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Founded by architect, designer, and photojournalist Nipun Prabhakar, the practice is rethinking design through community participation, cultural heritage, and sustainability
Architecture has often been perceived as the work of individual designers who decide how spaces should look and function. But participatory architecture takes a different approach—it involves communities in the process, giving them a say in shaping their own surroundings. It’s not just about constructing buildings; it’s about co-creating spaces that reflect people’s culture, history, and shared dreams.
Enter Dhammada Collective, an interdisciplinary practice founded in 2021 by architect, designer, and photojournalist Nipun Prabhakar. Rooted in Bhopal and Delhi, Dhammada emphasises sustainable architecture, participatory design, and cultural preservation—particularly focusing on rural communities and Tier 2 cities. “The journey of building, the hands that shape the materials, and the stories that emerge throughout the process are as significant as the final structure itself,” says Nipun.
Dhammada’s approach is deeply contextual, integrating local traditions with modern tools, fostering long-term relationships with artisans, and championing the reuse of materials. In this interview, Nipun describes how their research, documentation, and hands-on involvement is redefining architecture not as a detached discipline but as an evolving, people-driven process that values heritage while embracing the needs of the present and future. Edited Excerpts:
Nipun Prabhakar: My perspective on architecture shifted when I interned at Hunnarshala in 2015. I was supposed to attend an experimental studio in Spain, but I ended up working on post-riot rehabilitation in Muzaffarnagar instead. We collaborated with displaced families, allowing them to make key decisions about their own homes. Unlike what we were taught in architecture school—that architects dictate design—this experience showed me the power of community-led architecture.
Later, in Nepal I worked on post-earthquake reconstruction, designing a nunnery for Tibetan refugee nuns and housing for monks. This reinforced my belief that architecture should be collaborative, sustainable, and rooted in local context. Eventually, I founded Dhammada Collective, aiming to support artisans and promote a circular approach to building. The name Dhammada, derived from ‘Dhamm-Ada’ means to perform one's duties, reflecting our commitment to creating functional, environmentally conscious and socially responsible spaces. When communities take ownership of their built environments, it strengthens their sense of identity and belonging, which is ultimately the most rewarding aspect of our work. We also collaborate with a network of professionals from various disciplines—film making, UI/UX design, social work, and research.
NP: We don’t see architecture in isolation. Social, political, and economic factors all shape it. Our process is hands-on: we sit with communities, build physical models, sketch ideas, and ensure local voices shape the outcome. Traditional craftsmanship is integral, but we also introduce modern technologies where they can enhance, not replace, artisanal work. We co-create spaces that reflect their inhabitants' identities, ensuring people feel ownership and pride in what they build. We also conduct workshops and training programs, helping local artisans refine their skills and gain access to new markets. It’s not just about buildings; it’s about long-term engagement.
NP: We often work with clients and communities unfamiliar with architects, so building trust is the first step. In villages, people recognise engineers more than architects, so we explain our role. To make designs accessible, we use cardboard block models and 3D-printed prototypes. Recently, we've started using virtual reality in our practice because of an active research collaboration with Oxford Brookes University. For example, we used it in a primary school that we had designed in a village near Mandi, Himachal. The pradhan wasn’t convinced about adding verandahs to a school design. When we showed him the space in augmented reality and walked him through the spaces we had designed, superimposed on site, he immediately understood its value.
NP: Preserving and passing down traditional building techniques is a key focus for us. We conduct field research across multiple regions, including Madhya Pradesh, Jharkhand, Rajasthan, Maharashtra, and Himachal Pradesh. By engaging with artisans, recording their methods, and documenting materials and cultural contexts, we create an extensive knowledge base. Beyond documentation, wider dissemination is crucial. My photography and writing for both local and international publications help bring visibility to these traditions, ensuring they reach audiences beyond just architects. We also share artisans’ contacts on our platforms, directly promoting their work.
Another way we safeguard these skills is by integrating them into contemporary projects. By collaborating with artisans to develop new applications—such as furniture and product design—we keep their craft relevant and adaptable to modern needs. Additionally, we host workshops for students and professionals, allowing master artisans to teach hands-on skills and inspire a deeper respect for traditional techniques.
NP: Rather than starting with a fixed design, we begin by seeing what’s available. Cities like Bhopal are constantly being rebuilt, and we’ve formed relationships with demolition contractors who alert us to salvageable materials. Old wooden doors, window frames, and 50-year-old bricks are some of our favorite finds. They’re durable, full of character, and more affordable than new materials. We’ve also repurposed shipping pallets into furniture and experimented with photogrammetry to create 3D models of salvaged items for reuse.
We take inspiration from vernacular techniques, ensuring that reclaimed materials are incorporated seamlessly into the architectural language of the space, rather than as an afterthought. This helps preserve the cultural authenticity of the structures while promoting sustainability.
NP: It's less about strictly 'structural' reuse and more about seeing materials as creative problem-solvers. We often find these unexpected solutions hidden in what others discard, and it's a real win when it also saves on costs. The real challenge for us is also not just about making something sturdy. It's about giving these materials a new story, a new 'identity,' like Thomas Rau says.
Another issue is waste management. In India, construction waste is rarely reused, and cities default to mass-produced solutions like paver blocks, which erase local character. We aim to embed circularity into our projects, proving that reused materials can be both practical and aesthetically rich. We even made a film, ‘a work in progress’, to show how people in Bhopal transform discarded building materials into something meaningful. It's about telling that story, showing that potential.
NP: I’d bring back community-driven building practices. In Tibet, people once gathered to build rammed earth walls for houses and monasteries, singing traditional songs while working. In Kutch, the concept of ‘aabhat’—where entire hamlets unite to dig water wells—is another example of collective effort. We’ve lost these traditions of building together. It’s not just about the physical structures but the shared experience and connection they create.
NP: One of our key ongoing projects is a collaboration with Hunnarshala Foundation to develop rural homestays across nine villages in Madhya Pradesh. The design process involved documenting regional building practices at risk of disappearing, while ensuring homestay owners played an active role in the design and construction. We also addressed common challenges like high maintenance and water seepage by integrating simple yet effective design solutions. We are also designing youth and women’s centers in Madhya Pradesh and Jharkhand with Transforming Rural India, creating spaces for community engagement and support.
Among our completed projects, Kuklah Primary School in Himachal Pradesh was rebuilt after a devastating flood in collaboration with SEEDS, reflecting the community’s vision through student-led design inputs. We also designed 'Kund Under the Mahua Tree,' a stepwell-inspired plunge pool built with local materials, blending tradition with functionality. Water from a nearby pond fills the kund through a spout. Excess water flows into a neighbouring well, completing the cycle. We engaged with local grinding stone makers to contribute to the project.
Will you be living in your space during the renovation ?
DEC 2023
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17 Oct 23, 03.00PM - 04.00PM