A CONVERSATION BETWEEN RAJEEV SETHI (RS) AND JABEEN ZACHARIAS (JZ), EDITOR- IIID INSCAPE AT DELHI, 24 MAY 2024.

Rajeev Sethi, an iconic figure in design and cultural preservation, epitomises India’s rich and diverse artistic heritage. Born in 1948, Sethi’s illustrious career has spanned several decades, during which he has excelled as an artist, activist, scenographer, designer and most importantly a cultural ambassador. His work, deeply embedded in the traditional arts and crafts of India, seamlessly merges modernity with tradition, creating a unique equation and compelling blend, opening new avenues to explore. From curating the Festival of India to transforming the Mumbai International Airport into a cultural landmark, Sethi’s contributions to our times have been both transformational and monumental. His initiatives, such as JIYO, have empowered numerous artisans while preserving India’s heritage and fostering innovation. With his distinctive ability to romanticise walls by engaging them as canvases to paint and picture incredible stories of the past to inspire a beautiful future, —Rajeev Sethi is the most ideal voice to listen to while we discuss ‘Walls’ in this edition of Inscape.

In this tete-a-tete, Jabeen L. Zacharias, Editor of Inscape, delves into the creative universe of Rajeev Sethi, unravelling the essence of his transformative impact on art and design. Sethi reflects on the plurality of walls and his incredible journey, as well as reminisces about his formative years enriched by his parents’ artistic and cultural legacy which sparked his enduring passion for melding traditional crafts with modern design.

JZ: Rajeevji, as you know IIID’s Inscape Rainbow series of seven folios is a curated coffee table collection to mark the Golden Jubilee of the Indian Institute of Interior Designers. Each folio focuses on a select topic, and this Folio-3 is on ‘Walls.’ In this context, we are eager to know what comes to your mind when you hear the word -Walls.

RS: Maybe, ‘excitement’? Walls hold immense power and are often laden with a variety of nuances. They can signify definitions, possibilities, perspectives, and even limitations. Each wall provides a canvas to tell a unique story. While acknowledging the barriers and boundaries they may present, I see them as opportunities for creativity to bring interesting innovative twists to the storyline. For me, walls have never been obstacles; but vantage points that offer an elevation or a direction to a different path allowing us to see further nooks and sides with new perspectives. Won't it be exciting to mount and walk on top of these walls, using their height to uncover fresh insights and ideas? Transcending their limitations, making the most of its structure and achieving our creative objectives to a better degree? For me, walls therefore are not boundaries but bridges to new possibilities.

JZ: Can you tell us a little about your childhood and early beginnings? How did your initial experiences shape your passion for art and design and set you on this outstanding career and journey?

RS: My childhood was steeped in creativity and cultural richness, thanks to my parents and my alma mater, Modern School in Delhi. I was introduced to a world of music, dance and traditional crafts in my formative years. Attending melas and local fairs exposed me to the vibrant colours and intricate designs of traditional Indian crafts, which opened all six senses. One vivid memory is also of how I loved playing with blocks and breaking them apart to create something new. Making toys during Janmashtami and converting each staircase in the house into an exhibition. These early experiences and experimentations instilled a sense of curiosity and desire to explore the endless possibilities of form and function in unique ways. I believe this is what sparked my lifelong passion for integrating skilled art forms with contemporary design, ensuring that our rich cultural heritage is celebrated and repositioned in modern contexts.

JZ: You had the privilege of being mentored by design luminaries like Charles and Ray Eames, Pierre Cardin, Pupul Jayakar and Kamaladevi Chattopadhyay. How did their guidance influence your work, particularly in your efforts to advocate for traditional Indian crafts and culture?

RS: Charles and Ray Eames instilled in me the principles of layered narratives, functionality, and the importance of tactile design. Their work taught me that good design is not just about aesthetics but about enhancing the user experience. Charles explored cybernetics in his work on an aquarium as it unfolded underwater. On the other hand, Kamaladevi Chattopadhyay, was a champion of human-centric Indian handicrafts and a relentless advocate for the cultural and economic upliftment of artisans. Her philosophy that traditional crafts hold intrinsic value and are integral to our true identity resonated deeply with me. Working closely with her, and separately with the formidable Pupul Jayakar, I learned to see the craftspeople not just as producers of beautiful objects but as custodians of rich repositories of skills that needed to be promoted and enhanced. Working with Pierre Cardin was one of my first laboratories where I experimented and solidified my commitment to integrating the trans-disciplinary engagement of traditional forms into modern design, ensuring that they remain relevant in today's fast-paced world.

JZ: We are very keen to know what unique challenges you encounter in scenography compared to what we do in architecture and interior design. How do you overcome these challenges to create such compelling narratives?

RS: Scenography is a unique discipline that goes beyond architecture and interior design, as it involves creating a dramaturgy of spaces that tell a story and evoke emotions. One of the main challenges in scenography is creating a sensorial narrative that resonates on multiple emotional levels. Unlike static buildings, scenographic spaces are dynamic and often need to transform or adapt to different uses and audiences. For the Universal Forum of Cultures, for example, we had to design spaces that could host a wide range of activities, from the magic of microcredit to the sky of aspiration with performances to exhibitions, all while conveying a coherent cultural message. This required meticulous planning and a deep understanding of the universal context. Additionally, scenography often involves temporary structures, which pose logistical and technical challenges in terms of construction and sustainability. Overcoming these challenges requires a collaborative approach, working closely with artists, engineers, and cultural experts to ensure that every element of the design contributes to the overall narrative. The goal is to create an environment where visitors don’t just see the story, but feel it, making the experience truly immersive and memorable.

JZ: Rajeevji, you often describe your approach to walls as ‘romantic and emotional.’ Could you elaborate on how you choose the themes and elements to be portrayed on the walls in your projects be it a home or a hotel? Can you share some insights from your process, especially considering your collaboration with artisans?

RS: Walls, to me, are silent storytellers that hold the history, emotions, and essence of a place. My connection with walls stems from my belief that it’s my job to empower the tangible with the mysteries of the intangibles and engage with diverse audiences in an immersive way.

Choosing the themes and elements to be portrayed on walls is to remake surfaces in a meticulous process that involves extensive research and a deep understanding of the cultural context of where the project happens and for whom. The process is collaborative and iterative, with hundreds of artisans and craftsmen involved in multiple rounds of discussions and refinements. The goal is always to create a narrative that resonates with the audience and enhances their experience of the space. Romancing walls as partners to give life to a soul and story, exploring their potential to evoke emotions and create a sense of place, is central to all my projects and the spaces I create to be imbued with meaning and resonance.

JZ: Your initiatives at the Asian Heritage Foundation, JIYO etc. aim to improve the livelihoods of rural Indian artisans. Can you discuss the social impact of such projects and how they help in sustaining cultural heritage? What changes have you observed in the communities you’ve worked with?

RS: JIYO was born out of a deep commitment to preserving India's traditional crafts while providing sustainable livelihoods to artisans. The social impact of such projects is multifaceted. Economically, they provide artisans with a steady source of income, which is often a lifeline for entire communities. Culturally, they help preserve and promote traditional crafts that might otherwise be lost. I've seen firsthand how these projects transform lives. In communities where JIYO is active, there is a renewed sense of pride among artisans. They see their work valued not just locally but globally, which boosts their confidence and inspires them to innovate within their craft. Additionally, by connecting these artisans to broader markets, JIYO helps integrate their work into contemporary design and fashion, ensuring that traditional crafts remain relevant. This has a ripple effect, encouraging younger generations to take up these crafts, thus sustaining the cultural heritage. The changes are profound – from improved economic conditions to a strengthened cultural identity, these projects have a lasting positive impact.

JZ: In an increasingly automated world, how do you envision the future of traditional craftsmanship? What steps can be taken to ensure they remain integral to our cultural fabric?

RS: Traditional arts and crafts will always have a place in our cultural fabric. However, their survival depends on innovation and adaptation. We need to integrate technology in ways that enhance these crafts rather than replace them. This involves creating new markets, incorporating contemporary design elements, and ensuring that artisans have the skills to compete globally while maintaining the authenticity of their work. For example, digital platforms can be used to market and sell handmade products, reaching a broader audience. Training programs can help artisans learn new techniques and use modern tools to improve their efficiency without compromising on quality. Additionally, government and private sector support in terms of funding and resources can play a crucial role in sustaining these crafts. By embracing change and fostering innovation, we can ensure that traditional craftsmanship remains a vibrant and integral part of our cultural heritage.

JZ: Rajeevji, your much-anticipated India Pavilion at the upcoming Osaka Expo 2025 in Japan has already generated a lot of excitement. Representing India at a global event of this magnitude is both a dream and a significant responsibility. Can you give us a glimpse into what this pavilion is about? What is the secret code to meet and exceed expectations?

RS: How to present the real evolving India before the world? How to blend the unique nourishing cultural heritage and the boundless innovative spirit that runs in our veins, showcasing India- the emerging world leader and a pivotal force of our times? It was tough, but we literally found our lifesaver from the ancient epic of Ramayana.

The pavilion will centre around the theme of "Mrithasanjeevani," where Hanuman lifts the Sanjeevani Mountain to save Laxman's life. This powerful narrative, apart from providing unique possibilities to work with amazing combinations of form, function, and aesthetics, also symbolises timeless values of courage, resilience, and the triumph of good over evil. In today's context, this concept resonates aptly and deeply with the global challenges we face. Hanuman's act of lifting the mountain is symbolic of humanity's collective efforts to overcome adversity and bring healing and hope to the world, with India at the epicentre, holding the key as a Vishwa Bandhu.

Visitors can expect an immersive experience that fuses Indian aesthetics with contemporary design and cutting-edge technology. The pavilion will feature meticulously curated exhibits, interactive installations and performances that create a dynamic narrative.

JZ: Reflecting on your journey and extensive career acknowledged with many awards and recognitions from across the world including India’s Padma Bhushan, what personal philosophies or experiences have been most significant in your work and life? What message would you like to share with the next generation of designers, architects, and scenographers aspiring to make their mark?

RS: Philosophies have always been about breaking boundaries and exploring new horizons. I've always believed in the interconnectedness of all things – art, culture, design, and life itself. This holistic approach has guided me throughout my career. One of the most significant experiences I’ve had was working with rural artisans and seeing their immense potential to serve and support the imagination of the world. This taught me the value of humility, patience, and persistence. To the next generation of designers, I would say: stay curious and never stop learning. Embrace your cultural inheritance but don't be afraid to innovate and experiment. The world is changing rapidly, and your work should reflect that dynamism. Most importantly, remember that design is not just about aesthetics; it's about making a difference in people's lives. Whether you are designing a building, a piece of furniture, or an exhibition, always think about the impact it will have on the people's quality of life who interact with it. Your work has the power to inspire, educate, and transform – use that power wisely.

Rajeev Sethi's message for the next generation of designers-” stay curious and never stop learning.”

In this interview, walls emerge as profound symbols of possibility and storytelling, transcending their conventional role as barriers. Sethi perceives walls not as limitations but as platforms for creativity and connection, offering a canvas to narrate stories, preserve cultural heritage, and inspire new perspectives. His work, which integrates traditional craftsmanship with modern design, transforms walls into vibrant expressions of cultural identity and artistic vision. Through initiatives like JIYO and the Mumbai International Airport project, Sethi demonstrates how walls can become dynamic elements that foster dialogue between past and present, bridging the gap between tradition and innovation, and inviting viewers to engage with the rich tapestry of human experience and creativity.