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with strategic pooling of resources in design, animation,
mobilised for shared goals. India’s UX, and product inno-
needs are massive, and the aspira- vation is testimony to
tions of its youth in terms of educa- industry’s confidence
tion are very high. We can’t afford to in our curricula. The
fail them. excellent remunera-
tion that WUD alumni
Dr. Sanjay Gupta command are proof
Vice Chancellor, World University of Design, that our curriculums
are deeply valued.
Sonipat
R&D and innovation are
n alum of IIT-Delhi, IIM- widely perceived as In-
Ahmedabad and Fashion dian academia’s infirmity.
AInstitute of Technology, What’s your institutional
New York (USA), Dr. Sanjay Gupta response to create new
is founding Vice Chancellor of the knowledge?
World University of Design (WUD), Dr. Sanjay Gupta (centre) with WUD students At WUD, we prioritise
Sonipat (estb.2018). knowledge creation
What are your major initiatives to con- as a core responsibility, especially in
What are the major objectives set for temporise your syllabus/curriculum? fields where empirical frameworks
WUD for India’s 100th Freedom Anniver- Our curriculum is built on the foun- are still evolving — like design, vi-
sary in 2047? dational idea that creativity has to sual & performing arts, and creative
By 2047, WUD intends to emerge as be dynamic and evolving constantly. entrepreneurship. We’ve created
a global leader in creative education In WUD, we’ve introduced flexible a research culture that includes
and a hub for design-led develop- pathways that encourage students to practice-based research work,
ment. Our long-term goals include combine major and minor subjects multi-disciplinary research groups,
expanding international academic across disciplines, through electives, and community-based innovation
collaborations, building deep part- and learn in real-world studios and projects. Our approach to R&D is not
nerships with industry for research labs. We had also implemented all to replicate the science lab model,
and innovation, and shaping a the radical provisions of the NEP but to build a design lab model —
generation of creative leaders who 2020 — multi-exit options, credit that values iteration, user feedback,
can address social, economic, and transfers, internships, and commu- cultural insight, and impact in the
environmental challenges. We also nity engagement — well before they real world.
intend to institutionalise our unique became mandatory.
approach to interdisciplinary educa- In terms of pedagogy, we’ve ad- What’s your prescription for transforming
tion and design thinking across all opted a design-based approach that India into a $30 trillion GDP economy by
fields — from engineering and man- emphasises studio learning, iterative 2047?
agement to the arts and humanities. problem-solving, and community- India’s growth cannot rely solely
linked projects. Many of our teaching on scale and technology. Creativity,
How satisfied are you with your progress interventions — such as the Visual cultural capital, and design thinking
thus far? & Performing Arts integration with must necessarily be embedded into
Our progress has been influential leadership training, our collaborative the national development model.
and is measurable. When WUD was thesis projects — are openly shared This means not just building more
established, design education was and have been emulated by newer factories and apps, but designing bet-
largely confined to a few specialised HEIs. ter systems, services, products, and
institutions. Today, hundreds of uni- experiences. The creative economy
versities and thousands of colleges How satisfied are you with your connect — including media, fashion, urban
across India have launched design with Indian industry and business? design, animation, and performing
programs. This is an ecosystem shift Our industry engagement has arts — can become a major contribu-
that WUD has catalysed. We’ve been become very strong in sectors that tor to GDP, employment, and global
in the vanguard of recognising skills value creativity — design studios, soft power.
of the future. cultural organisations, architecture To unlock this potential, the
Perhaps more significantly, WUD firms, fashion brands, e-commerce government must recognise the value
was the first HEI to structurally retailers, IT companies and digital of design as a national capability, not
group art, architecture, and design startups. About 80 percent of our just a vocational skill.
under one academic umbrella. This students are deeply involved in
model has now spread to other HEIs, industry-led graduation projects, How optimistic are you about India’s
including government-backed events and several of our study programs future growth and development?
like the Delhi Art Biennale. In that are co-designed with industry lead- I’m cautiously optimistic. We have
sense, our progress has been founda- ers and professionals. The fact that the demographic edge, digital in-
tional, rather than institutional. we’ve placed our graduates with frastructure, and a growing entre-
global and national corporate leaders preneurial culture. But these factor

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