How Leewardists Turned Comics into City Critique

In a world where architecture is communicated in a complex language, Leewardists uses the simplicity of comics to make the built environment accessible and engaging for everyone. By Aishwarya Kulkarni

Born from a childhood passion for graphic storytelling, Anuj Kale and Shreya Khandekar, partners of Leewardists blend humour and insight to address architectural and urban design issues. Their journey from comic enthusiasts to educators reflects a deep commitment to making architecture relatable and impactful.

Aishwarya Kulkarni speaks with the duo, to understand their idiosyncrasies and passions.  Shreya and Anuj’ work, like a beloved graphic novel, combines personal stories with critical commentary.

SCALE: How did Leewardists start? What’s the story behind its creation, and what does the name signify?

Anuj: I started this journey back in 2015, initially as a passion project to fill some free time and indulge in a childhood love for comics. Both Shreya and I grew up reading and drawing comics and we wanted to materialise our childhood interests in our adult life.

My background is in Urban Design, and that has been a major influence and inspiration for all my work. After a few years working in an architectural office, I began experimenting with long-form comics about cities and urban design, inspired by bloggers who were creating these scrollable stories. I set up a free Blogspot page and shared my work with friends. Initially, the comics were focused on urban design, but I realized that while this was satisfying, I needed an audience who could connect with the content. Over time, the focus expanded to include architecture. The early years were about building an audience through relatable content, though every comic we’ve created is, in some way, a critical piece.

Shreya: In a way, it is a commentary. For instance, our cartoon about architects working late is meant to be funny, but it also points out that architects often work long hours. We want people to think about this and decide if it’s a good or bad thing. It’s up to them. Our content covers a wide range of topics related to the built environment, from politics and climate change to gender and design. While we strive for objectivity, some bias may inevitably exist. Our primary goal is to spark discussion and encourage critical thinking. We aim to inform and provoke, hoping to inspire positive change in our cities.

Anuj: And about the name—Leewardists. The funny thing is, it wasn’t my idea. It came from a friend who explained it like this: a hill has two sides—the windward side, which gets all the wind, sun, and rain, making it green and lush, and the leeward side, which doesn’t get those elements and is mostly dry. The name stuck because it resonated with the idea of exploring that “other side,” the less obvious, less celebrated part of things.

Architects and city planners are equally important, but people often overlook the planners. We want to change that by highlighting the work of city planners and showing how their ideas shape our lives. It’s like looking at a hill – both sides matter. We want to create a platform for everyone to share their thoughts on cities, just like a movement where ideas can’t be stopped.

We’ve found that even the simplest, most relatable comics can have a profound impact. Over time, we’ve heard from people who were struggling, saying that seeing a comic about something as common as the challenges of architecture school made them realise they’re not alone. It’s a global experience, shared by students everywhere, and that sense of connection can be really powerful. While some might dismiss these comics as just memes, we feel memes are also a strong medium to present a critical comment on the socio-economic situations in the country.

Our comics aim to be critical short stories that resonate deeply with many. They’re just as important as the more critical pieces we’ve developed over the years. Whether it’s a comic about being the “neglected architecture student” or a basic design concept, these pieces can boost confidence and make complex ideas more approachable. Many students, especially those labeled as average, find solace and understanding in these stories. Our goal is to be that catalyst, helping them grasp the basics so they can move forward with confidence in their studies.

SCALE: Showcasing architecture and urban design issues through comics is quite unique. Who inspired you when you began?

Shreya: I rediscovered my love for comics after a long break, thanks to starting Leewardists. As a kid, I devoured Tintin, Tinkle, and Archie, but it was adult graphic novels like ‘Persepolis’ by Marjane Satrapi that truly resonated with me. Her personal storytelling through Iran’s history deeply inspires me. I revisit that book every year, reminding me that comics can be both personal and fresh. It’s this blend of tradition and innovation that drives me to experiment with different mediums, whether online or in print. ‘Wait But Why’ is also a favourite that fuels my creativity.

Anuj: Architects like Peter Cook and Neelkanth Chhaya often used storytelling and metaphor to convey architectural ideas. Rather than direct answers, they employed indirect narratives to stimulate thought. This approach suggests that architects should communicate complex concepts in relatable terms, using real-world examples to bridge the gap between technical knowledge and public understanding. Oatmeal is another great example, that I look upto for inspiration.

Before the pandemic, we were already doing research-based graphic novels, but the pandemic made us more sensitive to these issues. We’ve worked with the National Institute of Urban Affairs on projects like designing an inclusive city, where we had to consider diverse perspectives. Collaborating with groups like Alliance Française and Social Design Collaborative allowed us and Leewardists to dive deep into urban inclusivity, creating comics and graphics based on real stories from different communities. It was eye-opening to see how much we hadn’t considered in our designs before.

Shreya: Absolutely. Interacting with various communities broadened our perspective. For instance, in the inclusivity project, we had to think about how people with disabilities or women feel in public spaces—things that are often overlooked. These experiences have not only made our work more relevant but also more rewarding as artists, pushing us to explore beyond just relatable content and tackle more meaningful, research-driven topics.

SCALE: How did Leewardists journey evolve from architectural comics to architectural education, including portfolio making, urban design principles, and internships?

Shreya: What’s common across these topics is that they’re rarely covered in schools. Whether it’s building a portfolio, picking a thesis topic, or even the basics of sketching, we struggled with these ourselves. So, we created courses to fill those gaps. And in the process, we keep learning too. Teaching forces us to stay updated and think more deeply about these subjects. It’s a two-way street where we grow alongside our students.

Anuj: Exactly. We approach these courses just like Leewardists comics—keeping them clear, concise, and relatable. Our goal is to help students gain the confidence to understand and present their ideas effectively by simplifying complex concepts.

SCALE: Your content is consistently crisp and visually unified, delivering clear messages. What are the core principles of effective visual communication?

Anuj: It starts with observation—taking in everything around you without preconceptions. From there, you move to clarity, having a clear idea of what you want to communicate. Effective communication isn’t just about good drawings; it’s about conveying your thoughts and ideas through visuals and text.

Shreya: Adding to that, asking questions is crucial. Never hesitate to seek understanding if something is unclear. It’s the only way to achieve true clarity, which will naturally enhance your presentation and communication skills.

SCALE: What do you think is the biggest issue facing our cities today?

 Shreya: For me, it’s all about walkability. I dislike driving and prefer walking or using public transport, but our cities often aren’t designed for that. Walking should be a positive and empowering experience, but in many areas, it’s neither safe nor convenient. Many cities lack proper pedestrian infrastructure, making walking a struggle rather than a pleasure. We need urban planning that prioritizes pedestrian-friendly design, ensuring safe and accessible walkways so people can enjoy walking without the stress of navigating poorly designed streets or unsafe areas.

Anuj: For me, the issue is the misguided notion of development. Development is frequently equated with the construction of malls, highways, or cricket stadiums, but true development should be much broader. It needs to be inclusive and cater to everyone, not just a select few. Real development involves creating spaces that everyone can use and benefit from—spaces that are accessible, affordable, and supportive of diverse needs. It’s about fostering communities where all individuals, regardless of their background or circumstances, can thrive and have their needs met.

SCALE: With Artificial Intelligence advancing rapidly, what do you see as the future for architectural representation techniques?

Shreya: AI is an incredible tool, but it can’t replace the human touch. We use AI for initial concept sketches or brainstorming ideas, but the final product always requires human refinement. This is because AI can’t fully capture the nuances that make a design relatable and meaningful. Human insight and creativity are essential for adding those final touches that resonate on a personal level, ensuring the design aligns with human needs and emotions.

Anuj: I feel that AI will enhance our efficiency and help us sift out those who aren’t genuinely passionate about architecture. It will push us to concentrate on what truly matters—creativity and empathy. Unlike AI, which relies on algorithms and data, creativity and empathy are inherently human traits that can’t be replicated by machines. This shift will emphasise the importance of these qualities in design and ensure that our work remains deeply connected to human experiences.

SCALE: What are Leewardists plans for the coming years?

Anuj: We want to create something more permanent, like a book, a movie, or a web series. Social media is fast and fleeting, with a short attention span, so whatever we put out lasts only a couple of days. We aim to create timeless content that resonates across generations. We’re focusing on quality over quantity and want to produce work that leaves a lasting impact. We’re considering formats like graphic novels or web series, and we’ve even thought about creating a series about students. Our goal is to make something enduring, like ‘The Office,’ which, despite not being a hit initially, became a beloved classic! We want our humour and content to be timeless, and understood across generations, like ‘Andaz Apna Apna’ (Bollywood movie) or Charlie Chaplin’s work. It’s challenging, but we believe it’s worth the effort.

Shreya: Yes, we want to shift towards longer stories and more in-depth, research-based content that remains relevant over time. We agree on prioritising quality over quantity and aim to create work that makes a lasting impact. Social media’s transient nature means Leewarsists need to focus on producing work that endures and stays significant across generations.