2025 Degree Show
Commissioned by Manchester School Of Art
Duration of the project : 3 months
Roles performed : Design Conceptualization, Visualization
In the heart of ancient India, a game was born—not merely as a pastime, but as a spiritual guide to self-realization. Gyan Chaupar, the precursor to the modern Snakes & Ladders, was a tool of introspection, illustrating the soul’s journey through the cycles of life, death, and rebirth. Originating in the 13th century, this game was deeply embedded in Hindu and Jain philosophy, where ladders represented virtues that elevated the soul toward moksha (liberation), while snakes embodied vices that led to downfall and rebirth.
As the game journeyed across cultures—from Islamic adaptations to European reinventions—it gradually shed its philosophical depth. By the time it was commercialized in the West as Snakes & Ladders, its moral and spiritual lessons were diluted, transforming it into a game of pure chance, played by children with little knowledge of its profound origins.
Advaita a hindu philosophy says something really cool:
You and everything around you — your friends, trees, animals, stars — are all part of one big, connected thing. Like drops of water in the same ocean. Even though we look different, deep inside, we are all the same.
Now imagine you're playing Gyān Chaupar — the old version of Snakes and Ladders.
Thought Process
My Role & Contributions
"Nothing in life is by chance — this game is a mirror to the soul. Played with awareness, it becomes a path for reflection, not just amusement."
This was a £2,000 university-commissioned installation that reimagined the classic game Snakes & Ladders, transforming it into an interactive cultural and philosophical experience. The project was developed in close collaboration with Design Faculty from Manchester School of Art ensuring that the design aligned with both the curatorial intent and the broader narrative of the exhibition BLOOM'25.
Every time you climb a ladder, you're being kind or honest. Every time you slide down a snake, maybe you were selfish or mean. But the board is just a journey — no matter how many ups and downs you have, the game is helping you remember who you really are inside.
The project reimagines a traditional 2D board into a three-dimensional, distorted space where each row illustrates its transformation—from its Hindu philosophical origins to today’s digital buttons in online gaming. The original version had 108 boxes, each imbued with meaning, guiding players through life’s virtues and vices. The ladders encourage moral ascension, while the snakes, representing vices, lead to downfall—offering another chance to start anew, much like the cycle of rebirth in life.
By reimagining Gyan Chaupar as an experiential space, we transform it from a forgotten relic into a living dialogue—one that reconnects us to ancient wisdom while prompting new perspectives on life’s journey. In this reflective arena, visitors are not just players, but seekers, engaging with a game that is, at its core, a mirror to the human experience.
The Visual assets were inspired from the old boards by Sneha Nayak : Visual Designer
Design & Execution: I was responsible for the physical structure and spatial design, creating a layout that balanced storytelling with functionality. Every design decision was informed by the need to merge playfulness with cultural depth, making the installation engaging for both casual visitors and academic audiences.
Curatorial Alignment: Working closely with curators, I translated abstract exhibition goals into tangible design interventions. This required careful listening, quick iterations, and finding a middle ground between curatorial vision and visitor experience.
XR Integration: I partnered with a visual designer and game developer to extend the installation into an immersive XR environment. This digital layer complemented the physical space, offering visitors a new way to experience Indian philosophy through interactive technology.
What I Learnt
Project Management at Scale: Managing budgets, timelines, and interdisciplinary teams gave me practical experience in delivering a university-funded project on time and within resources.
Design Futures Thinking: By reinterpreting a traditional Indian game, I practiced design futures principles—bridging heritage and modern immersive technology.
Cross-Disciplinary Collaboration: I learnt how to work with software developers and visual designers, ensuring technical feasibility without losing the emotional and cultural essence of the project.
User Engagement in Exhibitions: Designing for a diverse audience helped me understand how spatial design and interactive storytelling can shape visitor behavior and attention spans.
This project taught me how powerful exhibitions can be as platforms for dialogue—not just displays. It also deepened my appreciation of how design mediates between culture, technology, and people. Moving forward, I aim to bring the same collaborative and user-centered mindset into future projects, whether in service design, product design, or interactive spaces.
