Reflections on Experiments with TouchDesigner In recent weeks, we did some experiments using TouchDesigner , a real-time visual programming environment that enables interaction between human gestures, sound, and dynamic visual systems. Our interest in these experiments was not merely technological. Rather, we hoped to test a set of questions that have long been central to the discourse of modern design. The questions are simple but not trivial: Do these technological effects clarify reality, or do they merely produce sensory distraction? And further: Do such systems help the viewer understand ideas and structures, or do they simply entertain through graphic spectacle? These questions are particularly relevant today, when digital tools allow designers to create increasingly complex and responsive visual environments. The ability to produce visual movement, particle systems, and reactive forms has become relatively accessible. However, the ease with which such effects can be generated also raises a concern: the possibility that design becomes absorbed into the production of technological spectacle rather than meaningful communication. The Experiments Our experiments were intentionally modest in scale. Using gesture recognition, audio triggers, and simple interaction systems, we constructed a series of interactive visual scenarios. In one experiment, when the index finger touches the thumb (gesture) , a chaotic field of dots on the screen gradually unifies into a single color. The interaction begins with dispersion and culminates in visual unity. In another experiment, a participant saying anything or clapping (voice) causes a spherical object on the screen to move in a fluid manner, resembling a water droplet reacting to vibration. In a third experiment, the screen appears covered with a thin layer of dust. Wherever the viewer touches the screen (touch), the dust clears , revealing the underlying image. In yet another interaction, text continuously changes and mutates until the viewer interrupts it through a tap or clap. These systems establish a simple but significant structure of interaction: Human gesture → sensor input → algorithmic transformation → visual response. What emerges is not simply a visual composition but a cybernetic loop , in which the viewer becomes part of the system that generates the visual event. The viewer is no longer merely observing an image; the viewer is participating in a space of interaction . The Seduction of Sensory Effects Our initial observations suggest that such interactions often begin as sensory attraction . Participants are immediately drawn to the responsiveness of the system. Movement, color, and transformation generate curiosity. The system reacts quickly to the viewer’s gestures, and this responsiveness produces a moment of engagement. However, at this stage the experience risks becoming nothing more than technological amusement . The viewer discovers that the system responds, but not necessarily what the response signifies. The interaction may become an exercise in trial and error rather than an encounter with meaning. In such cases, the work risks being reduced to what might be described as visual gimmickry —a spectacle of reactive graphics that produces momentary fascination but little lasting impression. Indeed, one of our early observations was precisely this: Pure visual effects are quickly forgotten. When interaction serves only to demonstrate technological capability, its cultural value remains limited. The Problem of Meaning A deeper difficulty became apparent as we continued our experiments. Most reactive visual systems, by themselves, do not produce meaning . They produce events: movement, transformation, response. Yet these events often remain detached from any conceptual structure that might guide interpretation. Particles that react to sound or gesture can be visually impressive, but they do not necessarily help the viewer understand any underlying idea, system, or cultural reference. This realization led us to reconsider the role of symbolism within interactive systems. Could interaction be structured in a way that connects bodily action, visual transformation, and conceptual meaning ? A Symbolic Approach To explore this possibility, we began to experiment with symbolic references drawn from philosophical traditions . One example involves the gesture of the index finger touching the thumb , a "Jnana mudra" associated with the teachings of Adi Shankaracharya . Within the philosophical tradition of Advaita Vedanta, this gesture represents the idea of non-duality —the unity of individual and universal consciousness. In our interactive system, when the participant performs this gesture, the previously chaotic field of particles gradually converges into a unified visual field.The visual transformation therefore becomes a metaphor: from multiplicity to unity. Here the interaction operates simultaneously at several levels: the physical gesture of the body the visual transformation on the screen the philosophical concept represented by the gesture In this situation, the interaction no longer functions merely as a technological effect. Instead, it becomes a symbolic system , in which action and perception together produce meaning. The end experience is the idea of unification by actor when he uses the "Mudra" to visually see the unification of chaotic dots to form a single color Embodied Interaction An interesting observation emerged during these experiments. Some participants appeared to respond not only to the visual effect but also to the conceptual structure embedded within the interaction . They recognized that the gesture, the visual transformation, and the philosophical idea formed a coherent relationship. This suggests that interactive systems may enable a different mode of understanding—one that operates through embodied interaction rather than purely intellectual explanation. In other words, the viewer does not simply read or hear the concept.The viewer performs it .The philosophical idea is experienced through gesture and visual response.This possibility is particularly intriguing because it suggests that interactive media may offer a way of communicating complex ideas through action, perception, and symbolic transformation . The Question of Recall Nevertheless, an important question remains unresolved. What is the recall value of such interactions? Digital installations often generate immediate excitement but leave little lasting memory. The novelty of interaction may produce engagement in the moment, yet the experience may fade quickly once the novelty disappears. Our experiments have shown that visual gimmicks alone have very limited recall value . Participants may enjoy the experience but struggle to remember it afterwards. When interaction is connected to a recognizable idea or symbolic structure , however, the experience appears to leave a stronger impression. This suggests that the longevity of interactive design may depend less on technological sophistication than on conceptual clarity . Toward Meaningful Interactive Design These experiments are still preliminary, and they do not yet offer definitive conclusions. However, they point toward a possible direction for interactive design. The true potential of such technologies may not lie in producing ever more elaborate visual effects but in designing systems of meaningful interaction . The designer’s task is therefore not merely to create images but to structure the relationships between gesture, perception, and idea . When these relationships are carefully constructed, interactive media can move beyond spectacle and become a form of experiential knowledge . In such cases, interaction is not merely entertainment.It becomes a way of exploring concepts through action and perception. Final thoughts Our experiments with TouchDesigner were motivated by a simple but important question: Do these technologies clarify reality, or do they merely produce sensory distraction? At present, both possibilities remain open. If used without conceptual discipline, interactive systems may easily become instruments of spectacle. Yet if designers approach them critically—structuring relationships between human gesture, visual transformation, and cultural meaning—these technologies may offer new forms of design knowledge. The responsibility therefore lies not with the technology itself but with the intentions and rigor of the designer . Interactive systems can either distract or illuminate. The difference depends on whether we treat them as tools for spectacle or as systems for thinking .

Wall, floor graphics at AMC Healthcare environments often carry a strong visual identity of clinical efficiency—white walls, functional signage, and systems designed primarily for medical workflow. But childbirth is not merely a medical procedure; it is a deeply human experience. The environmental graphics and signage system for the Aastrika Midwifery Centre was conceived to support a different philosophy of care—one that places the mother’s experience, dignity, and agency at the centre of the birthing journey . Located in Bengaluru, Aastrika Midwifery Centre promotes evidence-based, respectful maternity care with a focus on natural childbirth and midwifery-led support, offering alternatives to the high rates of surgical births in India. Within this context, environmental graphics became an important tool—not simply for navigation, but for communication, reassurance, and empowerment. Designing for a mother-led philosophy The design approach began by understanding the ethos of Aastrika: birth as a collaborative and mother-led process . Rather than presenting the centre as a medical institution, the graphics aim to create a calm, supportive environment that encourages confidence and awareness. Wall graphics depict natural and supportive practices during childbirth— walking, eating, listening to music, changing positions, and receiving support from midwives and companions —gently reinforcing the idea that birth is an active and participatory experience. Equally important was communicating the rights of women during childbirth : the right to dignity, informed decision-making, companionship, and respectful care. By embedding these ideas into the physical space, the centre becomes not only a place for treatment but also a place of learning and affirmation. A spatial narrative of the birthing journey The environmental graphics were organised along the centre’s corridors to reflect the stages of maternity care: pregnancy, childbirth, and postpartum recovery . As expectant mothers move through these spaces over multiple visits, they encounter the narrative gradually, absorbing information and reassurance over time. This sequencing transforms the walls into a quiet educational journey , allowing the environment itself to guide and prepare mothers for the stages ahead. Calm, clarity, and intuitive navigation In parallel, Tacit developed a cohesive signage system to guide visitors from entry points to consultation rooms, birthing suites, amenities, and exits. The goal was clarity without clinical severity. Warm, soothing colours drawn from the Aastrika brand palette help create a home-like atmosphere, reducing the anxiety often associated with hospital environments. Signage is intentionally simple and unobtrusive, avoiding the visual language of conventional hospitals while maintaining clear wayfinding cues. Even the flooring contributes to orientation, subtly guiding movement through the space. Design as care The environmental graphics at Aastrika Midwifery Centre demonstrate how design can actively shape emotional experience in healthcare spaces. By combining clear navigation with thoughtful storytelling, the space reassures mothers, affirms their rights, and reflects the centre’s philosophy of respectful birth. In doing so, the project extends the role of environmental graphics beyond signage. It becomes a form of spatial communication—supporting care, building confidence, and reminding every visitor that childbirth is not just a clinical event, but a profoundly human journey. Door Signages at AMC Floor, Reception at AMC Symbol wall at AMC See full project here >

Tacit recently attended Codex , organized by the Codex Foundation in Oakland, California—an international gathering dedicated to the art of the book. What unfolded over two days was not a conventional book fair, but a deep immersion into book arts as a serious, political, and craft-driven practice . Nearly 100 artists and presses showcased works where the book was not merely a carrier of content, but the content itself. Many artists had even made the paper they printed on—revealing a level of material intimacy that felt worlds apart from large-scale publishing. The atmosphere was firmly rooted in craft, yet conceptually rigorous. For us at Tacit—accustomed to designing books for broader readership and mass circulation—it was a powerful shift in perspective. Here, the book existed on an entirely different spectrum:from deeply personal expression to political critique ,from intimate handmade objects to bold statements on identity, race, migration, place, and social justice . Most artists were developing their own content and shaping every stage of production—from paper making to binding to printing—resulting in works that were cohesive, intentional, and uncompromising. Book arts as critical practice A recurring theme across talks and exhibits was the book as a tool of resistance and reflection . Ana Paula Cordeiro shared insights into her personal creative practice—handmade books, photography, and letterpress printing—framing book art as a space for quiet reflection and community connection. Anne Covell offered a striking presentation on how artist books can function as political commentary. Through works such as The Record , In the Dark , and Palpable Mass , she addressed themes of historical revision, erasure, and unchecked power in recent U.S. political contexts. Her books were not neutral objects; they were visual responses to cultural and political moments. On the second day, Carole Texier presented her project Women in Printing , created in collaboration with Atelier du Livre d’art et de l’Imprimerie Nationale in France. Using traditional letterpress and historical printing methods, she foregrounded the overlooked contributions of women printers across Europe and North America since the 15th century. Listening to the struggles and resilience of women in the trade was especially moving. In the keynote lecture, Natalia Lauricella spoke about her curatorial practice and the growing recognition of artist books within museums—tracing a lineage from 19th-century French livres de peintre to contemporary experimental and conceptual book forms. It was illuminating to see how institutions are increasingly treating book arts as serious cultural artefacts rather than niche craft objects. Material devotion and collaborative excellence Among the works that particularly resonated with us were the publications of Datz Press , known for handcrafted photobooks produced collaboratively with photographers and designers. The precision of material choice, binding, sequencing, and print quality elevated these books into tactile experiences—where every design decision was deliberate and meaningful. Across Codex, one could witness a vast range of approaches: experimental forms, fine press printing, handmade paper, intricate binding techniques, sculptural book objects, and powerful visual storytelling. Each artist treated the book as a site of inquiry—both materially and intellectually. A welcome shift in scale and intent For a practice like ours, often engaged in large-scale projects and broader audiences, Codex offered a refreshing recalibration. It reminded us that the book can exist beyond utility or distribution—it can be intimate, fragile, confrontational, slow, political, poetic. Oakland itself felt like the right backdrop—deeply rooted in art and activism. Walking through galleries and neighborhood art spaces added another layer to the experience, reinforcing the sense that books, like cities, are vessels of layered histories and voices. Attending Codex was not simply about viewing beautiful objects. It was about re-encountering the book as a living art form —capable of craft, critique, devotion, and dissent—all bound within paper and thread.

The Tacit team recently attended The Sixth Sense Festival —India’s first and largest multidisciplinary immersive festival—held at Alembic City, Whitefield, Bengaluru . Conceived and realised by the team behind Echoes of Earth and curated by Swordfish , the festival brought together art, technology, music, design, and nature’s intelligence in a sprawling 200,000+ sq. ft. industrial space reimagined as a dynamic cultural playground. Spread across multiple zones, the festival featured large-scale digital installations, spatial sound performances, immersive environments, and interactive art-tech showcases designed by pioneering creators from around the world. Among standout works were The Banyan Tree by Stephen Bontly , a reflective light-and-sound environment, and Adrift by Metanoeia Studio (Sasha Kojjio & Alisa Davydova) —a generative audiovisual installation simulating melting glaciers. Immersive scale and responsive interaction For us at Tacit, the most striking experiences were the 20-foot-high screens , expansive digital canvases, and interactive zones where motion graphics responded dynamically to movement, touch, and voice . In several exhibits, visuals did not simply display content; they listened and reacted , creating a powerful sense of agency and presence. Walking through the space, the Tacit team found ourselves not just observing but participating —an embodiment of how design can dissolve the boundary between user and interface. Generative graphics and reactive design Many instalments employed generative graphics —systems that evolve in real time based on user input or environmental triggers. These works invited playful experimentation and held deeper implications for experiential design: when visuals are tied to gesture, speech, or motion, every interaction becomes a design moment , and every participant becomes a co-author of the experience. This reminded us strongly of how motion, code, and sensory feedback are reshaping design languages today. Instead of static artefacts, designers are now orchestrating behaviours and responses —patterns that unfold in time and space, inviting curiosity and collaborative exploration. TouchDesigner workshops and creative coding Some members of the Tacit team also attended the TouchDesigner sessions , presented in partnership with The NODE Institute (Germany) —a major highlight of the festival. These sessions, led by international experts, focused on creative coding, data visualisation, immersive media, lighting, AI, and live visual performance workflows. Tacit colleagues found the workshop especially stimulating, offering deep insights into interactive system design and real-time media creation. Cross-disciplinary inspiration What makes The Sixth Sense truly distinctive is its interdisciplinary spirit . Here, digital art sits comfortably alongside spatial sound works, ecological explorations, and participatory workshops. The festival is not just a showcase of technology or creativity—it is a platform for dialogue , where art meets science, where design practices converge with coding and ecology, and where audiences are invited to slow down, engage, and reflect. For the Tacit team, attending The Sixth Sense was both inspiring and eye-opening. It reaffirmed our belief that immersive design is not just about spectacle—it’s about creating meaningful interaction , encouraging users to engage with environments not as passive observers but as active participants. In a world increasingly defined by screens and sensor-based experience, this festival offered a glimpse of where design might be heading: towards environments that respond, adapt, and evolve with human presence. https://www.thesixthsensefestival.com Instagram

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.