A Crafted Language for
the Living and Learning
Design Centre
A Crafted Language for
the Living and Learning
Design Centre
A Crafted Language
for the Living and Learning Design Centre
SCOPE
SCOPE
SCOPE
Way-finding System
Brand Communication
Way-finding System
Brand Communication
DURATION
DURATION
DURATION
22 Weeks / 2023
22 Weeks / 2023
22 Weeks / 2023
CREDITS
CREDITS
CREDITS
Client / Living and Learning Design Centre
Studio / Oases Design
Communication Designer(s) / Sagar Bhat, Sakshi Suthar
Space Designer / Srishti Ahlawat
Photographer / Shweta Sauran
Client / Living and Learning Design Centre
Studio / Oases Design
Communication Designer(s) / Sagar Bhat, Sakshi Suthar
Space Designer / Srishti Ahlawat
Photographer / Shweta Sauran
Client / Living and Learning Design Centre
Studio / Oases Design
Communication Designer(s) / Sagar Bhat,
Sakshi Suthar
Space Designer / Srishti Ahlawat
Photographer / Shweta Sauran
SKIP TO SOLUTION
SKIP TO SOLUTION
SKIP TO SOLUTION
The Living and Learning Design Centre,
also referred to as LLDC, is a craft museum dedicated to preserving, promoting, and innovating Kutch’s rich craft traditions.
The Living and Learning Design Centre,
also referred to as LLDC, is a craft museum dedicated to preserving, promoting, and innovating Kutch’s rich craft traditions.
(1/6) CONTEXT
(1/6) CONTEXT
LLDC lacked a design system to unify its brand across physical and communication touch points. This absence led to fragmented experiences and failed to reflect the museum’s cultural narrative.
LLDC lacked a design system to unify its brand across physical and communication touch points. This absence led to fragmented experiences and failed to reflect the museum’s cultural narrative.
The opportunity was to build a comprehensive visual system from the ground up that could translate across static and dynamic mediums, especially spatial navigation.
The opportunity was to build a comprehensive visual system from the ground up that could translate across static and dynamic mediums, especially spatial navigation.
(2/6) MY ROLE
(2/6) MY ROLE
I contributed to the development of the visual language and spatial logic for the museum’s way-finding system. My focus was on building a contextually grounded and adaptable design system that balanced cultural expression with clarity and legibility.
I contributed to the development of the visual language and spatial logic for the museum’s way-finding system. My focus was on building a contextually grounded and adaptable design system that balanced cultural expression with clarity and legibility.
I worked in close collaboration with spatial designers, architects, fabricators, and communication designers.
I worked in close collaboration with spatial designers, architects, fabricators, and communication designers.
(5/6) THE SOLUTION
(5/6) THE SOLUTION
A 'Crafted' Language for Story and Space
A 'Crafted' Language for Story and Space
The 'crafted' language was developed as a cohesive design approach to bridge storytelling, place-making, and user experience within the museum.
Rather than layering decorative elements onto existing systems, the design was rooted in the logic of local craft where form follows function and beauty is embedded in structure.
Rather than layering decorative elements onto existing systems, the design was rooted in the logic of local craft where form follows function and beauty is embedded in structure.
(5.1) BRAND COMMUNICATION
(5.1) BRAND COMMUNICATION
Grid-based Approach for Vibrant Identity
Grid-based Approach for Vibrant Identity
Grid-based Approach for Vibrant Identity
Drawing inspiration from the indigenous diagonal embroidery grid, an iconic craft of Kutch, we developed a visual system that echoes the region’s rich heritage. This grid served as the foundation for a flexible set of motifs and patterns, capturing the museum’s cultural depth while remaining adaptable across formats, from print to digital media.
Drawing inspiration from the indigenous diagonal embroidery grid, an iconic craft of Kutch, we developed a visual system that echoes the region’s rich heritage. This grid served as the foundation for a flexible set of motifs and patterns, capturing the museum’s cultural depth while remaining adaptable across formats, from print to digital media.
(LOCAL)
(CRAFT)
(INNOVATION)
(WEAVING)
(POTTERY)
(RESOURCES)
(FESTIVE)
(EMBROIDERY)
(DIVERSITY)
(CELEBRATION)
(COLLABORATION)
(DESIGN)
(TECHNOLOGY)
(KIDS' ACTIVITIES)
(SUPPORT)
(LOCAL)
(CRAFT)
(INNOVATION)
(WEAVING)
(POTTERY)
(RESOURCES)
(FESTIVE)
(EMBROIDERY)
(DIVERSITY)
(CELEBRATION)
(COLLABORATION)
(DESIGN)
(TECHNOLOGY)
(KIDS' ACTIVITIES)
(SUPPORT)
(LOCAL)
(CRAFT)
(INNOVATION)
(WEAVING)
(POTTERY)
(RESOURCES)
(FESTIVE)
(EMBROIDERY)
(DIVERSITY)
(CELEBRATION)
(COLLABORATION)
(DESIGN)
(TECHNOLOGY)
(KIDS' ACTIVITIES)
(SUPPORT)
02
02
Spatial Signage and Navigation System
Spatial Signage and Navigation System
Spatial Signage and Navigation System
The visitor journey was mapped to identify key decision points, such as entrances, exhibit transitions, and pause areas, where signage would be most effective. A modular family of signs was developed, including directional, identification, informational, back-of-house, and evacuation signs.
The visitor journey was mapped to identify key decision points, such as entrances, exhibit transitions, and pause areas, where signage would be most effective. A modular family of signs was developed, including directional, identification, informational, back-of-house, and evacuation signs.
Given the building’s vibrant architectural language, the signage system was intentionally kept neutral and informative to complement rather than compete with its surroundings.
Given the building’s vibrant architectural language, the signage system was intentionally kept neutral and informative to complement rather than compete with its surroundings.
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