind it to the educational philosophy that it works on. How do we relocate an entire school infrastructure in the least amount of time, with limited resources, and a low budget? How do we ensure the right protection, shelter, services, and all school activities to run efficiently on a daily basis? How do we build trust with the parent community during the progress of the new makeover? How do we design informal educational activities, and services for operational efficiency yet express them with a sense of beauty? How do we re-use, reduce and re-purpose any resources we have in the making of the built form to reduce cost and increase speed? We subconsciously followed a Cyclic/Circular design thinking approach as the scale of what we are re-designing has shifted from the mere design of the built form (school) to continuous learning systems that shape the minds of students over a period of time absorbed in the environment. What we are designing moved away from a Design of a school to a more complex web of intimately connected networks of parents, families, teachers, kids, dreamers, believers, and so forth. Within our constraints, we accommodated diverse ideas of people who shape up and sustain the spirit of learning in this school. Bangalore Steiner School is made functional in a record time of 48 days. Today a total of 125 students, 30 teachers, 16 support people spend their entire day in the green lush campus of school. The first reactions by the students was very humbling to see. The kids were overjoyed by the openness, access to nature, access to their tools and belonging to their teachers and classrooms. Also the contractors and school management shared a happy experience :-). 1. Get an insider view Before we started designing the school, we participated early in schools expansion plans. The big difference has been that our son is a student of the school and also he will be one of the many students who will be affected by this transition. We volunteered as parents to design the school with support from other parents who wished to help with the setting up of the school as well. We participated in discussions to understand the teaching styles, and challenges that the teachers, students, and the management faced in the daily operations of the school. We learned that teachers loved to bond with students and build a sense of elderly trust that helped in the process of a child’s learning. Teachers spent a lot of time with individual students to become closer and create interest in their teaching activities. Our active participation along with the trust that the management had in our decisions made the whole process faster with their coordination and quick sanctions. 2. Planning for durable activities in a densely green site The 5 acres densely planted site came with its own set of challenges. Tree covers, slope, water flow, soil condition, safe site boundary, the light, wind, local building skills, local materials, local living systems & local politics were our top-of-the-mind concerns. How little can we build, to make the school activities get their expression was our single most concern. As we walked several times in the site, enjoying the views, smells, sounds, and living activities (animals, birds, plants) it offered, we noted zones on the site that would unite with the existing activities the place was already rich with. We wanted to intervene as little as possible, allowing it to grow over a period of time. After marking the key zone roughly on the site and documenting it with photographs we were confident to work on the drawing board to an extent. The site was dense and organic. We realised that the lines on the drawing board would erase all the living activity, increase construction, and increase the complexity of design leading to increased costs. So we decided not to take the traditional architectural approach of drawing and send the drawings to the site for execution. Instead, we started to sketch, mark and design on-site. This allowed us to improvise quickly, iterate faster solutions, and cross-check with the contractor about the feasibility and implementation. This reduced building costs and time. Site Zoning 3. Explore, asses ideas quickly with feasibility ratings We followed a participatory designing technique encouraging ideas from parents, management on building styles, vendor connections, and local knowledge. Initial ideas included Container homes, Bamboo construction methods, Rammed earth construction, local village archetype construction techniques, military-style canvas tents, and so on. We noted the ideas and rated it against the current reality of time and cost. Against every idea, we called the respective vendors to get a feasibility picture and cost associated with building a pre-calculated area. After a cost vs building skill review, we zeroed in on the use of Canvas tents over a normal plinth construction. This idea clearly scored over others for a few reasons. We found vendors who packaged it in a clear estimate to execute that was within the budget and time It was time tested earlier in the old school, teachers and students knew its pros & cons. The newer tents came with a promise of better quality fabric and joinery than the existing ones. It was flexible, modular, and suited the planning requirements of the school and future plans. 4. Find a hero contractor One of the main challenges of the project was to recruit an inspired and energetic contractor who is willing to participate with enthusiasm to give solutions with great speed and execute flawlessly. We decided not to make detailed drawings or engage specialist consultants, and electrical and plumbing layouts to speed up the project and reduce cost. Many contractors were skeptical to participate initially. We devised an alternate story of wrapping the project in 60 days to clear all the payments within the time so that the labour can be mobilized with certainty. This made the proposition interesting to a few as we reduced time, the money flow would be faster and they would be free to commit to any larger project after 60 days. In a small timeframe, now it is easier to design your profits. Due to the nature of design and planning, it was now easier to formulate the requirements to vendors more specifically getting control on cost. We hired two contractors — one working on civil works, the second solely focussing on installing classrooms. We asked for item rate estimates so that we could note the deviations that happened in any change of designs. Our contractor/ Engineer was first of all sensitive, good with locals, enthusiastic, and who was great in managing the local dynamics dealing with people, and procuring materials. 5. Learning from ‘Site’ conditions A dash of rain was enough to make all the red ground turn green within a day. The tall straws filled the ground between the network of the Neem trees. Earthworms were busy, and so were the Mynahs, Sparrows, Bulbuls, and a few other little colored birds, ants, snakes, and exotic insects. The ground sloped on two sides gradually. A culvert collected water on one side of the slope. A pack of farm dogs roamed freely. They were assigned to reduce the monkey menace. The monkeys however had found safe routes in the trees. Bees and butterflies were visible in bushed clusters. Overall wilderness breathed strong. As architects, we were aware that a group of 200 kids were to join this party!. We hoped that they will co-exist learning from each other which the Steiner philosophy upheld. The culture of the land and natural materials available in the immediate environment are emphasized to make the learning process relevant and engaging for the child. The approach to the site was a no-brainer. “Build as little as possible, be sensitive to existing life, create light foundations for quick re-use, use the natural slope to channel water, dig little, do not use permanent construction methods, and so on..”. This decreased the cost naturally. Architectural Solution: Canvas Tents, light foundation, reusing existing structures Mini earthmovers were used to level the ground. We identified 4 zones of activities matching Steiner's recommendation of class clusters. We identified different zones of activities — Office/Lab, Kindergarten, Classes 1 and 2, Classes 3,4,5, and Classes 6, 7,8. The kitchen, Woodwork area, and Toilets were also set up to support the basic needs of the children in the school. The construction method had to be quick and ready to work, steering clear of curing time, and bonding issues that cause delay. The existing farmhouse was allocated to be re-used for younger kids. Safety was mapped based on the distance to activity with respect to the elders closest to the activity. We made sure they get an auditory and visual connection with kids and teachers in each zone. Rammed earth plinths just 1 foot high, 43/21 feet with the cement finished flooring was provided as a base for all the classrooms. This was one section that would cause delay as it needed a minimum 21-day curing time, which we did not have. We went ahead with pitching the tents on these plinths and working out a maintenance agreement with the contractor to re-work the issues that would arise eventually to be fixed after 6 months of usage. Custom stitched canvas tents, with tubular frame structures were installed with provision for lighting points, 1 fan point, 4 roll windows, and a double wooden flush door. It covered 16/32 feet designed to accommodate 25 children with individual seating. The porch space is a spill-out space to include a shoe rack and is open enough to create their own identities for classroom activities. They also use it to store washed utensils. An existing garage was converted into a Kitchen store, adding an extension to cook a simple, healthy vegetarian meal for nearly 200 occupants. An existing goat shed was converted into an office space due to its crucial location near the entrance of the school. We also saved on building a new foundation for this activity. It houses a science laboratory, a sick room, and an office space. A chain link mesh marked out the school boundary. The roofing sheets, chappadi stones for the floor, sinks, steel members, and Kadapa slabs for seating from the previous campus were re-used to create a wood workshop 4 toilet blocks & soak pits were created the local way using concrete rings. The network of roots would help in consuming the waste as manure. Finally, All the major zones like the Open-air theater, School van Parking, Outdoor play areas for athletic activities like high-jump/long jump, basketball, throw ball, and Badminton were planned but the undergrowth was cleared to accommodate these activities which would take shape over time as the school started functioning. Classrooms Cluster 1 What next? The place is designed to include new activities and content. Creative teachers, students, traveling faculty, and parents will add visual diversity through their educational activities expressing the true spirit the school offers. We already see self-created signboards, new plants, wood experiments, trampoline, flying fox, Tyre swing, rope climbs, and many more created by students, teachers, and parents together. When we now visit the school as parents, we see that it continues to grow and evolve, the children enjoy a sense of comfort and growing familiarity in their new campus. It has been comforting to see how the organic design and execution have made the school come alive and make the space a thriving environment for children, teachers, and everybody else who is a part of this school. Please do mail bangaloresteinerschool@gmail.com for more details. Do visit http://bangaloresteinerschool.org/index.html or their Facebook page for school-related information.

Tacit partnered with 21G, to kickstart the product development and set up their first production centre in Bangalore Challenge Help reduce the cases of “Bow legs” in case of extreme cricketers, especially batsmen over a period of continuous cricketing practice Strategy Discover, explore, prototype alternate affordable materials with optimised shapes to reduce weight and increase strength of cricket leg guard and position it for new age cricket. Solution Innovation on the material of cricket leg guard to sandwiched PP, reducing weight by over 40%, enabling batsmen to run between the wickets faster Cricket is a sport that demands agility, speed, and precision. With the evolving dynamics of the game, players are pushing their limits to excel on the field. One crucial aspect of cricket that often goes unnoticed is the protective gear worn by players, especially batsmen. In this pursuit of excellence, Tacit Designs, in collaboration with 21G, has revolutionised the concept of cricket leg guards. Let's delve into the journey of designing a lightweight cricket leg gear that caters to the demands of fast-paced cricket. The Genesis: A Partnership with Purpose Tacit Designs teamed up with 21G to embark on a journey to redefine cricket leg guards. This collaboration marked the establishment of a cutting-edge production center in Bangalore, where innovation took center stage. With Sanath Reddy at the helm, the founder's vision was to transcend traditional ideas of protective gear and develop products that not only provided superior protection but also resonated with the aesthetics of the modern game. Innovating for Excellence: The Cricket Leg Guard The primary objective was to address a prevalent issue in cricket – "Bow legs." The continuous practice and rigorous matches often took a toll on the players' legs, especially batsmen who needed to remain agile and swift. Tacit Designs recognized this challenge and set out to create a solution that would reduce the cases of bow legs among extreme cricketers. Strategy for Evolution: Lightweight & Resilient The journey to create the perfect cricket leg guard started with a strategic approach: Discover, Explore, and Prototype. The team sought to explore alternate materials that would not only be affordable but also optimize the guard's shape to enhance strength and reduce weight. This approach was grounded in the understanding that lightweight protective gear could significantly impact a player's performance on the field. A Game-Changing Solution: The Power of Innovation The crux of the solution lay in innovating the material used for the cricket leg guard. Through meticulous research and experimentation, Tacit Designs introduced a groundbreaking concept: sandwiching Polypropylene (PP) between layers. This innovation led to a remarkable weight reduction in the leg guard, making it considerably lighter and stronger than its conventional counterparts. Unleashing Performance: The Impact on Players The innovation had a direct impact on players, particularly batsmen. The reduced weight of the leg guard allowed them to run between the wickets faster and move with heightened agility. This not only improved their overall performance but also contributed to a reduction in leg strain and the cases of bow legs, which had been a persistent concern among cricketers. Conclusion: Redefining Cricket Protection Tacit Designs, led by the visionary Sanath Reddy, succeeded in revolutionising cricket leg guards. By embracing innovative materials and rethinking traditional design concepts, they not only addressed a critical issue but also contributed to the evolution of protective gear in the cricketing world. This collaboration between Tacit Designs and 21G serves as a testament to the power of partnership, innovation, and a shared vision to make cricket safer and more dynamic for players. In the ever-evolving landscape of sports, Tacit Designs' journey stands as an inspiring example of how a commitment to innovation can transform the way athletes perform and protect themselves on the field. As the cricketing world continues to push boundaries, this new era of lightweight protective gear promises to be a game-changer for players seeking to excel in the fast-paced world of cricket.

Bimba, Board game Tacit introduces "Bimba," a card game immersing art enthusiasts in visual art. Players decode inkblot art, narrate stories, and decipher enigmatic images, while challenging opponents and gathering support for their interpretations. Vision Simplify abstract art interpretation, making it accessible and engaging for all. Provide an experiential platform for confident art engagement. Challenge Equip individuals to develop an interpretive language for abstract art through interactive play and validation. Strategy Use abstract inkblots as art samples for diverse interpretations. Integrate game mechanics for social validation and consensus building. Solution A card game with 84 cards featuring abstract inkblot visuals. Players associate images with phrases, vote, and interpret meanings. Design Curate diverse images for varied interpretations. Optimal card sizing for handling, voting, and story validation, minimizing conflicting viewpoints. "Bimba" encourages artistic exploration, fostering community engagement and shared creative experiences. Abstract art has long intrigued and perplexed individuals, with its enigmatic forms and ambiguous meanings. In response to this challenge, Tacit has introduced a novel approach—Bimba, a card game designed to engage art enthusiasts in the intricate process of abstract art interpretation. By combining elements of play, social validation, and strategic thinking, Bimba offers a unique platform for individuals to develop an understanding of abstract art through tangible experiences. The Collaborative Minds Behind Bimba Bimba is the result of collaborative efforts by experts in various fields: Sindhu Kulkarni - Visual Designer Kiran Kulkarni - Game Designer Narayana Muthy - Artiste Their shared objective is to democratize the interpretation of abstract art, making it accessible, inclusive, and experiential for a broader audience. Addressing the Interpretation Challenge The inherent challenge of interpreting abstract art lies in its subjectivity—multiple individuals can derive varying meanings from the same visual. Tacit recognized this challenge and aimed to create a method that enables individuals to cultivate a systematic approach to abstract art interpretation. The Strategy: Abstract Inkblots and Social Validation Tacit's strategy hinged on using abstract inkblots, renowned for their complexity and ambiguity, as the foundation of the Bimba card game. Abstract inkblots present participants with shapes that do not readily conform to recognizable objects, fostering diverse interpretations. Central to the game's strategy is the concept of social validation. Participants are encouraged to express their interpretations and votes, stimulating discourse and leading to a collective understanding. This approach leverages the wisdom of the crowd to refine interpretations and cultivate a shared language of abstract art. The Innovative Solution: Bimba Card Game Mechanics The Bimba card game consists of 84 cards, each featuring intricate abstract inkblots. During gameplay, participants are tasked with matching these images with phrases, followed by casting votes that reflect their interpretations. This approach compels participants to analyze visual elements, establish connections, and articulate their perceptions. The game mechanics trigger cognitive processes related to pattern recognition, spatial reasoning, and associative thinking. As participants engage in repeated cycles of observation, interpretation, and validation, they refine their analytical skills and gain a deeper appreciation for the layers of meaning inherent in abstract art. Fostering Artistic Literacy Through Bimba By introducing a structured framework for abstract art interpretation, Bimba contributes to artistic literacy. Participants develop analytical tools to navigate visual complexities and translate abstract forms into coherent narratives. This process aligns with educational theories emphasizing experiential learning and cognitive growth through iterative practice. Conclusion: Empowering Interpretation Through Play Tacit's Bimba card game offers a novel approach to tackling the challenge of abstract art interpretation. By harnessing the cognitive processes involved in gameplay and encouraging social validation, Bimba empowers individuals to engage with abstract art systematically. As participants immerse themselves in this dynamic experience, they contribute to the evolution of a universal language for abstract art interpretation, fostering inclusivity and expanding the horizons of artistic understanding.