Over cups of coffee and bursts of laughter, Monish takes us on a journey into his world (CoolAnt and transformative projects like the Pangolin Pavilion) —a world where design is both functional and poetic, a reflection of his commitment to innovation with heart.
Imagine standing in the sweltering heat of a paper factory in Bhadrachalam, Telangana, where the air ripples with oppressive warmth. In the heart of this industrial maze, Monish Siripurapu’s latest creation—a cooling installation resembling a cacti—promises relief. This isn’t just a technical solution; it’s a symbol of his design philosophy: blending sustainability, technology, and compassion.
“We are working on an installation for ITC,” Monish begins, describing the outdoor cooling structure designed for one of ITC’s largest paper manufacturing plant. “This is a pilot project that could potentially redefine how we address heat stress in industrial environments.” The installation, refined tenfold from a previous version in Ahmedabad, is not just about technology but about creating zones of comfort for workers enduring extreme conditions. “It’s about health and well-being,” he adds.
For Monish, this project isn’t merely about technology. It’s deeply personal. He recalls his first experience with extreme industrial heat during a visit to a factory in Noida. “I thought the client was exaggerating about the heat stress,” he admits with a wry smile. “But when I stood just 15 metres away from a machine blowing hot air, I felt it—a searing, suffocating wave of heat. It wasn’t just uncomfortable; it was dangerous.” That moment stayed with him, shaping his commitment to creating humane industrial environments.
THE PHILOSOPHY OF IMPERFECTION: RAW YET REFINED
“We’ve experimented with construction debris, gabion walls, and broken tiles,” explains Monish, citing his work for Godrej Conscious Collective as an example of cost-effective, sustainable design. “It’s raw and imperfect, but that’s the charm. Not everyone likes it initially, but when they see it in person, perceptions change.” The cost? “A small installation can start at `7–8 lakh, but scalability depends on the design and materials,” he notes pragmatically.
Monish’s installations often blend function with aesthetics. He shares how, in one embassy project, initial doubts about the raw design transformed into admiration upon completion. “It’s a mindset shift,” he reflects. His ability to combine sustainable practices with striking visuals has defined his unique approach.
GROWING UP CLOSE TO MANGO ORCHARDS
Raised amidst the mango orchards of Vijayawada, Monish’s connection to nature was nurtured from an early age. “We’d sleep under the stars on our terrace,” he recalls. “The cool breeze, the sounds of nature— those moments made me realise how soothing and necessary nature is for well-being.” His father, who ran a small offset printing business, emphasized resourcefulness, while his mother championed the value of education. These dual influences practicality and intellectual curiosity—laid the foundation for his design ethos.
His entry into architecture was serendipitous. “I hadn’t even prepared for the B.Arch entrance,” Monish laughs. “When I got an All-India Rank 35, I was ecstatic. None of us—not even my family—knew much about architecture, but it felt right.” That instinct has served him well, leading to projects that blend futuristic technology with traditional materials.
Moving to Delhi to study at SPA Delhi was a transformative experience—one that starkly contrasted with his childhood. “The pollution, the urban sprawl, the absence of greenery—it made me want to design spaces that brought nature back into cities,” he says.
TRADITION MEETS TECHNOLOGY: SIGNATURE PROJECTS
One such project is the Beehive, where he combined computational design with India’s pottery traditions. “I thought, why not use conical pots and terracotta, which are integral to our culture, to create something modern and functional?” Another standout is the Pangolin Pavilion, a terracotta structure inspired by one of the most
endangered species. “It was as much about raising awareness as it was about design,” says Monish.
At Anahat Farms, Monish’s ethos of sustainability took centre stage. “The client wanted to demolish an existing structure and start from scratch,” he explains. “But we proposed a solution that reused the materials, saving `35 lakh and reducing landfill waste. Every single tile we removed became part of a sculpture within the project.”
PLANTING THE SEEDS OF ANT STUDIO
The turning point for Monish’s practice came during his time in Barcelona, where the seeds of ANT Studio were planted. “I remember sitting with a friend near the JAUME metro station, brainstorming my thesis,” he recalls. “We were discussing how ants build their colonies, sculpting landscapes instinctively. That’s when the idea of robots emulating nature’s systems struck me.”
This idea became the foundation for ANT Studio—a name that pays homage to the small yet mighty insect that inspired his philosophy. The studio’s logo, an ant with a robotic arm, symbolises this ethos. “It was about blending the intuitive beauty of nature with the precision of technology,” explains Monish.
TRANSFORMING THE DESIGN PROCESS
For Monish, the conversation around tools and technology often misses the most critical point: that it’s not the tools that transform design, but the ideas behind them. “Everything starts with an idea or thought. People should pick the tools that will help them execute their ideas—not the other way around,” he says.
His approach is deeply rooted in understanding the essence of design before jumping into execution. “I’m not a good architect because I know how to use tools,” he explains. “I’m a good architect because I have ideas. I know what I want to create, and I’ll pick the tools that help me get there. Just learning software doesn’t make you a good architect.”
At ANT Studio, this philosophy is evident in how they operate. “We’ve cultivated a culture where we use the highest form of technology, but people also spend half their time on-site,” Monish says. “Even now, we’re a studio of about 30 people, but our workspace accommodates only 15. That’s because half the team is always on-site, hands-on, building what we design. They come back, refine the designs, and head back to execute them.”
Monish emphasises the importance of balance. “We are architects— we need to build. We are artists, so it has to be hands-on,” he adds.
BREAKING BARRIERS: SUSTAINABILITY AND AI
Yet, Monish is acutely aware of the barriers to sustainability in India. “The challenge isn’t technology; it’s mindset,” he says. “Design is a closed community. We need to share knowledge, create awareness, and make architecture relevant to the 99% who can’t afford it.” For Monish, the future of architecture lies in embracing AI and spatial intelligence. These technologies, he believes, will redefine how architects approach projects and help democratise design.
“Imagine AI agents that can handle the heavy lifting of site research,” says Monish, his voice brimming with excitement. “An AI could gather data on climate, material availability, topography, and even the flora and fauna of a site. It would compile actionable insights, giving architects a solid foundation for contextual and sustainable design.” But Monish’s vision extends beyond research. His idea of spatial intelligence integrates AI and IoT sensors to allow real-time interaction with spaces. “Picture this: standing on-site with augmented reality (AR) or virtual reality (VR) tools, you can visualise a building’s design in its final form, make adjustments on the spot, and skip the back-and-forth of traditional planning. You’d be designing in real-time, directly within the environment,” he explains.
For Monish, it’s not just about adopting tools; it’s about transforming mindsets. “These technologies can empower architects to create more fluidly and inclusively. The day we stop designing for just 1% of the population and start using these advancements to address the needs of the other 99%, that’s when architecture will truly be impactful.”
SHAPING A MOVEMENT
As our conversation winds down, Monish’s aspirations for ANT Studio come into focus. “I want us to be a practice that’s socially relevant, addressing issues of people and climate,” he says. Upcoming projects, though under wraps,
promise to push these boundaries further. And while his inspirations—Geoffrey Bawa, Antoni Gaudí, Santiago Calatrava— reflect his global outlook, Monish’s heart remains rooted in India, crafting designs that hug the ground, honour tradition, and embrace the future.
It’s a philosophy that resonates not just in his work but in his life. Whether sketching in a coffee shop, reminiscing about missed Messi matches in Barcelona, or advocating for open-source design, Monish Siripurapu embodies a rare blend of humility and ambition. In a world of rigid definitions, he remains fluid, much like the natural forms he so admires. And in doing so, he’s not just designing spaces—he’s shaping a movement.
QUICK TAKES
Where did you grow up?
“Vijayawada, surrounded by mango orchards and starry nights.”
What’s your educational background?
“Science—maths, physics, and chemistry—before pursuing architecture at SPA Delhi.”
Favourite materials to work with?
“Terracotta, bamboo, lime, and Indian stones.”
A book you’d gift a young architect?
“Zero to One by Peter Thiel.”
Favourite travel destination?
“Ladakh for its vast, untouched landscapes. Everyone should experience driving or biking through the mountains at least once in their life. It’s pure magic.”
Coffee shop or beach to relax?
“Coffee shop for sketching and ideation, but the beach is my escape for unwinding.”
Favourite football team?
“FC Barcelona. Messi’s my all-time favourite—he’s incredible.
Biggest regret?
“Not watching Messi play live during my time in Barcelona. I lived there during Messi’s peak years—2015 and 2016 but didn’t watch a single match. Now I look back and think, “What was I doing?!”
Your biggest inspiration in architecture?
“Geoffrey Bawa for his seamless integration of landscapes, Antoni Gaudí for his artistic vision, and Santiago Calatrava for his kinetic and structural genius.”
What’s your vision for the architecture community?
“To democratise design—make it accessible for the 99% who can’t afford architects. We need to break out of our closed bubbles.”
If not an architect, what would you have been?
“Probably an engineer or roboticist—I’ve always loved technology.”
Favourite childhood memory?
“Sleeping under the stars on our terrace, surrounded by nature. It taught me the beauty of simplicity.”
