Deepthi Radhakrishnan was one of the founding members of “Hand Design” (in 2007, India). It was at the forefront of applying design and design thinking to conservation and development causes. Their collective vision resulted in the creation of innovative information, education and communication (IEC) materials, resources, games, and strategic designs. This particularly applied to the areas of natural disasters, environment, and water sanitation and hygiene (WASH).

Deepthi Radhakrishnan describes her distinctive contribution as follows: “What I wish to foreground in my work is basically the interconnectedness and interweaving of ways of seeing and ways of thinking. And the myriad perspectives that, when brought together for a cause, are far more effective and holistic. My work, in some ways, is my modest contribution to something larger, something more holistic.

…An approach that integrates these various disciplinary strands is the aspect of ‘play.’ Playful learning or playful problem-solving is an integral and underlying ethos in the learning resources or tools created for both cultural and environmental organizations I collaborate with.”

Informed by research and fieldwork

 Deepthi Radhakrishnan’s work is informed by research and fieldwork. Over the years, she has collaborated with diverse organisations and teams to develop innovative learning resources and other materials. Deepthi’s collaborations have spanned cultural and ecological contexts. These have included the Karnataka State Archaeological Museum, the Folklore Museum (Janapada Loka), and organizations such as ReReeti, ATREE, ANCF-CEPF, Dakshin Foundation, UNICEF, UNESCO, and UNDP.

A Deep seated interest in conservation

“I’d like to bring to this table, a set of tools — through my varied roles or skillsets. Over the past year, I have come to realise that my oeuvre stems from my deep-seated interest in ‘conservation.’ I wish there were a better word than ‘conservation.’ But to me, the concept of conservation seems to cut across multi-disciplinary aspects — heritage, culture, environmental, or ecological. And the process involves engaging people through storytelling, narratives, or education as a means for people to engage, interact, intersect, or even interweave and contribute their stories from different perspectives. So the overlap and collaboration of people and disciplines seem self-evident to me. But I could be wrong, as other people may view it differently.

 
Deepthi Radhakrishnan holds a Bachelor’s degree in Exhibition Design from the National Institute of Design, Ahmedabad. This was followed by a Master’s degree in Museology and Cultural Heritage from the University of East Anglia, where she was awarded a distinction, a full scholarship, and an Education Fellowship at the Sainsbury Centre for Visual Arts (SCVA). She is also certified in Education in Emergencies Training of Trainers (EiE ToT) by RedR and UNICEF. Her time at Norwich, particularly her involvement in the Little Ouse Heritage Project and SCVA Community Outreach Project and the Art & Biology Summer School programme, significantly shaped her creative perspective. Her work has been shortlisted / exhibited at ILLUSTRACIENCIA. Her collaborative effort with the UNDP Maharashtra team, resulting in the publication “Saving Mr. Ridley,” was recognized with the A’ Design Runner-up Award in Print & Publication 2021. This out-of-classroom project delved into the complexities of the Sindhudurg Ecosystem and the fishing communities in the region.

Currently based in Stockholm, Sweden, Dee continues to work as a freelance consultant, providing creative communication and design strategies to purpose-driven organizations. When she’s not working, you might find her wandering through Swedish forests, capturing insects on camera, or sketching nature’s wonders.