In this exclusive interview, Ar. Siddharth Bathla, the founder of Design Factory India, shares his journey of exploring the niche of museum and experience design. Siddharth Bathla is an alumnus of IIT Kanpur, an architect, and an industrial designer from education. He is the Managing Director and Founder partner of Design Factory India.
He is a multi-specialist designer focusing on interactive public space, brand, and digital. With over a decade of experience, he is a dedicated advocate of strategic thinking and the thoughtful use of technology. A firm believer in design as a non-silo process, problem-solving, and engaging with the end-user.
1. Can you enlighten your journey from initial to embracing the field of architecture later developing this niche expertise in designing these experiential spaces?
Siddharth: After completing my bachelors in architecture, I realized I didn’t want to limit myself to the traditional silos of the field. I was deeply curious about how architecture could intersect with other creative disciplines. That’s when I came across the BOS school, which had a unique interdisciplinary approach that combined architecture with arts, film, graphics, and Pro Design. It felt like the perfect fit for my aspirations. So, I decided to pursue a master’s in design to delve deeper into these ideas. During my master’s program, I began to discover where my true passions lay—space design, graphics, and film. These areas allowed me to explore storytelling in a way that extended far beyond conventional architecture.
After graduating, I started exhibiting my work, which became a blend of everything I loved. Storytelling through films, creating immersive experiences in museums, and working on projects that celebrated heritage and history. Each project became a way to merge architecture with broader creative narratives, offering me the freedom to think and design differently. I’ve always had a deep love for architecture, a passion that started in my childhood. However, I’ve come to understand that the formal education I received didn’t fully align with the creative direction I wanted to pursue. That realization has fueled my commitment to continuing this journey of exploration. For me, it’s about evolving constantly, finding new ways to blend my interests, and discovering where my passions will take me next.
2. How do you balance multiple creative visions when collaborating with various architects to maintain cohesiveness in design? And if you had to pick, which architect has been the most enjoyable to work with, or what has been one of the best projects you’ve worked on?
Siddharth: Every architect is different, and that diversity brings its own set of challenges and opportunities. I believe it’s essential to respect their vision and appreciate the work they’re doing. Especially, since this is still a relatively new field for many architects in India. For example, museums, particularly contemporary ones, are a typology that most architects here haven’t had much experience with.
This often means we have to collaborate closely to bridge gaps in understanding. For instance, while architecture often emphasizes natural light, digital galleries cannot function with it. This requires conversations where we explain that natural light is valuable. It needs to be controlled and brought in strategically—like in break zones between galleries. Similarly, decisions on floor finishes require discussions. For us, darker floors work better, allowing visitors to focus on the artifacts rather than the ground.
These are design discussions we navigate with every architect. Sometimes they are highly collaborative and fruitful, with architects adapting to these new requirements. Other times, they trust us entirely, asking us to lead the process since we also come from an architectural background. There are instances when architects change our suggestions, and we have to revisit the designs. It’s not always a straightforward process—it’s an evolving journey, an exchange of ideas that leads to a shared vision.
Ultimately, this collaboration is a learning experience for everyone involved. It’s exciting because it’s about creating something entirely new and rethinking typologies. Just as we’ve seen with the evolution of digitized hospitals or other spaces. While it’s challenging, it’s also incredibly rewarding to see how these discussions shape the final design and bring everyone onto the same page.
3. Which one of your projects would you recommend as a must-visit for our viewers—one that stands out as your best or your personal favorite among all the projects you’ve worked on?
Siddharth: For me, all the projects are loved ones. But, the one that holds special place in my heart is the museum we designed in Anjar called ‘Balak’. It is a memorial for all the kids who lost their lives in the Kutch earthquake. We didn’t design it to make people cry, but as a memorial, it naturally evokes deep emotions. When parents who lost their children visit, they often break down. The challenge for us was creating a space where people could grieve, yet also feel a sense of comfort and hope. Balancing these contrasting emotions—grief and hope—was a deeply meaningful experience.
Seeing how the museum resonates with visitors now gives us strength as designers and reminds us why we do what we do. Balak isn’t just a project; it’s a space that speaks to the human spirit, and it’s a reminder of the impact thoughtful design can have.
4. So what are some of the key elements that you consider when crafting such sensory and emotional dimensions in architecture to resonate with people on a deeper level?
Siddharth: When designing a museum or any exhibition, we always consider the journey beyond the immediate experience—the post-museum experience. A well-designed museum isn’t just about what visitors see or feel during their visit but also about how it continues to impact them a year or two later. That perspective drives the entire design process.
Take the Balak Memorial in Anjar, for example. We had to think about what a grieving parent might feel when they revisit the space after the museum’s inauguration. Seeing a photograph of their child, while painful, also offers a sense of remembrance and connection. At the same time, they gain insights and perhaps find some unlearned learning—a deeper understanding of their emotions and the event itself.
Similarly, if we’re designing a museum on spirituality, we ask: why is this needed? What should its legacy be? Or consider a museum about earthquakes—like a smriti museum. It’s about remembering lives lost, but it’s also about understanding the natural forces behind such events. While we can’t control earthquakes, we can learn to design buildings that withstand them. That kind of knowledge transfer is part of a museum’s role.
Museums are powerful institutions with the potential to shape perspectives and inspire change. Whether it’s addressing natural disasters or raising awareness about urban flooding in places like Bihar, Chennai, or Mumbai, museums can serve as catalysts for solutions. The more we focus on their long-term impact—what they can do for a country, its people, and its future—the more meaningful and transformative they become. Designing with this sense of responsibility is what truly defines a great museum.
5. In this era of rapidly evolving technology, integrating advanced experiential and immersive spaces has become essential, especially to capture the attention of the current generation. What have been your experiences—both good and bad—when working with technology to craft these spaces?
Siddharth: The downside, I believe, is that technology can sometimes become a taboo—it’s used simply because it’s available, leading to overuse. I don’t think that’s the right approach. The story should always come first. Technology is a tool, a facilitator, not the core of the experience. For example, whether people watched films in theaters or now on Netflix, the essence of the film hasn’t changed. The story remains the most important aspect, and technology is just a medium to deliver it.
Similarly, in our field, if a certain technology fits well with the story or enhances the experience, why not use it? For instance, we’re having this conversation in a virtual space—something that wasn’t common five or ten years ago. This platform facilitates our interaction, but it doesn’t replace the importance of the dialogue itself. However, relying too much on technology, like insisting all talks or meetings must happen virtually, would be counterproductive. There’s still value in physical interactions, especially for designers who need to collaborate across a table.
On the positive side, technology offers incredible opportunities to enhance storytelling. The level of interaction and engagement it enables is remarkable. With the right interventions, you can create spaces where people not only experience but also interact and learn in ways that weren’t possible before. It’s about using technology thoughtfully—leveraging its strengths without letting it overshadow the essence of the story or experience.
6. When working on culturally sensitive spaces that require extensive research, what is your approach to research and analysis? How do you ensure that this research is effectively translated into your design language to achieve successful outcomes?
Siddharth: That’s an excellent question, and to me, the entire foundation of a project lies in the research and analysis phase. Execution—whether it’s painting, installing projectors, or laying flooring—can be done by skilled professionals. But if the research and analysis are flawed, the entire project risks failing, no matter how well the execution is done. The crux of a project is understanding the essence of the story it’s trying to tell and analyzing that to create a meaningful outcome.
I often emphasize this to my clients—thinking through the storyline and thoroughly analyzing the research takes the most time but is the most critical step. For example, if we’re designing a museum on spirituality, it’s not enough to reiterate what everyone already knows. The museum shouldn’t just be about Radha and Krishna in a conventional sense; it should go deeper to challenge perceptions and explore their essence beyond what’s commonly understood. It’s not about placing statues in a room—it’s about creating a space that makes people reflect on and strengthen their spiritual core, not just follow rituals superficially.
The same principle applies to other projects, like an earthquake museum. Visitors might come to see photographs and relive memories, but the impact has to go beyond evoking emotions. The museum should educate and prepare people, fostering resilience and inspiring solutions—like building structures that can withstand disasters or improving flood responses to save lives.
Research lays the groundwork for this deeper impact. It’s about asking the right questions, uncovering insights, and ensuring the story resonates meaningfully. When the base is strong, the design naturally follows, and even as challenges arise, they can be tackled effectively because the purpose remains clear. That’s why research and analysis aren’t just tasks—they’re the heart of every culturally sensitive project I work on.
7. Who has been your inspiration in this niche industry? Was there an initial source of inspiration that motivated you to pursue and continue on this path?
Siddharth: I wouldn’t say there’s just one source of inspiration—it’s more of a collective journey shaped by many people and experiences. Exposure is what defines the next step for me. For instance, when I started exploring design, I came across Charles and Ray Eames. Reading about their work was a revelation. Here were architects who not only designed buildings but also explored graphics, films, and more, decades ago. It resonated with my thoughts on wanting to go beyond traditional architectural boundaries.
As I moved forward, I drew inspiration from creative minds in different fields. Take Aamir Khan, for example—his approach to storytelling in films like PK or Taare Zameen Par, where he combines impactful topics with meticulous execution, is something I admire. Similarly, filmmakers like Anubhav Sinha, who create films like Article 15 that spark dialogue and leave an impression, are incredibly inspiring.
Beyond that, I’ve had the privilege of working with amazing mentors, colleagues, and even clients. Each project, interaction, and collaboration brings fresh perspectives and helps shape my approach. Clients, in particular, often provide insights into worlds I hadn’t considered before, broadening my understanding and pushing me to think differently.
Inspiration isn’t a fixed list for me—it’s a continuous process. Every project, person, and experience adds a layer, shaping how I evolve as a designer and creative thinker. That’s what makes this journey so enriching.
8. How do you find a sense of fulfillment and purpose in your work as an architect, beyond the completion of projects or the recognition through awards?
Siddharth: I believe that the true sense of fulfillment comes from the journey, not just the final outcome. I’ve often shared this with my team—not just here but in many conversations—that while project completion is the tangible result, the real joy lies in the process. And that process is deeply human.
For me, it’s about collaborating with like-minded individuals, working closely with a team, and growing together. The connections and shared experiences with the people I work with are what truly matter. When we look back, perhaps decades from now, we’ll remember the journey—the challenges, the laughter, the creativity—not just the finished projects.
Ultimately, it’s this journey of designing meaningful spaces with people who share the same passion that gives my work purpose. The end result, the completed project, is simply the outcome of that collaborative effort.
9. With your impressive career so far, where do you envision yourself in the coming years? What is your next goal or dream project that you are aiming for?
Siddharth: As I mentioned earlier, I’m moving towards exploring both the pre-Museum and post-Museum experiences. I’ve had a lot of exposure to the process of designing museums, but now I’m more focused on what happens after the museum is built. How do these museum designs evolve into institutions that serve society? For instance, we’re working on an archaeological museum, and I think about what that museum will mean five years down the line. What role will it play in shaping society, in connecting like-minded people, or in having a lasting impact?
For me, the goal is to design spaces that not only reflect the past but also help shape the future. Take Smriti Van, for example—what will it do in the coming years? How can it impact lives, perhaps even saving lives in the next flood? The key is making these spaces enduring, where people learn from the past and apply those lessons for a sustainable future. It’s about creating institutions that continue to grow and influence future generations.
At the end of the day, it’s the impact our designs have on people and spaces that will truly matter. Our work will live on in those who experience it, and it’s through their stories and actions that the fulfillment of our work comes to life.
As for advice for those wanting to explore a career in designing experiential spaces, I’d say: just follow your heart. There are no strict rules in life or design. If you try to solve things with a formula, you’ll miss the essence of creativity. The process should set you free, not constrain you. Trust your instincts and intuition—those are your greatest guides. Design is often unpredictable, and sometimes, breaking the process can lead to something incredible. Work hard, stay true to yourself, and always ask: What kind of impact am I creating? That will help you find your own path.
Ar. Siddharth Bathla takes us through his journey to find his voice in architecture and design. He shares the insights of how the museum and experience design is more than aesthetics. Siddharth Bathla also shares how museum and experience design can enhance the community and provide learnings for the future. Delve into this exclusive interview on our YouTube channel for more information.