Feeling the Moment...Upasana Makati

Over 3 million books have been published in Braille the world over.In India Reliance Foundation Chairperson Nita Mukesh Ambani launched India's first registered national Braille newspaper in Hindi ( they already had one in Marathi) in association with CNN-IBN's Real Hero Swagat Thorat .It was Real Hero Thorat's dream to print India's first Braille newspaper in Hindi, --'Reliance Drishti' with Thorat as the chief editor,is  lighting up the lives of the blind and giving them their dose of the news. There’s more good news for the 7.8 million visually challenged ( 56-lakh are literate)---recently India’s first Braille lifestyle magazine White Print. was launched in Mumbai by 24-year-old Upasana Makati. Printed at the National Association for the Blind in Mumbai, this monthlymagazine consists of 64 pages and will provide the readers a slice of varied topics that one would wish to read in their free time

Sudha Hariharan chats upfront with the enterprising founder & publisher:

Tell us a little about yourself : ie  early education,graduation, work experiences.

I  did my schooling from Bombay Cambridge School in Andheri, pursued Bachelors of Mass Media with a specialization in Journalism from Jai Hind College post which I was awarded a scholarship to study communications in University of Ottawa, Canada for two semesters. After returning to India, I worked with a PR agency in Mumbai for one year and finally quit once White Print was born in my mind. 

What really triggered this desire to launch a Braille magazine?

The seed to this tree that I intend to nurture was born out of a thought about reading options available for the sighted population. Five minutes into the thought and I could easily take more than 50 names of publications belonging to different areas of interest. However, when I actually thought about the same with reference to the visually impaired community, I was surprised to not be able to even think of even one. I instantly shared this thought with a few friends and then began research. Three months into the research I was convinced about the fact that I must take the idea forward. This made me quit my job and dedicate myself to the venture. 

What were the hurdles you faced in getting the title approved?

Verifying a title and declaring it took 7 months with continuous rounds of the court since I did not go through an advocate which would cost me handsome amount of money. I was unable to get the title in two attempts which lasted two and a half months each. I got lucky the third time around and was given the first preference in this attempt. The RNI ( Registrar of Newspapers for India)  website allows one to check for the availability of the title, however it is not  foolproof and that resulted in the three repeated attempts. Declaration of the title is what followed the verification. 

Have you solely financed the project?

White Print is a personal venture and individually financed. There is no organization backing us. The initial expenses were borne by me. My family certainly helped me. 

Our revenue model includes subscription cost (Rs.30 per issue and Rs. 300 for all the 12 issues) and advertising revenue. In terms of the initial investment Rs. 80,000 (this includes printing, circulation, legal aspects (Sales Tax No) and other administrative expenses)

Who are the contributors of the  contents? Will you accept contributions  from the visually impaired also?

We are a small team of 5-6 friends all belonging to the media background who double up as writers for the magazine. Apart from that we also have columnists and freelancers who are willing to contribute content for the magazine without being compensated monetarily for it. 

There is a section specially dedicated to the readers of White Print. They are welcome to contribute poems, articles, opinion pieces or anything else that interests them in this section. 

 This project has to be financially feasible....what are your  plans?

Well, as mentioned, advertising revenue for us is  most crucial. Braille advertising is something that brands have not done in India since there was no Braille publication to do so. This makes it a step forward in the field of advertising too.

We have approached many companies to advertise with us and Raymond was the first one to be  a part of White Print. The first issue of the magazine has content sponsored by the company in the fashion and lifestyle section. It includes  information about their Spring Summer Collection'13.

We hope other companies also take a step towards this direction and reach out to this community through our venture. 

What were the other difficulties you had to face before White Print saw daylight?

Challenges began from the very first day when I decided to take the project forward. Being a 24 year-  old, it was a tough decision to quit a job and take a risk since this was something that was not  tried before in the country.  Not having disclosed my idea to many, a lot of people would question and wonder why I was at home for almost a year. I unveiled the idea to everyone only after I received the approval of the title from RNI. 

The magazine , apart from being a boon to the impaired  will also be a sure -fire hit with those partially impaired... what is the feedback you are getting?

                                                                                                                                                           

The feedback has been overwhelming. The community is excited, eager and extremely delighted about finally having a magazine to read in their leisure time. A major aspect that has been acknowledged and  appreciated by most is the fact that White Print is not a charity venture. The community is tired of being sympathized with and do not ask for it any longer.

The girl who bowled over the Jats….Kristina Akheeva

The girl who bowled over the Jats….Kristina Akheeva

Part Russian and part Tajik, Kristina Akheeva was  born in Russia and migrated to Australia when she was 7. After high school she moved to Melbourne  where she took up acting classes. Very soon she caught the attention of a lot of  Australian photographers bagging regular modeling assignments. This was followed by a 3-month modeling contract in Singapore. An avid traveller she spent the next 5 years travelling and successfully modeling in China, Philippines,Singapore,Korea, Thailand and India.2010 saw her bag some prestigious assignments in India.Her desire for acting stronger than ever she returned to India in 2012 :her persistence paid off when she bagged the lead opposite Sunny Deol in JYPD2. She had seen Jat Yamla Pagala Deewana but not even in her wildest dreams did she imagine she would be acting in the sequel!

Tell us a little about your background  and your qualifications

I was born in Khabarovsk, Russia. At age seven I moved to Australia. From a young age I was interested in dance and drama. I did all kinds of different dance styles as a kid, focusing mostly on Ballroom dancing and involved myself in theatre productions at school and outside. I knew from a young age that I wanted to act. When I finished school I enrolled in some acting classes and started modeling. The modeling took me all over the world which eventually led me to India. 

How did you develop an interest in Indian culture?

The first time I came to India was in 2007. I was on a three month backpacking trip, of which I spent one month travelling around India. It was a huge eye -opener for me, the diversity and all the different aspects that makes this country so intriguing. I returned  in 2010, this time on a one year modeling contract. This time spent, really helped me to learn more about the culture and develop an appreciation for Hindi cinema.

How did you bag Yamla Pagla....?

I was asked to come for an audition via my agency. I had to learn 4 Hindi scenes and do a dance audition as well. They were auditioning for 4 months so I felt very blessed to be the one given such an opportunity. Waiting to hear back was probably one of the most nerve wracking and exciting moments of my life.

What was it like working for the famous Deols?               

I really enjoyed working with them, such down to earth kind hearted people. Dharam Ji was like a mentor throughout the shoot of the film. Extremely supportive and full of stories from his years of   being in the film industry. We had some good times on the sets. 

Did you undergo training in diction & dance?

                                                                                       

I had a Hindi teacher with whom I worked on my audition scenes, after that there was no time. Filming started straight away. Jasvinder Bath, the writer of the film used to spend time with me going over dialogues making sure my pronunciation was correct. Also there was no time for dance training. Thankfully my past dance experience helped me to pick up the dance moves easily and quickly.

This is your debut film....can you recall any interesting anecdotes?

In the title track song Bobby had to open a champagne bottle. For some reason he couldn't get it open and we had to take several takes. Eventually the cork popped and sprayed me right in the face. They were shooting this in slow motion so its quite hilarious watching it back. 

What are your upcoming assignments in films/ modelling?

Currently  talks are on for a couple of films. I would  like to do something very different to YPD2 for my next. Maybe a romantic film or a thriller. I would like to be experimental with my roles. So I am  happy to take time choosing my next project.

Which Indian actors inspire and impress you?

 Kareena Kapoor and Vidya Balan are two of my favourites. Both extremely talented with an interesting body of work. 

What are your other interests?

I have always been into natural remedies and medicine. After school I actually enrolled to start a bachelor of health science - naturopathy. One week before starting the degree I dropped out to focus on acting instead. Now it's more of a hobby. I  am  always  making some kind of natural face and hair packs and use different types of herbs to make sure I am  in good health . Back in Australia I have many books in this topic as well.

*****

Charu Shankar a trained dancer, musician and an actress began her television career as the host of the shows, The Big Fat Indian Wedding and Routes on NDTV Good Times. She has featured in various TV commercials like Vatika, Metro shoes, Fortune oil, Vodafone and also  in a music video directed by Imtiaz Ali. Her movie credits include cameo roles in Wes Anderson's “The Darjeeling Limited” and Mira Nair's “Reluctant Fundamentalist”. She has also choreographed in movies like 'Jalpari' by Nila Madhab Panda and 'Listen Amaya' by Geeta Singh. As a director of Aquamarine Productions, Charu pursues her passion for theater by creating and organizing theater workshops and productions for emerging artists in the contemporary arts.  She is also a certified Jukari instructor for Reebok, India. Malikaa is based on the Indu Sundaresan's best selling novel, 'The Twentieth Wife'. Charu Shankar and Karanvir Sharma will play the lead roles of Mehrunisa and Salim respectively in the legendary Mughal tale which goes on air in August.

In which dance form have you trained?

 I have been dancing since I can remember! As a little girl, I spent hours day-dreaming and dancing to my own tunes. Both my alma maters- Modern School and  Lady Shri Ram College, encouraged my passion for dance and dramatics, and I took every opportunity they presented to perform on stage. Both institutions laid heavy emphasis on creative dance and improvised dramatics, rather than teaching stringent classical forms, and encouraged me to find my own voice, my own movement- its the kind of training that I hold very close to my heart.

In 2001, I joined the Danceworx Performing Arts Academy as a Repertoire member, and learnt Jazz and Contemporary Dance under Ashley Lobo. During my association with Danceworx, I had many opportunities to further explore my creativity .
I also had a chance to work in dramatics and musical theater with stalwarts like the Pulinkala's of Delhi Music Theatre, Dilip Shankar, Rashid Ansari, Roysten Abel, Adil Hussein, Tina Johnson, Vivek Mansukhani- all of whom helped me to develop my language of movement and dramatics.

 TV host, ad films, films  & now Malikaa--- what  were  your experiences?
As a TV host, you are essentially not 'acting'- you are communicating an experience that you are having at that moment- whether you are talking about a beautiful place that you are in, or a fabulous meal that you are tasting, it is YOU and how you feel- its personal, and you are yourself. 

When you are acting, whether its for ads, films or drama- you take on a character, and you speak in that persons voice, hear that characters thoughts in your head, dress like them... Both are completely different, and I am very grateful that I have had the opportunity to enjoy both sides!

Tell us about Malikaa….
Malikaa is a very special project to me. Around   2 years ago, my Book Club picked The Twentieth Wife as our monthly read, and I loved the book! I remember we all had a long discussion about it (We are all literature students from LSR, and there's nothing more exciting than finding a good book to discuss over endless cups of hot coffee on a winter evening in Delhi) and at that time, we all hoped that someone would make a film about it. In fact we all made a list of probable actresses who would do justice to the character of Mehrunissa- I never thought then that the opportunity would actually come to me. So when in May this year, I got an audition call from EPIC for Mehrunissa, you can imagine my excitement! And to work with a channel which is so different from the other channels I couldn’t ask for more. It has been a dream come true! 

 What were the roles   in Darjeeling Limited & Reluctant  Fundamentalist?

In Darjeeling Limited, I played the stewardist on the train The Bengal Express, in which the 3 brothers (played by Owen Wilson, Adrian Brody & Jason Schwatzman) and my intervention in the last scene marks the end of their travel story in India, and hints at possible new beginnings. In The Reluctant Fundamentalist, I play the lovely girl at the wedding, who is pointed out in the story as a possible alliance for Changez (played by Rizwan Ahmed) in his hometown by his parents (played by Shabana Azmi & Om Puri). Though both parts were relatively small roles, they brought an opportunity to experience working on two large Hollywood productions, and to be able to watch stalwarts of acting at work! I learnt so much just by observing how these actors prepared and delivered memorable performances. I'm also very grateful that I got much appreciation from both directors (Wes Anderson & Mira Nair) for my work, and both of them have voiced their confidence in my abilities as an actor. 

 Working with Anderson & Mira--- any interesting anecdotes?
 Both Wes Anderson and Mira Nair are tremendously talented and creative directors, and give a lot of freedom to the actors on the set. I was initially a little nervous working with them both- since both of them are such big names in the industry. 

Wes Anderson puts a lot of thought into the tiniest detail- I remember there was a half hour long discussion on the exact size and colour of my bindi, because he wanted it to fit in perfectly with the colour scheme of his set! He noticed small gestures and the movement of my eyes while we were taking the shot, and appreciated an extra look that I added on an impulse- even I hadn't noticed that I had done that! 

Mira Nair is very, very warm! She is a director who inspires actors to find their characters, rather than simply directing them. On her set, I never saw her succumbing to the usual pressures of film-making- she always had a smile on her lips, and was always encouraging the cast and the crew to find the perfect take!

How did Malikaa happen?
Malikaa was, in fact, offered to me because the producers of the show happened to watch a preview of Reluctant Fundamentalist! They saw me in the film, and spoke to Mira Nair, who was present at the preview, and I  very lucky that she expressed her full confidence in my abilities as an actor. I could not have asked for a better recommendation .  Although I was skeptical initially, as I have not really played character from period dramas earlier; however when I met the team from EPIC, I was enthralled by their sheer enthusiasm and vision. The role for Mehrunissa was challenging, yet so very real and relatable. 

Does Doing All the Right Things Really Get Women Ahead?

Does Doing All the Right Things Really Get Women Ahead?

Catalyst's longitudinal project, The Promise of Future Leadership: A Research Program on Highly Talented Employees in the Pipeline, develops timely reports on the retention and advancement of high potential women and men. The project surveys graduates of leading business schools in the United States, Canada, Europe, and Asia, with the intent of assessing their career values, goals, and expectations, the developmental opportunities afforded them, and their strategies for managing work and family life.

The fourth report ( Nancy M Carter & Christine Silva)The Myth of the Ideal Worker: Does Doing All the Right Things Really Get Women Ahead?, tackles persistent myths about the gender gap. Career advancement strategies used by women and men were compared to determine if using the same strategies ultimately leads to the same career outcomes.

Common wisdom about advancing in the workplace is straightforward: let your boss know you are ready for that challenging assignment. Make your career ambitions and willingness to put in the requisite time and effort clear. Do not just build a relationship with your boss; make sure to build one with your boss’ boss as well.

Sounds like good advice. But according to Catalyst’s latest report, The Myth of the Ideal Worker:  Does Doing All the Right Things Really Get Women Ahead?, men benefit from these strategies far more than women.

In fact, this report, which studied high potentials in the executive pipeline, reveals that while “doing all the right things” to get ahead works well for men, being proactive did not provide as great an advantage for women.

Regardless of chosen career strategy, the study shows that men outpace women in rate of advancement and compensation growth—starting with a $4,600 gap in their first post-MBA jobs which widens to $31,258 mid-career.

The same strategies do not work equally well for men and women. Women must adopt strategies different from their male colleagues’ to advance their careers. When women were proactive in making their achievements known, they advanced further, increased their compensation growth, and were more satisfied with their careers. They also advanced further when they proactively networked with influential others. Making their achievements known did not impact men’s careers. Rather, gaining access to influential others also helped men advance, and indicating a willingness to work long hours and conducting external scans for other opportunities helped men increase their salaries.

Catalyst suggests that corporate leaders ask: To what extent are employees in our organizations advanced and compensated based on strategic career tactics versus skills and performance? How are people being coached to get ahead? Are assumptions being made that what worked for men in the past will work for women? And when women and men apply the same career strategies, are they being reacted to and evaluated differently?

Deepali Bagati, , Senior Advisor, Catalyst.is engaged in developing knowledge products on women's status in India. Previously, as a Catalyst employee, she was responsible for overseeing research on workplace challenges for women of color and developing solutions for building more effective and inclusive work environments. Here she answers a few pertinent questions.

 Diplomacy, tact ,efficiency and effective PR? How much do these factors help women?

All of the above help women (and men), but our study shows that regardless of the career strategy adopted, women lagged men in advancement. That is, even when women do all the same things as men, their careers continue to lag. The larger message here is for leaders and individuals to recognize that the gender gap does not exist solely because of choices women are making. The study reveals it is not about what women do or do not do. It is about barriers, challenges, and unconscious biases in the workplace. And it is in the best interest of organizations to develop talent – regardless of gender.

 Yes, “women do ask" but they don’t get what they want viz-a-viz men....Is it because they are seen more as home-makers than intelligent career-oriented women?

Catalyst research has found that gender stereotypes are widely prevalent in the workplaces across the world. In India, women play a significant role as a home-maker, mother, daughter-in-law, daughter, wife etc. Men bring their gender stereotypes into the workplace, and their unconscious biases and stereotypes about women’s ability, ambition, and leadership influence their thinking and interactions—as leaders, managers, peers, and colleagues. That creates a challenging workplace for women, and organizations do not benefit from all talent.     

 Career strategy without efficiency and skill is certainly not a way to forge ahead...then why are women discriminated against?

In an ideal workplace, meritocracy will ensure the best candidate advances—regardless of gender and other dimensions of diversity. However, numbers tells us a different story. In India, women comprise 3% to 6% of senior management, whereas 23% women are employed by organisations. Catalyst research tells us that women experience certain barriers to advancement that are not experienced by men (lack of access to informal networks, lack of role models, and gender based stereotypes). Our recent research on Mentoring Insufficient for Advancement further confirms that men have mentors who act as sponsors and advocates for them—thereby helping with career advancement.

What changes can women make in their career strategy?

It is in the best interest of organizations to develop talent – regardless of gender. The business case for gender diversity is pretty clear. There are strategies that women can adopt, but the larger message for leaders and individuals is to recognize that the gender gap does not exist solely  because of choices women are making.

The study reveals it is not about what women do or don’t do. According to Catalyst research on sponsorship, high performers (women and men) can adopt the following:

•    Be reliable, collegial, perform above expectations

•    Become a ‘known entity’

•     Ask for and act on feedback

•     Craft an elevator speech and be ready to use it

•     Cultivate multiple sponsors, if possible specifically for women, cultivating relationships with influential others in the company and getting yourself and your work known/visible (so influential others will notice you) are important strategies.

How different /same are problems faced by women in the West?

According to Catalyst research on Leadership Gender Gap in India Inc., the following advancement barriers are faced by women relatively more than men, across regions and industries:·        

* Lack of key relationships

* Lack of role models.

* In India, we have additional challenges due to the cultural stereotypes regarding women’s roles and abilities. 

According to Ms. Ilene H. Lang, President & CEO, Catalyst.   “Just as individuals need to manage their careers effectively or risk lagging behind their peers, organizations must learn how to attract, develop, and retain high-potential women—or risk losing out to their competitors.”

• Women seem to be paid for proven performance—women who changed jobs two or more times post-MBA earned $53,472 less than women who rose through the ranks at their first job.

• In contrast, men seem to be paid for potential—men who had moved on from their first post-MBA job earned $13,743 more than those who stayed with their first employer.

• Across all career profiles, men were more likely to reach senior executive/CEO positions than women; in the most proactive category, 21 per cent of men advanced to leadership compared with 11 per cent of women.

The report effectively explodes persistent gender gap myths that continue to hold women back:

• Women DO “ask,” but asking does not close the gender pay or position gap. After their first post-MBA jobs, there were no gender differences in whether or not high potentials negotiated for greater compensation (63% of women vs. 54% of men) or for a higher position when beginning their current job (19% of women vs. 17% of men). Even though these women negotiate for more when they change jobs, our research shows that women’s compensation growth was faster when they remained with the same employer, where they had proven performance, than when they started with a new employer, who paid based on potential.

• Women are not seeking out slower career tracks. According to the study findings, women are less satisfied than men with their career growth. If women were intentionally seeking slower tracks, we would expect them to be as satisfied as men despite their slower advancement.

“This study busts the myth that ‘Women don't ask.’ In fact, they do! But it doesn't get them very far. Men, by contrast, don't have to ask. What's wrong with this picture?” said  Lang,

According to the report, which studied commonly used career strategies, the strategies adopted by high-potential women had little bearing on the rate at which they advanced to leadership. Conversely, men who applied the most proactive career strategies advanced further than other men.

Catalyst's longitudinal project, The Promise of Future Leadership: A Research Program on Highly Talented Employees in the Pipeline, develops timely reports on the retention and advancement of high potential women and men. The project surveys graduates of leading business schools in the United States, Canada, Europe, and Asia, with the intent of assessing their career values, goals, and expectations, the developmental opportunities afforded them, and their strategies for managing work and family life. The reports highlight the differences in women's and men's career experiences and satisfaction; some feature perspectives from global leaders and other experts.

The fourth report, The Myth of the Ideal Worker: Does Doing All the Right Things Really Get Women Ahead?, tackles persistent myths about the gender gap. Career advancement strategies used by women and men were compared to determine if using the same strategies ultimately leads to the same career outcomes. Findings revealed that:

* Men benefited more from adopting proactive strategies.

* When women did all the things they have been told will help them get ahead—using the same tactics as men—they still advanced less than their male counterparts and had slower pay growth.

The report includes a series of questions for the reader to reflect upon about why disparities in career advancement may exist and persist. The goal is to help identify opportunities for effecting change in your career and organization. 

Founded in 1962, Catalyst is the leading nonprofit membership organization expanding opportunities for women and business. With offices in the United States, Canada, Europe, and India, and more than 500 preeminent corporations as members, Catalyst is the trusted resource for research, information, and advice about

Arty Shoes

Karan Vohra's Arty Shoes

Shoes, they say, maketh a man! A shining product of Springdales School, Delhi , 20-year-old Karan Vohra is a student of Computer Science Engineering from IP University which carved and shaped his mind and explored his surroundings embarking with an eye of an artist.This young man though expresses his ideas in “wearable art projects” such as footwear. History is testimonial to the use of art in shoe-design, varying significantly across cultures. Be it the Chinese who would bind a woman’s feet to curb her freedom, or Lady Gaga who routinely strikes a statement in her nine inch pairs.

 An interesting tete-a-tete with the creative designer:

Computer Science Engineering to Shoe Art….what inspired the transition?

I did not give up on art even as I enrolled into a 4 year engineering degree. Shoe art was a consequence of having an open mind, ready to try out different things, to experiment. I ventured into various forms of art such as mural painting, shoes, furniture etc for these very mediums were essential for what I wanted to express.

More than an expression of my musings, art has been my window to the world that entrusts me with the freedom to construct it, the way I’d like it. My choice of mediums depends on the strength and opacity of the feeling or situation that I am trying to express, consciously or otherwise. My canvas continuously transforms from paper to wood to walls and more recently to shoes.

I experiment with different schools, for instance, constructivism has been an inspiration for my “wearable art project” while surrealism and impressionism has inspired some of the portraits I have painted.

Throughout the range of works, the stimulus for my works has been a combination of theatrics, poetry and melody. In fact, sometimes my paintings are completely inspired from the poems, doodles and scribbling I have penned hastily.

The tunnel (shoes) that connects one to mother earth and its spiritual language remains an indispensable medium to celebrate diversity of culture and mankind through art. At the same time, it remains a concern to make art palatable and affordable in a world scattered with images and visuals grappling for attention. In times where controversy seems like an essential ingredient for art to ‘sell’, “the

wearable art project” combats these constructs exposing the public to art that also serves a function in their lives.

What is the inspiration behind your wearable art projects?

Having grown up around different forms of art — the sensual form of renaissance, impressionism, constructivism, and the like — my “wearable art” draws inspiration from two distinct schools, sensualism and abstractism. The process to making every pair is a journey — a mutual exchange of thoughts that enables the artist to delve into the sanctum of the wearer and the subject, the essence of customization.

Hence, the use of objects/characters/personalities that a wearer consciously interacts with — from revolutionists like Che Guvera, to music sensations — Madonna, Britney Spears, Pink Floyd and cartoon characters like ‘The Simpsons’’. Later, the personalities of the subjects are fused with symbols/lyrics/words that interact with the wearer, even on a subconscious level.

3. What exactly are you trying to express through shoe  art?

Shoes connect us to the greatest powerhouse there is- Earth. Art on shoes serves as a beautiful metaphor, when we think along the lines of ‘staying grounded’, ‘look down  before you leap’, ‘Put one foot in front of the other’, ‘Stand on your own two feet.’ etc.  The artwork I do on shoes is a reflection of the things that positively affect the psyche of the individuals I design the shoes for. I am simply trying to bring people’s passions in perspective, in view.

4. Have you researched Shoe Design down the ages?

I have noticed that shoes or rather footwear varies in varying cultures. It changes over time and reflects the cultural climate of the time

in which it is most used. A change in footwear indicates a change in the mentality of people. For instance the Chinese had women wear shoes that were so tight that they would alter the very shape of their feet, hence restricting movement which says a lot about misogyny and gender bias. Lady Gaga represents a different cultural shift with her 9 inch heels.

5.  What kind of a market do you visualise for wearable art?

Everyone and anyone who loves art forms part of the market I visualise, for wearable art is after all 'ART'. Fashionistas would also form part of this market. The uniting factor among all my customers is that they want motifs of passion to be a part of their everyday life. It just so happens that they have chosen my shoes to fulfil this desire of theirs.


5. How important is customisation ….? Do most of your clients  opt for individual customisation?

Customisation is very important to people. Most of my clients opt for customisation. It is important to the very concept of wearable art project. No two shoes are intended to be the same just as no two people were made exactly the same by the creator. Customisation allows me to not only understand art but also the people who buy this art.

The Sky is the Limit....

Ashok Korgaonkar...The Sky is the Limit !

The future belongs to those who believe in the beauty of their dreams. – Eleanor Roosevelt

As young kids we nurture many dreams—some want to be firemen, pilots,actors, doctors. The

list is endless.Living in a tiny one-room flat in a congested  city one often dreams of living

in a spacious  residential complex  nestling in the clouds.As a young man with a lower middle

class upbringing in a Worli chawl in the early 60s and 70s, Ashok Korgaonkar  would gaze

 wistfully at the city’s changing skyline, fascinated with the new skyscrapers which had begun to

mushroom. Perhaps  even dreaming of living in  them, which spurred him to  study architecture

at  the Rachana  Sansad Academy of Architecture. Despite opposition from conservative family

members, he stood his ground, pursuing his course  and paying his fees  with small odd jobs.

Today, he is a celebrity—the Mumbai-born, Dubai-based architect is the founder-MD of

Archgroup Consultants, and has entered the Guinness Book of Records as the creator of the

world’s tallest hotel---the JW Marriott Marquis in Dubai.

A candid tete-a-tete with the man who made his dreams come true……..

Way back in the 60s &70’s it must have been tough to raise money for your fees. How did you manage?

Yes, those were difficult times.. one will agree that a person will always value his achievements and success when it is earned the hard way. For the first year of my academic studies I had to depend on my parents. By the time I completed my first year, I was  well versed with drafting, tracing and model making. I started taking small assignments which used to cover my fees and other expenses to some extent. I also used to help many of my senior students to complete there sessional work.

After my second year of architecture,with increased self confidence due to the model making works, I started taking up interior fit- out contracts. All these things had to be managed along with my regular studies and my sessional works.Inspite of this, I always made it to the top 5 ,completed my architecture in first class and ranked second in Maharashtra in the year 1980.

Did you face a lot of opposition from the family?

I was the first person in my family to opt for architectural studies—a  profession which  in those days was not affordable for a member from a lower income group family .We were barely able to make ends meet. All my other siblings having opted for the traditional science and engineering  I faced some hurdles  but I  managed to persuade my folks .

In the 80s when you moved to Dubai, what was the scenario?

After completing architecture,  me and my wife Arti(who was my classmate), wasted no time and took up a job in Bahrain. First and foremost aim for working in  the Gulf was to immediately start earning after we started our married life. For someone who had lived in the  chawls of Mumbai,the Gulf was a pleasant surprise. It was a completely different lifestyle --the strikingly obvious experience was neat and clean roads, disciplined traffic, and most importantly, law abiding citizens.

During 80’s even Dubai was not developed as much as 20 per cent of what it is today. It was a city with a population of approximately 1 million; it was not a spread out city but had only few commercial pockets being targeted for development. Those were the days when day to day life was very easy in terms of moving around the city, less traffic, quiet  communities etc which is contrary to what it is today with people from around 190 countries and a population of 7 million .

How about developmental changes over the last few decades?

I would say it was developing at a reasonable rate--- nothing like the mad rush somewhere in 2001 when the city saw rapid progress. Post 2001 to 2008 was a complete turn –around: the desert was changed to a oasis,a model city which every developing country in the world has appreciated. (The United States Post even went to an extent to say that what Dubai has achieved in the last 10 years,  New York city took 150 years, which in itself put Dubai on the world map of being one of the fastest developing cities). His Highness Sheikh Mohamed said “Recession gave us the time to take a breather, stop and analyze” Dubai invested heavily in developing the infrastructure when the property prices hit rock bottom and in the last few years of recession Dubai has developed world class flyovers, metro and airports etc.I have seen one thing consistently happening in Dubai for last 31 years and that is CHANGE… in lifestyle, in communities and, at professional levels.

The initial years must have been difficult... Did you & your wife work for architects there and what kind of projects did you handle?

We started our working careers in Bahrain moving to Dubai 2 years later in 1982,where we worked in a consultancy firm called as Al Wasl Al Jadeed Consultants for 10 years from 1982 till 1992.During those 10 years I worked on many interesting projects such as Interstate Taxi and Bus terminus, quite a few Mosques which was again entirely a different experience,large scale community parks,and Dubai cricket stadium a project which was shelved half way through due to some unknown reasons.Along with these projects I also worked  on community villas and residential and commercial buildings

Designing for the Emirates must have been a major turning point...Do tell us about your experiences.

Way back in 1992 when we started our professional practice in Dubai: we had designed and completed few projects though, not on a very large scale. Then we received an invitation to participate in a design competition organized by none other than Emirates Airlines for one of their projects-- a Desert Resort

Unfortunately, we did not bag  the project. But, the top management of Emirates had noticed our talent and ability to create designs extraordinarily. That’s how we bagged the first ever project with Emirates in 1999--the Al Aqaa Beach Resort, a 200 -room five- star hotel. This was the stepping stone to our success and with no looking back we embarked on our journey.

Since then till 2005 we completed many prestigious projects for Emirates Airlines and the Chairman of Emirates Airlines His Highness Sheikh Ahmed Bin Saeed Al Maktoum. To name the ones which has earned wide recognition are Emirates Head-quarters, Grosvenor House Business Hotel and apartments, The West Inn, Dubai (Five star Hotel),Green Lakes Towers etc.

 Subsequently you also designed offices, malls and hotels... how did the JW

 project happen?

Emirates Airlines wanted a hotel that would  reflect the soaring ambitions of the airline and the city, by creating an iconic tall structure with a futuristic design . When they decided to develop Marriott Marquis Hotel, without any second thoughts, work was awarded to us and this time there was no competition or any bidding from other consultants.

What are the high points and what was the biggest challenge you faced

 while designing the JW?

The form of the towers is inspired by the trunk of the Date Palm, a symbol highly evocative of the Arabian culture and heritage.  Building is designed in the style of Expressionist Architecture. The project experienced shortage of concrete, manpower resources and scarcity of skilled labor but with collaborative approach of the stakeholders,we were able to minimize the impact. Due to recession there was a Cap for cash flow per month for the project.The contractors had to complete the work in the stipulated time with a limited billing per month. This also required resource management which was managed by the Archgroup Project Management and design team.

The Guinness mention  is undoubtedly a major honor...what do you feel about it?

To be honored with such unparalleled distinction is truly satisfying: a special mention of  my team which worked tirelessly. This is now 27^thtallest tower in world and a Guinness record for the tallest hotel in the world, it can’t get any bigger than this

What are your major upcoming projects in UAE(specifically Dubai)?

Currently we have a mixed bag of projects ranging from commercial, hotels, and villas, residential, educational and industrial developments. Few to name them are Headquarter Tower for Landmark group (Owner: Mickey Jagtiani), Hotel Extension for Le Meridian, Gate community villas for Dubai Silicon oasis, Aviation College for Emirates, Flight Training Facility for Emirates and residential towers for a private client.

We started our operations in India  in Nov. 2008 and now we have offices in Mumbai and Pune. We have completed budget hotels in Pune,Banglore,and Delhi and currently working on budget hotels in Chennai and Goa for Premier Inn Hotels ,UK based group.

Finally....Mumbai's skyline (which fuelled your dreams) in the 70s and 80s is a far cry from what you see today? Do you feel that development has been haphazard? What according to you can alleviate the city's housing woes?

Mumbai is a rapidly growing city and demand for space is increasing day by day but the scope for horizontal growth of city remains restricted  as it is an island city. There is obviously no other option but  to grow vertically. High rise buildings are needed to meet demand but along with that we also require supporting infrastructure for smooth functioning of these high rise developments. I see many high rise buildings for middle income group  spaced at merely 6mts distance from each other, depriving habitants of  the very basic necessities such as natural light and ventilation. Water for many high rises is supplied by alternative source of water such as well water from tankers. This shows our infrastructure is still lacking  basic utilities such as water and power and is way behind what is required actually.Post construction proper façade maintenance is a must  else they become obvious eyesores.