I’m Jofree Shimray.
Over the last two decades I’ve worked on multidisciplinary projects ranging from television channel branding and broadcast studios to museums, virtual production systems, corporate spaces, sports graphics, and editorial platforms used by journalists across India.
The projects have involved collaborating with people from very different domains — coders, carpenters, journalists, architects, government officials, fabricators, artists, and production teams across countries, cultures, and time zones. Sometimes communication happened through translators. Sometimes through sketches, gestures, and broken internet connections when Google Translate stopped working.
BROADCAST & REALTIME SYSTEMS
Broadcast environments are built around teamwork in ways that are often invisible to the audience. Before anything goes on air, producers, anchors, graphics operators, engineers, camera teams, lighting designers, and editorial staff are all coordinating in real time. Even small disruptions — a delayed guest, failed uplink, missing graphic, or microphone issue — can affect the entire flow of the broadcast.
A large part of the role involved designing systems that could survive this unpredictability. The image here was taken during a studio mock-up before launch, where the technical team and I stood in as anchors while testing camera angles, graphics, lighting, and screen layouts. The unfinished setup behind the desk was never meant to be seen on camera, but it was very much part of the process that made the final broadcast possible.
Broadcast graphics exist not only in space, but also in time. The pacing of an animation, the speed of a transition, or even a brief pause before revealing information can change how a story feels.
In live television, graphics constantly compete with anchors, video footage, commentary, and breaking information for the viewer’s attention. A large part of broadcast design therefore becomes deciding when graphics should command attention and when they should quietly support the editorial narrative without disrupting it.
Designing for broadcast in India also means designing across multiple languages, cultural contexts, and audience expectations. Many of the projects involved channels operating in regions where English was not the primary language, requiring close collaboration with native speakers to evaluate typography, readability, tone, and visual language.
What feels restrained and elegant for one broadcaster may feel emotionally distant for another. Some clients preferred quieter editorial systems inspired by networks like the BBC, while others wanted graphics that felt louder, faster, and more theatrical. Balancing these regional differences while maintaining clarity became an important part of the process.
MUSEUMS & INTERACTIVE STORYTELLING
I started my design career while transitioning through design school, working on museum and exhibition projects involving interactive storytelling, touchscreen systems, and spatial sequencing. Many of the ideas explored in those projects — guiding attention through light, scale, movement, and interaction — later continued into my broadcast and digital work in different forms.
The projects shown below include early work from the Eternal Gandhi Multimedia Museum (“E-Train”), Virasat-e-Khalsa Museum, and the Sadhu Vaswani Museum. Over the years these spaces evolved beyond their original form, but I was part of the original visualization teams that helped translate concepts, stories, and interactive ideas into spatial experiences during the early design stages.
SPATIAL & EXPERIENTIAL DESIGN
Some spaces are designed primarily for people to work together inside them. In newsroom and office environments, the challenge is often balancing collaboration with focus — creating spaces where teams can quickly gather, discuss, and respond in real time, while still allowing moments of privacy and concentration when required.
Open collaboration zones, breakout spaces, and standing discussion areas can influence how quickly decisions move through the system. Designing these spaces often felt less like interior styling and more like organizing human interaction under pressure.
Broadcast studios are unusual spaces because they are designed primarily for cameras rather than the people physically inside them. Material choices, lighting, reflections, furniture, and circulation paths are often determined by what the camera sees rather than what feels natural in person.
Many of the studios we designed also needed to remain flexible within limited urban spaces. Some sets were built on wheels with movable walls, rotating sections, and programmable lighting systems that allowed the same environment to transform visually for different shows throughout the day.
Virtual studios introduced another layer of complexity where anchors gradually adapted to performing inside green environments that often felt unintuitive or uncomfortable for first-time guests. In all these situations, the final environment was shaped as much by lenses, camera movement, engineering constraints, and broadcast workflows as by architecture itself.
A large part of spatial design happens long after the concept drawings are complete. Fabrication, engineering, logistics, technology integration, and installation often reshape the project once it moves into the physical world.
Many projects involved close coordination with fabricators, lighting teams, broadcast engineers, architects, and technology consultants spread across different countries and time zones. For one studio project in India, we evaluated fabrication teams across both the United States and China before eventually working with a Chinese team because of speed and budget constraints. Communication often relied on translators, sketches, drawings, 3D visualizations, and improvised problem-solving when language or technology became a barrier.
These experiences reinforced how dependent spatial projects are on coordination between architecture, cameras, lighting, fabrication, engineering, and technology systems.
DIGITAL PLATFORMS & INTERFACES
The interface systems shown here emerged from environments where people needed to process large amounts of information quickly and under pressure. Unlike consumer-facing apps designed around prolonged engagement, many of these systems were built for journalists, producers, graphics operators, and editorial teams making fast decisions in real time.
These interface systems emerged from environments where people needed to process large amounts of information quickly and under pressure. Election Central structured live election data arriving from counting stations into a centralized broadcast system. HyperView Controller was developed for live cricket broadcasts where operators often had only seconds to reconstruct ball trajectories and field positions before the next play unfolded on air. The Press Trust of India (PTI) interface handled hundreds of incoming stories, photographs, and videos daily, requiring search and navigation systems that remained visually direct without slowing down newsroom workflows.
My projects have often moved between disciplines, technologies, and teams rather than staying inside a single category of design. I still enjoy projects that require different people, systems, and tools to figure things out together in real time.
New tools, realtime systems, and AI-assisted workflows are rapidly changing how ideas are explored, tested, visualized, and sometimes discarded. I’m curious to see where these newer forms of collaboration lead.
If you’re working on something unusual, multidisciplinary, or difficult to categorize, feel free to get in touch.
Thank you!