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Audiogyan

Audiogyan

Author: Audiogyan

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Conversation on Design and Arts.
Audiogyan a Philanthropic project to document & archive thoughts and ideas of Indian designers, artists, musicians, writers, thinkers and luminaries of the creative world. Audiogyan doesn’t celebrate the guests’ accomplishments or take a trip down memory lane; rather it objectively documents work, case studies, first principles of individuals who have devoted their life in the field of Design and performing arts.
Audiogyan releases every Wednesday.
168 Episodes
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Vijay Dhondopant Tendulkar Born on 6 January 1928 and passed away on 19 May 2008. Tendulkar Sahab was or should I call is an unarguably a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972). Welcome to Audiogyan Biographies. Today we will be documenting Vijay Tendulkar with a bit of help from Ramu Ramanathan. Ramu is an Indian playwright-director with acclaimed plays to his credit. Ramu has previously been a guest on Episode Number 29 of Season 1. He spoke about Stagelife Characters. Ramu is my go to person to understand tidbits about Indian Theatre. I am very curious to know, who were Tendulakar Sahab’s influencers? I am asking this because I was reading, Manus Navache Bait (Man is An Island), one of his first plays, was remarkable. People had never heard such dialogues before. Theatre at that time used very stylised acting and long sentences with very flowery language; it was distanced from reality. Something similar to which you spoke in the Episode 29 about Samuel Beckett and other playwrights trying to bring court room dramas to dining rooms. So do you have any insights what made him start this way? What was happening in from 1960 to 1990s that Tendulkar wanted to express his thoughts through violence; because according to my limited knowledge, he said, that he lived in a simple middle class family which was doing fine. What do you think; what made Vijay Tendulkar show violence to create awareness about violence, rather than showing something morally good or ethically sound? What is this style of showing real? Where does this form stem from? What was his trajectory of him expressing violence throughout his plays? Did it increase due to ongoing unrest or it decreased? From Gidhade to Kamala? Some of his plays were censored. What made him write so boldly in his new plays, despite being censored? What is the one thing which young generation playwrights should learn from Tendulkar and what is that one should avoid considering the current times? https://www.dnaindia.com/analysis/report-vijay-tendulkar-is-a-scathing-interpreter-of-maladies-4810 https://web.archive.org/web/20081201033510/http://www.indianexpress.com/res/web/pIe/ie/daily/19991020/ile20071.html https://www.youtube.com/watch?v=rTqj3GVs6bM https://www.youtube.com/watch?v=2bF3GLjn1iI (Part 1 to 6) https://www.indiatoday.in/magazine/society-the-arts/story/19801231-vijay-tendulkar-indian-theatre-only-complete-philosopher-773665-2013-12-02
तुका म्हणे बरवे जाण । व्हावे लहानाहून लहान . This is an important line by Tukaram, since it illustrates something universal. I am from design background and swear by a line which says, "Less is more”. Having some bent towards listening or understanding poetry, I also loosely interpret this couplet as “realise that, the shorter the better”. In the 100th episode os Audiogyan with Balkrsihna Doshi, I asked him why do all architecture look the same. To which he replied because architects are no longer poets. In my 33rd Episode with Gangadharan Menon, even he said, "The moment we rediscover our poetry, that will be our renaissance.” On that backdrop, today I have 3 guests on Audiogyan. Rochelle Potkar, Pooja Bhatia and Sanket Mhatre; all, stewards of an upcoming generations of great poets. Importance of short form poetry? Rochelle: What are the short form poetries that you have explore? What is a Hiaku? Sanket: In Marathi we have Charoli? Are there any other forms? What are those? Pooja: Can you tell what’s the difference between a Gazhal, Sher and Nazm? How have they evolved over time and why is sher so well known versus other forms for layman? What are the constructs and why? Have they being broken in it’s journey? Art has always been transient. How have these short forms evolved? Why is haiku only 6 syllables? Why don’t we have Paacholi? Is it the meter or some other constraint? Is there conscious effort by poets to keep every Sher integrated in the bigger narrative and yet independent in nature? Who are the big names who have redefined trajectories? Like Kumar Gandharava in Music. Who are the Haiku makers who have propagated this form? Is Tanka as famous as haiku? Chandrakant Gokhale is all time favourite of the youth. Who all have made such impact on different sections of the society through short form poetry? Sher has been glamourised by Bollywood and also abused? Where is the real substance and how Bollywood got influenced? Any insight there? How did the word Irshad come about? Topics of Short form poems In haiku, what are the topics which are explored and yet to be explored? In Charoli? In Sher? Is it always about love or passion? Have there been writers writing shre about social awareness like Rahat Indori? Future You all have been to various parts of the country talking about poetry and reciting your poetry, what has been your observations? How is Poetry perceived by a middle class layman? Where do you see poetry 100 years out in India and other parts of the world?
Rajdeepgiri is a Graphic Designer from Bangalore with over 11 years of experience. He has worked in the various fields of design, like type design, branding, packaging and advertising. Today we are here to discuss a case study with him called Tenpoints braille which is his passion project and he has been working on it for past 5 years. What is Ten Points Braille? How did it come about? What made you think about it? You also have other type design projects like Baboo, RupeeRaj, Singlanguage A. Can you tell us about these briefly? If one has to use this for typing the required text, why do we have you use on 10pt size font and line height 30? How did you arrive at these numbers? There is a beautiful video of how can one use it. But can you walk us through it orally as well? Can you share your journey from the first cut of the font, experiments and iterations till you now have arrived at it? How did you keep on validating? Why Tenpoints braille? How do you think it will help the visually impaired and others? With just 34% Internet penetration in India, one side we have invisible UI, speech to text, image recognition technology developing, What made you think of this idea? In your research, what were the learnings, especially with visually impaired and hearing impaired people? How do they perceive fonts? Are they aware of serif and san-serif typefaces? What are your thoughts on bringing in revolution; can braille also have serif ans san-serif? What was the process of making it 13 scripts? What next? How do you plan to make it accessible? How can people collaborate with you to make it bigger?
Today I have Appupen with us on Audiogyan (loosely translated from Malayalam as grandfather). Appu is a noted graphic novelist and artist from Bangalore. He is the creator of graphic novels ‘The Snake and the Lotus’, ‘Moonward’, ‘Legends of Halahala’, ‘Aspyrus’ and the super hero satire series ‘Rashtraman’. His work is almost wordless narratives with sarcasm and irony. He is the founder/editor of Brainded India. Today we are here to know his thoughts and ideas about art, comics and more... What does art mean to you. Especially comics as an art form? Can you briefly share the kind of books you've written and the reasons for it? You work which I have seen or could comprehend, want to strongly communicate a message. If I can say, your work has a lot of despair - if yes, why? I mean I am saying this as layman, be it titles like Dystopian times, Halahala (which is poison), Aspyrus, brainded and so on… Also the kind of colour palate seems to be dark and grungy. Not just that, you characters like Rastraman, Propogandhi also has subtext to it. Whats going on in here? How would you respond to that? You don’t seem to like the idea of a superhero, or of gods or god-men either. Ironically you yourself are trying to create a superhero Ratrashman. Whats your response to that? Who is Rashtraman? I would also like to know what is BraindedIndia? Do comic as an art form gives you hope? How?
Ranjit Dahiya is an artist, entrepreneur, motivational speaker and an arts & design professor all rolled into one. Founder artist of BAP, Ranjit Dahiya is originally from a small town named Sonipat in Haryana. He did his Bachelor's Degree in Fine Art from College of Art, Chandigarh and further went on to do his Post Graduate in Graphic Design from the National Institute of Design, Ahmedabad. Today we are here to discuss his love for Bollywood, murals and documenting a case study of BAP, Bollywood Art project. Can you start by telling us what is BAP and some background story behind it? Can share some brief historical background about murals as an art form in India? Which all other Indian cities do have murals or graffiti going on? What according to you is role of mural in society? India has 2 religions. Cricket and Bollywood. You picked Bollywood. The first ever mural made is a poster from a 1953 film Anarkali. What makes you draw stuff which is pre-2000’s? Do you consider drawing anything apart from Bollywood if not commissioned? How different it is to detail out the nuances of the subject being painted when you draw on big walls? You have rough strokes or also show the smaller details? How do you decide the level of detailing you wish to achieve? Can you quickly walk us through the process? What sort of colours are used to keep the painting fresh for some time? With the heat and rains in Mumbai - Have you experimented with colour mixtures to keep those murals long lasting? Mixing acrylic, with emulsion paint or simply oil paints? When you travel across India, especially in highways and country side, You see lot of walls painted with either Tele-com providers or tractors… in a way actual advertising, which seems to be a paid job. From where do you think your motivation comes for painting old Bollywood stuff? Can you take a particular example and tell how do you respond to the surface and how does surface responds to your artwork. For eg: If you are painting a Bollywood heroin, can her eyes be 2 windows which are nicely designed? Do you expect the building owners and keep their windows open or closed all the time based on your artwork? I saw few of your videos online where you draw a rough sketch and then probably a complete artwork on canvas to envision, why can’t or don’t you just draw on huge canvases and hang them? What is the difference in drawing on huge canvas versus actual walls? With Flex and other mediums emerging to promote films and TV series, what is your one hope and one disappointment when you look at these?
Arthur G. Doughty a dominion activist once said, "Of all our national assets, Archives are the most precious; they are the gift of one generation to another and the extent of our care of them marks the extent of our civilisation.” Today I have Ruturaj Parikh with us on Audiogyan. Ruturaj is an Architect & Partner at Matter. an architecture, design and content firm based in Goa. He has been involved in architecture, urban design, planning, curatorial and social projects. Ruturaj regularly writes about contemporary works and ideas on architecture relevant to India and its subcontinent. I stumbled upon him when i visited an architecture conference called Frame Conclave this year.  Ruturaj designs and writes from Goa. What is Matter. ? Why do you think Archiving thought / documentation is important & required? Especially post Independence thought? With so much noise, how do you decipher signal? How do you decide what to archive? What qualifies to be worth archiving? What are your thoughts on “reflecting on your own work”? As per my experience, very few professionals are reflective about their work; while academicians, authors & researchers have a more broader vision. Is it true and if yes, why? Classic work always has a pull and need not be pushed. But it can take really long for people to understand the value. What keeps you going and doing this?
"I feel the real bliss lies only in blankness. And it is only through blankness that the reality can be experienced. The moment we shed our prejudices, we have direct access to the reality. Above all, what matters, is the joyful moments that an artist experiences through portraying the reality on his canvas” - Says are today’s guest, Parag Borse. Parag is an artist whose paintings have been exhibited across the world. He is an award winning artists who studied at JJ School of applied arts. He lives in Karjat a small town between Mumbai and Pune. You can find more on parag borse.com. Today we are here to discuss and understand his philosophical outlook towards paintings. This Audiogyan will be in Marathi. What do you mean by expression? on canvas and off canvas What’s your definition of reality? on canvas and off canvas Can you tell us your thought process from seeing something to putting that on canvas after a very long time? What according to you is important while creating a painting? Style, medium, content, context, artists journey? Why? And same question from a viewer's standpoint? What he or she should look for? What are your thoughts on your finished paintings and artwork? How do you see them in retrospective?
Ambi Parameswaran brings with him over 35 years of experience in a marketing, sales and advertising. He is an alumnus of IIT Madras and an honour roll graduate of IIM Calcutta. He has a PhD from Mumbai University and has also done the Advanced Management Program from Harvard Business School. He is the author of seven books and more than 100 articles. Ambi has been involved in the building of brands such as Tata Indica, Santoor, TCS and more… actually I would tell the listeners to check his website given in the show notes below. It’s quite comprehensive which documents some of his work.  How dependent is brand building; is it based on a good product / service or good marketing strategy or media buying? Is it possible to make great brands if the product or service is substandard? What is difficult to brand? Service or a product? Why? In one of Steve Jobs interview, he said, marketeers will have more say in companies which seldom change their product line. For eg: Coke or Pepsi. While marketing may not be really required for tech based companies where the product it self is solving user needs. How would you respond to that? Do you think Tech companies need marketing? With growing chaos of brands, especially in India, what are the few challenges which brand experts are facing? Brand like “Khaitan-Sabse Tej" or "Asian Paints-Her ghar such keheta hai” are memorable because of the media buying or profound copywriting and design of the campaign? What is your response to especially e-com brands hurting them and user by incessantly harping on discounts
Eli Giannini is an architect and director of an award-winning Melbourne based firm, MGS architects. Over the past twenty-five years Eli has been responsible for the design direction at MGS and winning numerous industry awards for her practice. We will try and get insights on, how she brings tenacity and passion for the craft of design with a special interest in developing architectural typologies into project specific responses. She is based out of Australia. What according to you is the core requirement when it’s going to be public use or public facing architecture? How do you identify / define body and soul of a space or a building which is meant for people? What role does “context” play in every project? How critical is it and why? With your project, "McIntyre Drive apartments” you did in 2012, which has won many awards, it’s mainly designed to give people a sense of village. So if you can tell us briefly that how did you manage to weave in inclusiveness for this particular project. I am more curious since this project for people living on air. I am asking this question since I believe, it’s a crying need for India and other developing countries. You speak about bringing “craft of design” in your architecture work. What message would you like to give to young architects around the world; In terms of priority, 1, 2 and 3; which skills need to be built or harnessed to start designing space which are inclusive and benefitting people or society at large.
Today I have Ruchita Madhok with us on Audiogyan. She is the Founder and principle designer of Kahani Design Works; a design studio based in Mumbai. Trained in exhibition design and scenography, Ruchita has worked extensively with corporate organisations and arts institutions in India, the UK and Middle East. She brings influences from visual arts, culture and heritage into Kahani’s creative approach, setting the studio apart as a global Indian design practice. What practice does Kahani Design works exactly do? What role does research play in your practice? Commissioned or pro-active / pro bono? Your focus has been narrating a story through visuals in story cities. Be it maps or illustrations. What are the grounds of picking a story and how has that evolved over time? What goes into making a visual guide / local map? Walks, research, architecting on paper? How long can this process be? How do you decide when to stop? What qualifies to be in the map and what doesn’t? We as culture are proud of our past but make very less effort to archive / document it. Whats your response to that w.r.t geographical / physical location perspective? What according to you can be a good start for individuals and groups to start investing time and effort to start telling stories of India visually?
Prashant Is a Creative Head, Founder, Ideas@work.  Graduate from J. J. Institute of and Member of Bombay Art Society, worked for several advertising agencies, major brands in India and abroad like Bajaj, Raymonds, Park Avenue, Shoppers Stop, Airtel, NECC, Marico, Tata Group, Taj Hotels, Killer Jeans, Colgate, UPS, The Times of India, Citibank, Philips, Tetley, Thomson, Zee TV, Big Rock, Infosys, Reid and Tailor, Big rock Rustomjee, LinkedIn, Pepsico, Addidas shoes, etc. He started his career as an art director and with the iconic ‘Hamara Bajaj’ campaign and has been the driving force behind some of the most talked-about campaigns in the industry over the years. With a career spanning about 30 years, Prashant has worked with almost every top agency in India and has seen his work win over 250 metals at award shows like Cannes Lions, D&AD, One Show, the New York Festival, Asia-Pac Awards, and others. Today, aside from being one of the founder-NCDs of creative boutique ideas@work, he works on photography projects for reputed brands and gives guest lectures at various art schools and photography schools across India. What does a frame mean to you? Almost anything can be frame? How do you perceive time philosophically? It is said, write drunk, edit sober. Although it’s controversial, can you tell us, after years of clicking, I am sure the craft is perfected, how has curation evolved? Is curation difficult or clicking? Why curate? Importance of curation? In one of your interviews, you said, “you click in your head first” - Seems like Anahad-nada. Can you please explain it? What is the function of great street photograph? Timing? Traveling?  How has your advertising skills help you being a photographer and the other way round?
Shweta Malhotra is a Graphic Designer based in Bombay. After graduating in Applied Arts from Sophia Polytechnic (Bombay) in 2004, she started out as an Art Director with advertising agencies like McCann Erickson, Contract Advertising and Ogilvy. In Feb 2008, after a short stint at Fabrica, she decided to pursue a career in Graphic Design and has since worked with firms like Grandmother India and Rediffusion Y&R Design. On a project basis, she's also worked with Itu Chaudhuri Design and Illum Design. We will start with this one line which I found in most of your articles and interviews online. "My overall design aesthetic is minimal, bold and graphic, a response to the maximalist visual language prevalent in India.” - Can you tell in detail what do u mean by that? What have been your observations when you say, the maximalist visual language prevalent in India? Why do you define your work to be minimal? Your initial work was fashion-focussed, while fashion doesn’t seem not very minimal in a philosophical sense? What have been your observations w.r.t the contemporary art scene in India? Is contemporary word getting synonymous with minimalism due to our global exposure? What is your process of approaching an artwork? Minimalism is all about eliminating while you are creating something new out from your observations and what you consume? Does a blank canvas intimidate you especially when u approach with a minimalistic mindset? Do you think minimalism restrict the color palette or choose of images or fonts? What would be one take away who wish to explore this form in their work?
Sulekha is an independent graphic designer, type designer, and lettering artist. She has over 10-12 years of experience in designing for brands from Aviation, Personal Care, F&B, Healthcare, Banking & Financial Services to the Hospitality industry. She has a very insightful and worth listening talk recorded in 2015 at Typoday on youtube. Reference Link: https://www.youtube.com/watch?v=Ds4FVRyRX4c What is the difference between lettering and calligraphy? If there is any? For a layman, I believe lettering artist is generally referred to as who does typesetting for signages. Your work focusses on Multilingual brand design. How has lettering helped you in improving that skill? What is the most challenging part of multilingual branding - is it the client’s education or availability of well designed regional fonts or lack of awareness in designers?  What impact (conscious or subconscious) does a well designed English brand in Marathi or Hindi create of laypeople? How do you measure that impact? For eg: What changed tangibly when you did redesign Paradise Biryani Logo? What do you mean when you say, brands must adapt to a multilingual approach?
R.K. Joshi was born in Kolhapur in 1936 and passed away on 5 February 2008, leaving behind a rich tradition of advertising, love of alphabets, poetry, teaching, calligraphy, type design and many more. One of his important contributions is designing the core Indian fonts used in Microsoft Windows.  Who is this immortal R.K. Joshi for our new age designers? His tryst/passion with types and passion for letterforms? His top 5 contributions to the world of arts & top 5 to the world of Type design in India His contribution in the field of design education? Who were his main influences like Arrighi and more, in India and outside? Any personal ah-ha moments with him during your association/stories? What was his vision for Indian type or calligraphy industry? His thoughts on multilingual types considering his outlook towards India? Any story behind designing the Adi Shankaracharya stamp?
Tanya is an Indian Typographer and Type Designer. She did her MA in Typeface design from the University of Reading. She works in the are of Graphic Communication and Identity design. She teaches typography as a visiting faculty at ISDI and Pearl Academy. Along with this she also conducts TypeWalks in Mumbai.
I have Anjali Menon with us on Audiogyan. She is a co-founder of Gudgudee. Anjali with Aditi Agarwal (who works from BLR) started Gudgudee in 2014. It’s a design studio that specialises in creating innovative play spaces for children of all abilities. They aspire to transform public spaces and improve the quality of life for children and society at large. We will try and document a broad landscape of playing areas for children in India and how Gudgudee is trying not to make a dent, but smoothen the slides and swings so kids can play.
Today I have Chirodeep Chaudhuri with us on Audiogyan. In the last 2 decades he has worn multiple hats, from being an author, a journalist to being a photographer. Chirodeep’s work largely documents the urban landscape and he has often been referred to as the “chronicler of Bombay”. During his career he has produced diverse documents of his home city in a range of projects documenting its architectural and social landscape. I stumbled upon him and his work first at Join Paperplanes session In Mumbai. We will try and document Chirodeep’s philosophy and importance of having story behind every photograph.
dina Amin is an Industrial designer and stop motion animator. She likes to work at the intersection of various disciplines. After discovering her love for stop motion, dina founded “Tinker Studio”, where she produces stop motion videos for diverse clients and companies around the world. Questions  What constitutes garbage is highly subjective, with some individuals or societies tending to discard things that others find useful or restorable. How do you define trash?  Do you consider your work as an act of Upcycling? How and why; either ways  What made you connect Stop motion and disassembling things to be an interesting exploration? What is the process like and what do you do exactly?  Is there any conscious effort of showing environmentally correct use of objects which people then tend to discard; there by showcasing it value? Or is it still a fun exercise? Or do you try and illustrate a story by deconstructing & humanising objects and narrating the object's point of view?  How did it all land up in getting real work? If you can share any interesting case study or collaborations?  Fun question: You have problem with capital D. How do you deal with autocorrect and grammar fixes done by technology?
We are recording this backstage of Kyoorius Designyatra 2019  Today I have Anthony Burrill with us on Audiogyan. He is a Graphic artist, print-maker and designer known for his persuasive, up-beat style of communication. Anthony is perhaps best known for his typographic, text-based compositions, including the now-famous “Work Hard and Be Nice to People” poster, which has become a mantra for the design community and beyond. He has a beautiful website which showcases his work, bio and process of him creating really iconic posters and more. He now lives and works in Kent.  There are plenty of his interviews, videos and talks about his process of creating artwork and his experimentation online. What I would try and do today is ask few questions about the thought behind his messages and not the medium. Although medium is the message, but let's find out.   Thank you Anthony for giving your time and it’s a real honour to have you on Audiogyan.  Topic  Messages from with Anthony Burrill.  Questions  Can you start by telling us, who is a print-maker? What does he or she do? A brief history / background about it?  You have produced some iconic lines through your work. How do you arrive on these lines? If you can illustrate with any one example? “I like it. What is it?” Or may be "Tomorrow” - Just one word poster? What does it mean?  Why do you think your work is appreciated so much? Is it the medium, means or the message? How do you see all these aspects?  Your work, at least what I have seen online happens to be at the cusp of “art for art's sake” and “didactic artwork” - How would you respond to that? What is it's nature?  I understand analog creations has warmth in it. But do you ever feel that it restricts creativity or pushing the boundaries since a lot has been experimented before digital came in. Or is it a conscious effort to create space in this noisy world, for you work?
Episode 5 of 5 featuring Aditya Mehta. Aditya is the Founder of Art&Found – a curated platform for invite-only artists to sell their work. This is a 5 part series with Bharat Flooring and tiles and Audiogyan. In the coming weeks we will be talking with various artists, heritage conservationist, brand creators, illustrators and architects associated with Bharat Flooring & Tiles. Those who don’t know what is Bharat Flooring & Tiles, (btw, we will be calling it BFT throughout the series). It’s a company formed in 1922 which is leader in quality cement  flooring and has been primarily making customised, handmade cement tiles. The timeless elegance and durability of these tiles make them works of art and an invaluable part of the country’s architectural heritage. It started as part of the Swadeshi movement and with over 90 years of reputation, BFT is now the most preferred choice of interior designers and architects across India, You can find relevant links in the show notes about BFT. Aditya Mehta is the Founder of Art&Found – a curated platform for invite-only artists to sell their work. He comes from advertising background but found his passion in curating and selling artwork made by Indian artists. Today we are going to speak about ‘Virtuoso’ collection with artists like Aniruddh Mehta, Shweta Malhotra, Suzanne Dias and Pratap Chalke which emerged out of collaboration between Art&Found and Bharat Flooring tiles. We will also speak about how different types of digital artworks exploring different materials and medium. https://www.bharatfloorings.com/ Questions AM: What does Art&Found do? FV: What are different collections you have and how did Art&Found help in shaping them? What new things are born out of this collaboration? AM: What are the constraints while designing since the final output is a tile? FV: How have your artists responded to this? What is their feedback and learning from it? AM & FV: Can you share the over all process from brief to actual deliverable tiles for a client? Would like to know the actual flow of how a vector or a .AI files is given to BFT artisans etc… AM: The overall engagement seems like a win-win situation. Can you tell us who all are empowered through this and at what levels? BFT, Client & the Artist. How Art&Found enables this? FV: What have been you learnings w.r.t market for this and what is next?
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Comments (19)

Surya Prakash

A lively concise interview on the beauty of industrial design,It's role in society, implications on human emotions and the creating responsible design in the age of environmental, political and social challenges.

Dec 20th
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mukunda raju

nice pod cast

Aug 20th
Reply

surendhar svs

more architecture talks would be nice

May 27th
Reply

Shiva Lakshmanan

This is my first time in audiogyan. As an architect, I love the topics covered. Also, this is the first podcast where the anchor is an "active" listener. Keep up the good work.

May 21st
Reply (2)

Apoorv

I think you should record the intro again if you mess up so much.

May 3rd
Reply (1)

Vinay Mantri

I really appreciate your episodes. Good job!

Feb 4th
Reply

dhananjai pande

can't wait for the next episode. really insightful conversation and I am really looking forward for the books.

Jan 23rd
Reply

Siddharth Sawant

Great effort. Some suggestions - Let the guests speak freely. avoid interrupting them - Ask open ended questions i.e. less of yes/no questions - Do not lead. let the guests speak their mind. it may or may not align with your previously held beliefs. - Do not try and corroborate ideas across different interviews. difference of opinions between guests is what let's us see the world from multiple viewpoints. - Have a strategy for the conversation. what do you want the listeners to get out of the podcast? e.g. are you introducing them to the guest or are you introducing the field that they work in? - Please invest in better recording equipment, also some investment in sound processing software. I greatly appreciate the hardwork that went into creating this unique podcast. keep it up. best wishes :)

Nov 15th
Reply (1)

Pratik keni

khup sundar 😊 fakt madhe madhe english bolaycha kami kela tr bara hoil

Oct 29th
Reply (1)

suhrid sukumar

Just try to interrupt the speakers a little less.. With your umms.. And aahh.. And okss..

Oct 24th
Reply (1)

Dhruva Rathod

Was waiting for Podcasts in Indian context and Indian design community.Good to see that

Jul 28th
Reply

samrat hazari

waoooww really appreciate your time and effort s thank you

Dec 19th
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Deepak Teji

nice

Sep 18th
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