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Shashi Caan, describe yourself and your practice.
I am curious and optimistic. I enjoy understanding the intrinsic nature of people,
things, and processes. The what, why, and how are important questions, and the
underpinnings of human rituals intrigue me. Change is also a curious phenomenon
to me and one that requires exploring edges and redefinitions.
That my life to date has been spent, in almost equal parts, in Asia, Europe, and
the North Americas has helped me to question and understand the similarities and
uniqueness of major cultures. This, coupled with formal education and degrees in
interior design, industrial design, and architecture—all concerned with the human
condition and our habitable world—has provided me with a depth of literacy, while
helping to shape who I have become.
I am passionate about designing habitable interiors for optimal spatial and func-
tional fulfillment. I am especially interested in helping to envision and shape an
improved collective future.
The Collective, my practice, focuses on creativity as an essential ingredient for a
design business. We ourselves practice what we preach to our clients by way of find-
ing a creative solution for the shortcomings of today’s time-poor work culture. My
practice is unique in that it takes its business structure from the underpinnings of
the film industry. We hire full-time expertise that is carefully aligned to the needs of
a specific client and their project and for the full duration of the project. Our teams
work only on one project at a time. We have total flexibility in the structure of the
work day, and individuals determine their own schedule. A happy and well-balanced
design expert who can intelligently support the client is a priority. We require project
schedules and budgets to be maintained with the most innovative and creative de-
sign solutions. The quality of all our lives (staff, client, consultant) is fundamentally
important for us. Our office culture is relaxed, with lots of play, wit, and respect for
everyone concerned. We focus obsessively on research and study, both broad and
specific, which informs the basis of all our work, and we have a lot of fun doing it.
Who were the mentors that taught you design and design methodologies?
Three individuals in New York continue to help shape my thinking:
Dr. Haresh Lalvani explores dimensional space and is an architect and scientist
interested in empirical research. He has computationally explored the sixteenth
dimension. By example, he has instilled in me the value of deeply understanding
the nature of literal and perceived space and truly innovating by connecting cross-
disciplinary dots.
William Catavalos is funny, irreverent, and has one of the most agile minds I know. He consist-
ently reminds me to be alert, aware, and globally knowledgeable. Through him, I have learned
that conceptualization has rational and smart underpinnings rooted in the common, everyday
conditions of our lives, which require continued questioning and rethinking.
Dr Theodore Prudon, my business partner, is a genius. From him, I have learned to deeply ap-
preciate logical inquiry and history as a vital reference point. He has taught me to appreciate
the meaning that life makes of the ordinary and the extraordinary and everything in between.
He is broad-minded and nonjudgmental, which I believe are very important attributes for
designers.
I have been most inspired and have learned a lot from historical figures such as William
Fogler (the art of creating beautiful and harmonious spatial objects), Rowena Reed (the art of
manipulating the void and planer relationships), Anaïs Nin (who was courageous and dared to
experience and committedly express herself in black and white), and Coco Chanel (who was a
creative and business maverick).
The Collective ranges from built work to strong research and conceptual projects that ques-
tion interiors and how they function—is there a common method to how you approach these
projects?
Simplistically, I aspire to bridge the academy (research, inquiry, history, and theory) with de-
sign practice (the actualizing of ideas, building, and business). The two are intrinsically code-
pendent and essential for a healthy public. We must foster a close cooperation and closer
communication within these worlds. I also aspire to bridge art and science. I believe that for a
holistic understanding of our universe, we need the creative, conceptual comprehension of the
artist as well as the intellectual rigor and methodological process of the scientist. Central to
all of this is the human being—one person at a time.
I believe that no matter what I am doing at any given time, I am being a designer. My common
method is rationalized in the need for a broad cross-fertilization of disciplines and processes
and a need to break down prescribed boundaries. There is great opportunity in crossing cultural
and intellectual divides. For example, classic color theory (Albers, Itten, and Goethe) explores
phenomena that is relevant and helps with visual stimulation and the understanding of our world
in our daily experiences. But beyond the learning of the theory itself, designers and architects
very rarely fully explore the theoretical phenomena of color. It is not easy to lift theoretical ideas
and transplant them in design concepts. A great deal of research, interpretation, and play is
required. Everyday life pressures and our cultural dictates hinder our making these connections
that lead to innovation. At the Collective, it’s my job to continue to try, no matter how difficult. I
believe that deeper inquiry and research is critical from within the making and it’s my business
to find ways to manifest these beliefs. I think this is the single binding element to my work, re-
gardless of the scale of the project or whether it is two- or three-dimensional.
PERSPECTIVES ON RESOURCES:
SHASHI CAAN
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William Catavalos is funny, irreverent, and has one of the most agile minds I know. He consist-
ently reminds me to be alert, aware, and globally knowledgeable. Through him, I have learned
that conceptualization has rational and smart underpinnings rooted in the common, everyday
conditions of our lives, which require continued questioning and rethinking.
Dr Theodore Prudon, my business partner, is a genius. From him, I have learned to deeply ap-
preciate logical inquiry and history as a vital reference point. He has taught me to appreciate
the meaning that life makes of the ordinary and the extraordinary and everything in between.
He is broad-minded and nonjudgmental, which I believe are very important attributes for
designers.
I have been most inspired and have learned a lot from historical figures such as William
Fogler (the art of creating beautiful and harmonious spatial objects), Rowena Reed (the art of
manipulating the void and planer relationships), Anaïs Nin (who was courageous and dared to
experience and committedly express herself in black and white), and Coco Chanel (who was a
creative and business maverick).
The Collective ranges from built work to strong research and conceptual projects that ques-
tion interiors and how they function—is there a common method to how you approach these
projects?
Simplistically, I aspire to bridge the academy (research, inquiry, history, and theory) with de-
sign practice (the actualizing of ideas, building, and business). The two are intrinsically code-
pendent and essential for a healthy public. We must foster a close cooperation and closer
communication within these worlds. I also aspire to bridge art and science. I believe that for a
holistic understanding of our universe, we need the creative, conceptual comprehension of the
artist as well as the intellectual rigor and methodological process of the scientist. Central to
all of this is the human being—one person at a time.
I believe that no matter what I am doing at any given time, I am being a designer. My common
method is rationalized in the need for a broad cross-fertilization of disciplines and processes
and a need to break down prescribed boundaries. There is great opportunity in crossing cultural
and intellectual divides. For example, classic color theory (Albers, Itten, and Goethe) explores
phenomena that is relevant and helps with visual stimulation and the understanding of our world
in our daily experiences. But beyond the learning of the theory itself, designers and architects
very rarely fully explore the theoretical phenomena of color. It is not easy to lift theoretical ideas
and transplant them in design concepts. A great deal of research, interpretation, and play is
required. Everyday life pressures and our cultural dictates hinder our making these connections
that lead to innovation. At the Collective, it’s my job to continue to try, no matter how difficult. I
believe that deeper inquiry and research is critical from within the making and it’s my business
to find ways to manifest these beliefs. I think this is the single binding element to my work, re-
gardless of the scale of the project or whether it is two- or three-dimensional.
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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
Text
Many practices often dedicate time and money to building a reference library. What kinds of
material do you look to for inspiration, or to challenge your understanding of how you work?
While we do have some dedicated space for product binders and materials, our biggest space
is our extensive book library on very diverse topics (history, art, philosophies, ideologies, sci-
ence), both classics and new works. We use the Internet, college and public libraries, and a
myriad of periodicals (including daily newspapers) for inspiration. I believe that we can best
understand people and the human condition through the world of thought and what is being
expressed by many and also by the actions that people are taking at any given time. Often
words are not in sync with actions. And herein sits an enormous opportunity for observation
and critical analysis, leading to fresher and more appropriate solutions. Since all aspects
of politics, world finance, technology, and commerce affect our lives, in practicing interior
design, it is very important for us to keep a finger on the pulse of the world at large. I am as
much intrigued by the latest wedding culture as by the significant scientific findings that could
dramatically change our future. Through this very broad net of inquiry, at the Collective, we
make it our business to keep the focus on interpretation and application within the built work.
Presentation is a major element in the transmission of design ideas to an audience—be it a
client, student, or the general public. How do you present the results of your research?
This is a very important question for us in the practice. We believe in finding the most direct
and simple communication—one that is succinct and articulate. We use multimedia and will
explore new means of representation as long as the end result is clearly understood by all and
within seconds at the outset. Since we are not interested in advocating a particular signature
or style, we are constantly exploring and often layering and collaging presentations. One com-
mon feature of our work is that all research is shared back visually with an effort to engage
as many of the senses as we can. We do not rely only on images or scale models. We try to
capture movement and intentional change, which is a recurring theme in our work, and we
avoid depending on an individual’s imagination to interpret our work. Rather, we show and tell
as explicitly as possible.
You have been chair of a major design school. What were your methodological aims in defining
an educational program for young designers?
In my opinion, all good education aspires to imbue individuals with an ability not only to think
but simultaneously to know and understand oneself in a lifelong quest. Using one’s intel-
ligence and creativity in a sound and just manner is critical to society. Design education is
special in that it requires equally a focus on self-knowledge and access to one’s creativity,
while using it for the betterment of all. To achieve this, one must develop one’s own process.
Essentially, three components must be methodically honed:
First, the process of an objective inquiry and analysis toward solving societal concerns, prob-
lems, and issues—a process of thinking.
Second, the cultivation and learning of a broad skill set that allows one to select the most
appropriate skills and tools for one’s unique expression toward accurate and easy communica-
tion. A deep and sound knowledge of interior design: what it is, what it does, its significance
and importance, how to do it, where it originates from and where one needs to take it for im-
proved results toward shaping a better society.
Third, since interior design is a young formalized profession, we have to continue to more
deeply and holistically define and evolve the discipline.
Do you think that the push toward professional licensure in interior design is necessary or ben-
eficial? How will it change how the public perceives interior designers?
I believe that interior design as a discipline shapes human behavior and has a responsibility
for well being. I also believe that interior design is to the built world what psychology is to the
world of medicine or what physics is to the world of science. To this end, I think it is essen-
tial for the discipline to be better defined and publicly recognized as a legitimate profession.
Today, we know exactly when to go to the psychologist versus the doctor. This level of profes-
sional clarity is required for interior design. Governmental ratification demands a clarity of
professional responsibility, which translates into a clarity of the public’s understanding. The
public needs to be protected from unqualified interior designers who can do a lot of damage.
Licensure helps to protect the public.
How do you see the emergence of sustainability affecting the ways in which we build interiors?
Environmental consciousness is not an emergence for us at the Collective. It is a responsible
way of life and way of being. The thoughtful interior designer is intrinsically practicing it. It is
not a stylistic choice or a marketing differentiator. Good interior design must lead the way.
Many place the origins of the interior design profession at the turn of the twentieth century. You
locate the start of our understanding of interiors to a much earlier date. How do we begin to
trace interiors through a macro history?
We start at the earliest beginning possible. The interior is a necessity. When we seek shelter,
we don’t think about a building typology and we don’t think “architecture,” we think “inside.”
The first-ever shelter was not built, it was found. It was an inside and it predated architecture.
This is where interior design begins. We need to take it from there.
Overleaf
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27 9
Perspectives on Resources
Text
While we do have some dedicated space for product binders and materials, our biggest space
is our extensive book library on very diverse topics (history, art, philosophies, ideologies, sci-
much intrigued by the latest wedding culture as by the significant scientific findings that could
make it our business to keep the focus on interpretation and application within the built work.
explore new means of representation as long as the end result is clearly understood by all and
within seconds at the outset. Since we are not interested in advocating a particular signature
or style, we are constantly exploring and often layering and collaging presentations. One com-
avoid depending on an individual’s imagination to interpret our work. Rather, we show and tell
You have been chair of a major design school. What were your methodological aims in defining
In my opinion, all good education aspires to imbue individuals with an ability not only to think
while using it for the betterment of all. To achieve this, one must develop one’s own process.
First, the process of an objective inquiry and analysis toward solving societal concerns, prob-
Second, the cultivation and learning of a broad skill set that allows one to select the most
appropriate skills and tools for one’s unique expression toward accurate and easy communica-
tion. A deep and sound knowledge of interior design: what it is, what it does, its significance
and importance, how to do it, where it originates from and where one needs to take it for im-
proved results toward shaping a better society.
Third, since interior design is a young formalized profession, we have to continue to more
deeply and holistically define and evolve the discipline.
Do you think that the push toward professional licensure in interior design is necessary or ben-
eficial? How will it change how the public perceives interior designers?
I believe that interior design as a discipline shapes human behavior and has a responsibility
for well being. I also believe that interior design is to the built world what psychology is to the
world of medicine or what physics is to the world of science. To this end, I think it is essen-
tial for the discipline to be better defined and publicly recognized as a legitimate profession.
Today, we know exactly when to go to the psychologist versus the doctor. This level of profes-
sional clarity is required for interior design. Governmental ratification demands a clarity of
professional responsibility, which translates into a clarity of the public’s understanding. The
public needs to be protected from unqualified interior designers who can do a lot of damage.
Licensure helps to protect the public.
How do you see the emergence of sustainability affecting the ways in which we build interiors?
Environmental consciousness is not an emergence for us at the Collective. It is a responsible
way of life and way of being. The thoughtful interior designer is intrinsically practicing it. It is
not a stylistic choice or a marketing differentiator. Good interior design must lead the way.
Many place the origins of the interior design profession at the turn of the twentieth century. You
locate the start of our understanding of interiors to a much earlier date. How do we begin to
trace interiors through a macro history?
We start at the earliest beginning possible. The interior is a necessity. When we seek shelter,
we don’t think about a building typology and we don’t think “architecture,” we think “inside.”
The first-ever shelter was not built, it was found. It was an inside and it predated architecture.
This is where interior design begins. We need to take it from there.
Overleaf Durkan Patterned. Renderings by Shashi Caan Collective.
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