The OG Women in Design: Shimul Javeri Kadri firmly believes the future lies in dismantling stereotypes around gender as a non-binary social construct

For Shimul Javeri Kadri – the visionary co-founder of SJK Architects, inspiration comes not from singular role models but from the resilience, humanity, and outstanding talent she witnesses in various individuals. This profound philosophy has guided her journey of creating architecture that stirs the soul. Her designs go beyond answering briefs – they evoke emotion and poetic depth by tapping into India’s diverse cultural roots. From the contemporary courtyard at Nirvana Films Studio to reviving dying crafts like pottery for hotels, Shimul’s work is an ode to our rich heritage.

Who were your biggest inspirations or role models? How did they influence or motivate you?

I would say that there’s never been a single person who has been my role model or mentor. Different aspects of human beings inspire me — resilience, humanity, and, of course, outstanding talent. But to be able to transform talent into something that society can enjoy and use is generally a story of engagement, negotiation, resilience, and empathy. And I think seeing these characteristics in human beings truly inspires me. So, various people at various moments become my inspiration.

What accomplishments from your career so far are you most proud of? What projects, designs, or impacts give you the greatest sense of fulfilment and pride?

Projects that go well beyond answering the brief, projects that evoke emotion and poetry — those are the ones that I feel the most enjoyment, pride, and fulfilment in.

I think architecture allows us to solve problems, but when we’re able to solve those problems with a much deeper insight and a deeper connection — to the elements of nature, the powers that be, our spiritual selves — that’s when we’re actually creating an architecture that is lasting, connected, and stirs the soul of human beings. And I think that’s what I look for, enjoy and believe is the lasting legacy a good architect can provide.

How have you seen the landscape for women in architecture/design change over the course of your career thus far? What shifts are you most encouraged by or proud to see?

I’d say it’s the best time yet to be a woman in the world. Certainly, there is more access and more freedom than there has ever been in recorded mainstream history. I’m sure there are non-mainstream areas where there has been far more equality among men and women.

But I think it’s a good time to be an educated middle or upper-class woman anywhere in the world, and I think, therefore, we have seen a lot of good women architects burgeoning through the globe. We’ve seen some excellent work coming out of the developed world.

In India, I believe the situation has improved vastly, but it is still a bit bleak. Where I see the maximum change is that there are now practices where men and women are practising together, and the women are really holding their own in those practices, sometimes really leading the charge. But I still haven’t seen as many single women practices or women-led practices with, you know, women as the leaders. That’s a very bleak landscape as of now. I’m hoping that this will change over time.

I think one of the biggest changes in the way gender is being viewed is the idea of gender as a continuum, the idea that it is non-binary. I think this will lead to a lot of understanding of the possibility that gender is a social construct and not a biological given — and social constructs can change.

My hope is that more and more people will understand that it is the stereotyping and social ideologies that really ails women, and that this understanding will help change the stature of women across the world.

Architectural tastes and sensibilities have really evolved in India over recent decades. What are some of the most striking changes you’ve witnessed or been a part of when it comes to design styles and sensibilities in this cultural context?

I would say that metropolitan cities are clearly seeing big shifts. There is a growing understanding that there is a cultural idiom, a rootedness to India; that its climate, crafts, and culture can be used as a baseline and evolved into a very contemporary design culture.

That, to me, is one of the most positive trends I see, and I see it to a large extent in fashion, art, as well as cinema. I think OTT cinema has permitted a real expansion of ideas on cultural identity. And I think it exists in architecture and design as well.

As people develop more pride in the possibilities of a contemporary Indian aesthetic, we will see it across different parts of India. I hope that this can lead to a celebration of the diversity of craft and culture inherent within the country.

As our projects span across the country, we have attempted to create this idiom through an architectural interpretation of the cultural history of each area we work in. The choice of ‘what is culture’ in a corporate metropolitan setting or a hotel for religious tourism becomes an intuitive curation from popular mythology — leading to a contemporary language of architecture that is more easily understood and produced in today’s context. This is true of the Nirvana Films Studio in Bengaluru, which creates a contemporary courtyard through a staircase, or the Museum of Jain Heritage in Koba, Gujarat, which is a silent white building that strives to be a community centre, much like the temples of the religion.

Sometimes, we use existing crafted products and introduce them into the contemporary context of our architecture. For instance, rather than opting for mass-produced, standardised, readily available industrial tiles, we collaborated with 26 local potter families from 12 nearby villages to handcraft each of the 80,000 clay tiles needed for the Hotel in Bodh Gaya. This collaboration simultaneously created an earthy, culturally rooted aesthetic while generating employment for these families. Similarly, for the Dasavatara Hotel in Tirupati, we incorporated Dhokra metal craft handles while designing the doors for public spaces — helping revive the dying traditional craft and empowering the craftspersons with tools to adapt their craft in contemporary formats.

What more work needs to be done when it comes to opportunities or representation for women in your field? What advice would you give to young women hoping to pursue similar careers?

To young women practising architecture, I’d say that it’s a long and lonely road, and one of the most important and interesting ways for younger women to enter and sustain themselves in this profession is to collaborate. To find others, team up, and create meaningful collaborations — which is really how architecture gets designed and executed.

I would also say that there is a much more level playing field out there today with social media. So, it’s truly important to communicate.

Another piece of advice would be to empower other women architects. This will happen when women give other women opportunities and become both, the clients and the architects.

With your impressive body of work and so much already contributed to the field, what personal projects or passions would you still like to explore?

I don’t think there is a particular kind of project that I’m looking for. I think the legacy that I’d like to leave behind is of having created an architecture that is actually humane, sensitive, and culturally appropriate — and that it is possible to build such architecture in metropolises as well as smaller parts of the country.

This, I think, should be the legacy of SJK architects.