The OG Women in Design: Sonali Rastogi celebrates identity over visual homogeneity

Shining a light on the trailblazing women who have redefined Indian design sensibilities, today we honor Sonali Rastogi – the visionary architect and co-founder of the award-winning firm Morphogenesis. For Sonali, her upbringing in a family of architects and education at esteemed institutions like SPA Delhi and AA London have been the ultimate mentors, shaping her perspective on architecture as a holistic process. She finds inspiration from diverse sources – her partner Manit Rastogi’s passion for sustainability, clients who taught her precision, and communities that influence her design thinking.

Under Sonali’s leadership, Morphogenesis has created exemplary buildings that consume 70% less energy than green rating benchmarks, without added costs. The firm’s SOUL philosophy – Sustainable, Optimized, Unique and Livable – underpins their pursuit of an “architecture of almost somewhere” that celebrates identity over visual homogeneity. Landmark projects like the Surat Diamond Bourse with its massive radiant cooling system, and Lodsi Community for Forest Essentials rooted in local materials and labor, exemplify Sonali’s vision. Her designs harmonize regional heritage with global aspirations, paving the way for a new Indian design idiom.

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

I don’t think I have a specific mentor/role model. I consider my upbringing, as I was raised in a family of architects, and then my education, as my mentor. I was educated at the School of Planning and Architecture, New Delhi, and further pursued my studies at the Architectural Association, London. A combination of the two has really, in my opinion, given me a perspective and a way of looking at the architecture and design profession as a process. And for me, there is no bigger mentor than that.

For certain specific aspects, I view my partner, Manit Rastogi, as a mentor, particularly in the realm of sustainability. This influence extends to all of Morphogenesis’ projects and shapes my design thinking. Additionally, I’ve come to see clients as mentors. One particular client taught me the importance of precision and thoroughness in all aspects related to engineering in architecture and other associated fields. Moreover, my community of professionals working on the Surat Diamond Bourse project has influenced me in the way they organise themselves and make decisions about design; I consider them mentors. As someone who thinks deeply about processes, I believe that anything impacting my design thinking process is a valuable mentorship experience for me.

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?

After we returned to India from London in 1996, I co-founded Morphogenesis with Manit Rastogi. Right at the beginning, my love of urbanism and culture, along with Manit’s passion for sustainability came to the fore in developing the direction of the work of the practice. Ever since then, we have successfully created exemplars that consume 70 percent less energy than established green rating benchmarks, without incurring additional cost. Optimisation of all resources is a prerequisite to our architecture today. Architecturally, we take a position of celebrating identity and diversity versus visual homogeneity. Over the years, we have developed a design philosophy that encapsulates the values crucial to architecture across scales and typologies. It’s called SOUL, and stands for Sustainable, Optimised, Unique, and Livable.

I think over 28 years, this clarity of thought has helped us tread in the right direction. Today, we are a collective of 125 working out of three offices on projects in South Asia, the Middle East and Africa.

The recently inaugurated Surat Diamond Bourse (SDB) sets a benchmark by consuming 50% less energy than the highest green standards and boasts one of the world’s largest radiant cooling systems. We achieved low external heat gains and reduced cooling loads through a combination of thermal mass and porosity in relevant areas. The hybrid climate systems integrate passive strategies for natural ventilation with energy-efficient mechanical cooling. The central spine incorporates vertical fins to channel low-intensity winds using the Venturi effect, while staggered atria allow hot air to escape through the stack effect, maintaining a pleasant microclimate.

The Lodsi Community Project, commissioned by Forest Essentials, was completed during the pandemic and serves as an example of decentralised industrialisation. “A Project for the locals, built by the locals and for the employment of the locals,” the project employs vernacular materials, techniques, and local labour.

The Pearl Academy of Fashion in Jaipur, where we harnessed the sun’s orientation, incorporated a louvred façade based on shadow analysis, and strategically designed corridors and enveloping verandahs for optimal space utilisation. To enhance the environmental quality within the institute, we introduced self-shaded courtyards and staircases to facilitate the natural circulation of air.

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?

When I started my journey as an architect, few female architects were around. Fast forward thirty years, and I can say things have improved.

It’s interesting to observe that while women are making strides in various areas, there’s still a prevalent male dominance in developer-driven projects. These large-scale endeavours, often finance-driven, tend to have boardrooms filled with men from the finance, banking, and real estate sectors. Real estate, in particular, was traditionally avoided by women, but it’s changing. With the emergence of large real estate companies, more women are finding opportunities and getting hired in this once male-dominated field. It’s a positive shift, reflecting the evolving dynamics in architecture and real estate.

At Morphogenesis, we’ve aimed to bridge the gender disparity by implementing policies and processes to support women’s career progression. Recruitment and promotion policies at Morphogenesis ensure a level playing field for all employees, regardless of gender. Here, merit is the sole criterion for advancement, dispelling any notions of gender bias. Our FLEX initiative seeks to provide women employees with a safe environment in case of long working hours. It also offers flexible working arrangements for new mothers, extended maternity leaves, and financial assistance.

The studio has a 190-strong organisational structure, encompassing roles from support services to leadership positions. Furthermore, women predominantly head 3-4 out of the total 5 internal departments, reflecting our deep commitment to gender equality and inclusivity.

Architectural tastes and sensibilities have really evolved in India over recent decades. What are some of the most striking changes you’ve witnessed or participated in regarding design styles and sensibilities in this cultural context?

When we started the practice, a lot of architecture that was coming up was essentially homogeneous glass boxes – an architecture of ‘nowhere’. This was in direct contrast to a strong regionalist movement that came before this period, where one could instantly look at a building and tie it to its geographical location, an architecture of ‘somewhere.’

It is important for architecture to be rooted in its regional, social and cultural context, and for it to respond to global aspirations. At Morphogenesis, we aim to create architecture that sits somewhere between the two extremes of regionalist and modern architecture – architecture that draws from its local context, but also satisfies the needs of the global context – what we call ‘an architecture of almost somewhere.’

For instance, our design for the Lodsi Community Project for Forest Essentials, nestled along the Himalayan foothills in Rishikesh, India, employs traditional materials and artisanal skills, actively addressing socio-cultural and economic sustainability in the region. The project provides labour for 75% of the households in the village, including women of the region.

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

The atmosphere for women in architecture is more supportive now, with more of us choosing it as a profession. However, there’s still a noticeable gender bias, especially fueled by client perceptions.

As architects, we find ourselves working in various settings – from studios and class studios to construction sites and design presentations. Different verticals within our field, like interior design, academia, landscape architecture, lighting design, furniture design, and hospitality design, often have preconceived notions about who should walk through the door based on gender.

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?

This profession of design is one where passionate immersion in what I do is a constant. But yes, if there is something I would like to work on, it would be public buildings—centres of governance, capital complexes and other such civic buildings of regional and national importance. Naturally, achieving net-zero energy targets would be a fundamental goal in such projects.