At Fublis, our Design Dialogues series is dedicated to highlighting the innovative minds shaping contemporary architecture and design. Through in-depth conversations, we uncover the philosophies, inspirations, and creative processes of designers who are redefining the built environment.

In this edition, we feature Studio Lotus, a multidisciplinary practice known for its commitment to Conscious Design—an approach that seamlessly blends cultural influences, local craftsmanship, and sustainability. From adaptive reuse and hospitality projects to institutional and commercial spaces, the studio’s work is deeply rooted in context, materiality, and a keen sensitivity to the human experience.

Guided by principles of frugal innovation, craftsmanship, and collaborative design, Studio Lotus reimagines spatial narratives that are both contemporary and timeless. Whether revitalizing heritage structures like Baradari or crafting immersive experiences in projects such as RAAS Chhatrasagar, the studio consistently pushes the boundaries of architecture’s social and environmental impact.

In this exclusive interview, we explore how Studio Lotus integrates sustainability, material innovation, and regional identity into its diverse portfolio. Join us as we delve into their design philosophy, notable projects, and the evolving role of architecture in creating meaningful and enduring spaces.

How do the principles of ‘Conscious Design’ and celebrating local resources and cultural influences shape studio lotus’ approach to diverse projects, from hospitality to heritage conservation?

Harsh Vardhan: Conscious Design is integral to our practice, and it is predicated on an approach that celebrates local resources, cultural influences, a keen attention to detail, and an inclusive process. Our practice follows an iterative and incremental methodology of innovation and roots its learning in history and the local context.

Given that a large swathe of our work caters to the segment of luxury, we often find ourselves asking, “How we can we redefine luxury for it to be exciting and responsible? Can we make the local aspirational?” This leads us to focus on raising the value of the indigenous and the local through a high degree of craftsmanship and artisanal skill.

Another idea we continually contend with is frugal innovation–doing more with less. In the context of India, where we want to make innovation scalable and relevant, we explore low-tech methodologies rather than relying on high-tech alone as a method of choice to innovate. This idea also extends to our approach to adaptive reuse, where we seek opportunities for creative reuse and restoration before we decide to build anew.

Further, beauty is central to our work, no matter the scale. For us, it is an intangible, evocative experience—of space and volume, light and air, materiality, refinement of detail, and celebrating the organic imperfections of craft. We see beauty as having a deep connection to sustainability in that beautiful and well-made structures have an inherent quality that enables them to endure the test of time in their emotive, aesthetic and functional aspects.

These principles are well reflected in projects such as Baradari, a remodelled cafe and restaurant inside Jaipur’s City Palace. We aimed to preserve the historical integrity and identity of the space while introducing contemporary elements inspired by Jaipur’s rich Indo-Saracenic influences. The key programmatic intervention here is the marble-and-brass Baradari, which translates to “a pavilion with twelve columns.” This structure serves as a spatial anchor for the restaurant and connects the public urban fabric with the private hospitality space. We worked closely with skilled artisans and incorporated traditional crafts, such as thikri work, bespoke casting and foundry work, and stonework by creating new forms or uniquely adapting them for a new use.

The Biju Janta Dal Party Headquarters was designed to embody transparency and inclusivity. How did these values influence the architectural language and spatial planning of the project?

Harsh Vardhan: Our underlying design idea for the project was to capture the party’s ethos, which is deeply rooted in inclusivity and regionalism. We also set out to challenge the conventionally impervious nature of government office buildings by integrating public functions into the programme and engaging local craftspeople in the construction process.

The original brief called for a five-storey structure. However, we proposed a more humble three-storeyed volume to preserve the building’s connection to the street and the citizens while accommodating the stipulated functions. This decision also minimised any redundant construction from the outset.

Our primary programmatic intervention was to elevate the campus’ ground plane to form a plinth for public functions and community events. This deliberate elevation, with its direct visual connection to the street, fosters an open and transparent connection with passersby, bringing them into the fold and blurring the threshold of public and private space. Other public spaces on the level include a cafeteria, a library, and a 360° audio-visual gallery. We also designed an auditorium to host official and ceremonial events and serve as a platform for local musicians and performers to showcase Odisha’s rich cultural heritage.

The facade, designed in collaboration with Siddhartha Das Studio, features sculptural reliefs in laterite and terracotta. Hand-chiselled by local stoneworkers, they depict intricate motifs derived from traditional handloom weaving patterns such as ikat and sambalpuri. They also feature abstract symbols referencing agrarian customs, the indigenous paintings of the Santhal tribes, and the Lingaraja-style architecture of the famous Konark and Puri temples. Dovetailing indigenous skills with contemporary influences, the use of local laterite and terracotta tiles on the facade reflects the party’s rooted yet forward-thinking vision.

This deep engagement created a contextual visual identity, instilling a sense of belonging in the local community and the citizens. It also made the construction of the building an intensely collaborative exercise. In addition to employing the artisans, the project enabled skill-building in terms of both scale and new typologies.

The design integrates sustainability through passive strategies and localized materials. Could you elaborate on the specific sustainable features implemented and their impact on the building’s performance and longevity?

Harsh Vardhan: Our design incorporates a series of both passive and active climate-responsive measures to enhance building performance and sustainability. For instance, we have implemented a window-to-wall ratio of 60:40, which reduces the need for artificial lighting and minimises glare. Deep overhangs and terraces provide shade, limiting heat gain. Internal courtyards are a key aspect, allowing natural light and ventilation, and improving indoor thermal comfort.

From a landscape perspective, we have chosen native flowering trees and shrubs to contribute to a comfortable microclimate and support local biodiversity. We have included fundamental sustainability measures such as rainwater harvesting and groundwater recharge and made provisions for solar panels that contribute to the building’s energy efficiency over time.

Studio Lotus emphasizes engaging the user and crafting tactile and sensory spaces. Could you share insights on how this approach enhances the lived experience in your projects?

Harsh Vardhan: We take a deeply contextual approach to design. This often leads us to challenge the expectations of the brief we get and helps us arrive at a fresh perspective on the problem statement with the client.

For example, when we were commissioned to design Krushi Bhawan, a facility for Odisha’s Department of Agriculture & Farmers’ Empowerment, we wanted to explore how a government building can deepen the level of engagement with the local community and the citizens. For the building’s visual identity, we drew inspiration from the ikat, a textile weaving tradition native to the region. The ikat patterns were translated onto the facade using clay in five colours that allude to the colour of the soil from different parts of the region. We consciously created a contextual visual identity with the help of tactile elements that add to the people’s sensory experience.

Another project of a different scale I can think of is LifeYoga, which was commissioned by Dr. Varun Veer and Dr. Tanu Singh–lifelong practitioners and teachers of the discipline. They envisioned an urban sanctuary rooted in ancient wisdom yet responsive to contemporary needs. A key tenet of our design approach was to create a succession of spaces that progressively takes one inward, shedding the chaos outside and priming the body and spirit to truly immerse in the learning ahead.

We played with tactile natural materials, primarily local stone, wax-finished plaster and oil-finished timber, to establish a nuanced interplay between restraint and refinement in all spaces. For example, the earthy Mandana red sandstone is employed in three different textures to contrast with the wax-finished walls of ivory cow dung-infused plaster with microbicidal properties. The furniture and millwork in kikar (acacia) further infuse warmth and a sense of regional character.

We have also tried to harness the therapeutic effects of lighting in various ways to promote relaxation and deepen focus. Integrated, adjustable lighting systems offer the flexibility to create a well-lit atmosphere or a dim and gentle ambience, depending on the nature of the practice. The space has been layered to create varying degrees of porosity with muslin and paper screens, some of which carry information on Ayurvedic and Yogic concepts.

The Hub at DLF Cybercity is designed to cater to diverse user groups while creating a cohesive spatial experience. Could you elaborate on the specific design strategies you employed to ensure a seamless blend of functionality and aesthetics in a space with such varied use cases?

Harsh Vardhan: Our goal here was to create a lively and appealing destination for office-goers and visitors at Block 12 at DLF Cybercity, one of Chennai’s largest IT parks. We determined the programme in close collaboration with the client, carefully considering the spatial relationships between the Amenity Block and the Office Block. The office block features a curved profile, and its dark-coloured mass is designed to intentionally contrast with the sharp white facades of the surrounding IT office buildings.

These buildings are visually tied together by a concrete plinth at ground level by a Market Street–a boulevard that provides community and public spaces, including retail, F&B, and open seating clusters. Aligned with the axis of the broader master plan, it channels pedestrian flow to encourage the creation of an animated social environment. The food court within the Amenity Block has been conceived as a spacious, large volume, housing various Quick Service Restaurants (QSRs) and food trucks, complemented by intimate seating clusters. Indoor planters, strategically placed, have been introduced as spatial dividers and seating pockets.

The Hub’s design encourages fluid indoor-outdoor interactions. What were the challenges and how did you address them?

Harsh Vardhan: To begin with, the key intervention of aligning the market street with the axis of the broader master plan naturally channels pedestrian movement through the site. Building on that, the assortment of gathering and seating spaces, and the landscape elements, allow for it to be used by various configurations of people across various times of day, in a way that befits its name–as a Hub–for the users of the IT park to spend their downtime and relax in.

The open spaces and landscaped areas in The Hub seem to foster a strong sense of community. What were your key considerations in designing these areas to promote interaction and engagement among users?

Harsh Vardhan: Landscape interventions for this project were developed with ROHA Landscape. We incorporated stepped seating on the ground floor plinth to encourage social cohesion, creating an inviting after-hours urban oasis for relaxation and socialisation. While the terraces feature an open-to-sky garden with wooden seating, the first-floor podium comprises landscaped activity spaces and gaming zones.

A social staircase originating in the Market Street visually and spatially connects it with the mezzanine-level terraces. A large TV screen across from it allows for the staircase to be used as seating for when sports and cultural events are streamed.

Collaboration is key to your process. Can you elaborate on how your interdisciplinary teamwork and collective genius contribute to creating meaningful and context-sensitive spaces?

Harsh Vardhan: We are a studio of 100+ people from multiple backgrounds—architects, interior designers, engineers, and even graphic and textile designers. In terms of work, we don’t limit ourselves to typology. We’ve been very fortunate to engage in projects right from master plans to interiors to the smallest of furniture details.

The entry point for us is the story the project seeks to tell. And a big part of the story is the process. And we deliberately ensure that this process is fluid and emergent, with the end result being the diversity we hold so dear. Mentorship is foundational to the idea of our studio, and hence, a significant amount of time and resources—week on week, month on month—is spent on this area. Our focus as Principals is to facilitate the team’s growth and to create a highly empowered group of people that has the competence and takes ownership of delivering on the value proposition of the studio.

We feel that the cross-pollination of ideas, expertise, and perspectives—both internally, within the studio, and with consultants, craftspeople, and clients—facilitates a process of creative synergy, enabling us to create outcomes that are far greater than the sum of their parts.

RAAS Chhatrasagar beautifully integrates its architecture with the surrounding landscape. What were the key challenges and opportunities you faced in designing a hospitality project that needed to harmonize with such a serene and ecologically sensitive environment?

Harsh Vardhan: Each project and site presents a unique context with its intrinsic challenges and opportunities. In the case of RAAS Chhatrasagar, in Nimaj, Rajasthan, our intent was for the architecture to touch the earth lightly and create a deeply connected experience for the guests to this biodiverse but fragile ecology.

The original tourist camp at Chhatrasagar comprised an eleven-key tented accommodation, operational from October to March, and dismantled during the harsh summer months, only to be re-assembled at the onset of autumn—a challenging business model to sustain. Our intent was to enhance the hospitality experience while preserving the qualities guests valued about the property—the rich wildlife, direct access to nature, the sunrises over the lake and sunsets into the forest.

The existing capacity was increased from 11to 16 tented units, and the public spaces were augmented with a richer mix of amenities. Given that the dam was over a century old, we designed a system of low-impact foundations and lightweight superstructures with minimal interference to its structural integrity. The sixteen pods are raised on stilts, which enables MEP services to run elevated off the dam and allows rainwater to drain freely. We constructed almost entirely without cement, employing a dry construction methodology and using lime as a binder wherever minimal wet work was required.

A continuous tensile fabric canopy stretches over the lightweight partitions, spanning the entire length of the structure, providing waterproofing and added insulation. Retractable skylights installed within the roof capture the play of light, allowing for a rich sensory experience. The pods are separated by metal screens with bamboo infill, extending towards the embankment’s edge. This creates shaded verandahs and enables privacy while seamlessly integrating the diversity of views—from the lake on the east to the forests on the west. We also incorporated existing site features, such as kunds and swales, to support rainwater collection.

Additionally, in drawing inspiration from the local flora and fauna, we integrated motifs through diverse mediums such as textile, teak, acacia wood, and local stone. For example, the lightweight partitions of the tented pods are mounted with boarding and hand-painted fabrics executed in collaboration with printmaker Dhvani Behl’s studio Flora For Fauna. This approach to integrating crafts with the design further allowed us to add a distinctive regional flavour and deepen guests’ connection to the landscape.

Looking back on your journey with Raas Chhatrasagar, what are the most significant lessons you’ve learned about designing within sensitive ecological contexts, and what advice would you offer to architects tackling similar projects?

Harsh Vardhan: Building in ecologically sensitive areas comes with a huge responsibility. Reckless development over the years has caused unprecedented damage to fragile ecosystems—areas that support local communities and livelihoods and often carry a wealth of sustainable ways of being. At Studio Lotus, we have always focused on minimizing the impact of our building practices on the environment while delivering maximum impact for our collaborators during the designing and building process, our clients’ businesses, and the occupants’ lives and well-being.

Our values of frugal innovation, treading lightly, contemporising craft and collaboration come together in the design of RAAS Chhatrasagar. To establish an intimate connection with the outdoors while being mindful of the surroundings, the design team conceptualized a system of low-impact foundations and lightweight superstructures raised off the ground for services to run under. Retaining the memory of the tourist tents, a tensile fabric roof stretches over a series of lightweight partitions mounted with boarding.

Collaboration has been expressed in a multitude of ways. Hand-block-printed and embroidered canvas fabrics that represent the flora and fauna of the region line the inside of the tents, executed by Dhvani Behl’s studio Flora For Fauna. The camp-style furniture has been designed in collaboration with Mangrove Collective. The Baradari restaurant, a contemporary expression of the Rajputana twelve-pillared pavilion, is designed using a lightweight metal frame and capped by a traditional tukdi roof executed by local stonemasons. They also took the block printed motifs and etched them onto the local chitar sandstone that makes up the walls of the restaurant.