Nov. 10-25
The Principal Architect & Co-founder of Mu Design on what sets Indian design apart, how traditional influences shape her work, and whether clarity or creative freedom leads to stronger outcomes.
As part of our Indian Design in Focus series, we spoke with Ameeta Sharma Menon, Principal Architect and Co-founder of Mu Design, a practice that emphasizes inspired, functional, and sustainable work rooted in India’s evolving creative landscape and a portfolio that spans both architecture and interiors.
In our interview, Ameeta reflects on the cultural depth of Indian design, describing it as a landscape defined by regional nuance, historic wisdom, and a shift away from post-independence imitation. She also discusses how her practice draws from natural materials, traditional craftsmanship, and influences that range from the Indo-Saracenic period to, more recently, contemporary Japanese philosophies of light, form, and restraint.
She shares insights on the importance of step-by-step design derivation, resisting short-term solutions, and the need for an education system that strengthens design-process understanding. Menon also highlights the role of client trust, emerging trends, and the ways India’s well-informed public is shaping design expectations today.
I feel “Indian Design” is a wider term for the nuances within our subcontinent. We are an extremely accentuated culture dotted with variations throughout the broad spectrum of our geographic span. Therein lies the joy and celebration of Indian Design.
The approach of the diverse requirements that we get from our clientele based on their traditional belief systems and at the same time, well-timed global influences, is what I believe is the Indian Design. We are finally in a place where our modern design solutions are rooted in the historic wisdom and not in the post-independence “mimicking” phase. So today, what sets us apart is the “maximal” value addition in design.
An Indian end user of modern India is well-informed, and this is something not restricted to a particular economic segment but across the board. For our team, it is a united effort to assimilate these cultural beliefs and thus add value to them in design. The use of natural elements and natural materials is an ode to our rich heritage.
We are finally in a place where our modern design solutions are rooted in the historic wisdom and not in the post-independence “mimicking” phase.
The Indo-Saracenic period of our history was of great influence in my early days of practicing. Right from measuring every bit of the Pinjore Gardens (now Yadavinder Gardens) to the ramparts of the Red Fort, the brilliant use of local materials and exquisite craftsmanship has been a strong influence. Currently, I am delving deeper into the Japanese design philosophies. From minimal interior décor to the Zen landscapes, it’s an epitome of light and form study.
At the studio, we are extremely target-driven and prioritize design in every thought process. India is a promising economy with growth trajectories that require quick solutions, leading to the rampant ”jugaad” mentality. However, we do not adhere to that at all, and most of the time, we are looking at a step-by-step derivation in design.
We conduct a lot of tests in-house to explore materials that are unique, functional, and aesthetically pleasing.
We try and see how processes can be optimized at the industrial level as well as the commercial end. We conduct a lot of tests in-house to explore materials that are unique, functional, and aesthetically pleasing.
We prefer the latter and thankfully are lucky enough to have clients who support and believe in our vision for the project. As a result, we can come up with unique design solutions.
Beyond the design stage, once the economics come into play, we try and adapt to the client’s mandate, where we now try and achieve the same initial vision to the best use of materials.
The world is now seeing design as an everyday necessity and not a service for the select few. This, I believe, is evident every time a trend catches on. A lot of the master-architects of the seventies & eighties spent a good portion of their career paths ingraining this philosophy.
The world is now seeing design as an everyday necessity and not a service for the select few. This, I believe, is evident every time a trend catches on.
In India, however, this was not the case from the get-go, we have always had culture at the core of our belief system and utility. I see the “Japandi” style for example invokes a modern derivative to the Scandinavian Japanese sensibilities to the current time. “Biophillic” design has always been a necessity and not a trend, so I sincerely hope we are collectively moving on the correct path.
The current education system in India, as far as architectural design is concerned, is still not in a space where students come out as ready professionals of design. A lot is lacking in the design process, understanding, and the ways in which a young mind can adapt to it.
What we need is education education-driven industry where creative thoughts are questioned and analyzed to perfect the core of design philosophies. It cannot be a system where the industry and vendor market drives the aesthetic thought and design solutions.
The overload of colors in the culture, yet black basalt stone forts, Wadas and temples in Maharashtra.
The perfect synchrony of chaos theory at work…
MF Husain, had I had the chance to work with! In current times, I love some of the contemporary Indian artists such as Saju Kunhan.
India is more of an experience in the smaller towns and villages. A visit to a remote location across the length & breadth of the country is a constant source of creative inspiration!
All images provided by Mu Design.
To learn more, visit www.mudesign.in
All images provided by Mu Design.
