Practice
Dali Designs originated on a journey of finding the bohemia of humane design deeply rooted in the art ecosystem, delving into the concept of civilization, creating multiple dialogues, and questioning the built environment, resulting in a change in socio-cultural patterns.
Defined by surreal optimistic creations, we care for the planet and empathize with people. For every project, we plant 20 trees and involve craftsmen from the native communities. With no fixed base, Dali Designs remains on a nomadic quest to understand the design world more intimately.
Design Philosophy
Architecture one of the 7 art forms, tangible and moving yet primarily frozen in abstract time frames resonating multitude languages of emotions often undecipherable. A language of death with the presence of indescribable pursuit to liberate context – conditions of humans (ephemeral) and problems of nature (non-ephemeral), thus creating boundaries of understanding nature beyond any built form; epitomizing Winston Churchill’s quote, “We shape our buildings, thereafter they shape us,” thus creating a responsive mechanism that interacts with its surroundings with synergy and elevates each element with much sensitivity.
Designs often lack paramount due to glitches generated by unhinged esoteric language often neglected and misunderstood – sociology, ontology, and environmental psychology, thus creating a vicious cycle of ocularcentricism (aesthetic exotica) and peripheralcentricism (character and values) difficult to escape, this with time germinates certain unidirectional dichotomies; one among those is tangibility and time together assimilates into cultural heritage and this acculturation questions the importance of humans and their stories converging this glitch into the architecture of purpose.
Contemporary frames of design reverberate in a secluded mannerism overemphasizing form, material, texture, and colour, lacking emotional vibration and grace; wherein traditional frames diverge into a supple and overlapping cultural ethos producing multiple vantage points, thus rejuvenating the aesthetic activity of the mind. Thus, ethical art forms always trace their roots back to the history of epiphany in ancient civilizations wandering and luring for flexibility, adaptability, receptivity, spirituality, tolerance, and reincarnation, further defining new concepts in architecture – sacredism and secularism.
Historicity and heritage are of great significance to each society or generation; their meaning is certainly unclear, but modern demography and economic change try to dust off this uncertain limbo by giving a sense of belonging, safety, and freedom to anticipate the future.
Architecture is the only art form that reflects the needs of sapiens like no other art form does; it is thus the most exposed art form and an accurate witness to the material and spiritual condition of generations. This is a larger-than-life composition, and to deal with an entity as large as this one, one must set all possible boundaries of logical and sentimental understanding, confronting presumptions and the incompatibility of past and present feelings. This scale of permanent defacement must be under the scrutiny of the conscience.
Bio
Sajid Ali (b. 1992) is a visual artist, illustrator, and designer with a background in architecture and heritage conservation based in India. Ali’s work can be described as narrative impressionistic syncretism, rooted in the tradition of painting, and interwoven with the semiotics of his academic knowledge (built environment, nature, and humans), revolving around literature, psychology, and art.
On a constant quest to push new boundaries, his work follows themes of reinvention; through filtering, dissecting, and documenting conceptual metaphors through the acts of drawing, photography, and writing. He believes art promotes individuality in society beyond pro bono concepts because individuality is part of humanity. Over time, he reframed not only his practical skills but also his theoretical fundamentals in order to understand the impact of art and design on viewers.
Fascinated with the mysterious world of art since the formative years of his design career while studying the ceiling of the Sistine Chapel, his perception of restructured human society and its nuanced configuration changed immensely. In 2018, he enrolled at the Delhi Institute of Heritage Research and Management (DIHRM), rediscovering facets of preconceived notions about historical events and the metaphysics of being to draw conclusions on how and why humans react to art and built spaces in a degrading cultural ecosystem. Ali’s work has evolved with time in a subconscious way to become more questionable, infusing tranquilly with turmoil and depicting the detrimental complexities of the modern world that are often difficult to comprehend.