National Film Award for Best Production Design

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National Film Award for Best Production Design
Type National
Category Indian Cinema
Instituted 1979
First awarded 1979
Last awarded 2013
Total awarded 36
Awarded by Directorate of Film Festivals
Cash award ₹50,000 (US$740)
Medal Rajat Kamal (Silver Lotus)
First awardee(s) Jayoo Patwardhan
Recent awardee(s) Ashim Ahluwalia, Tabasheer Zutshi and Parichit Paralkar

The National Film Award for Best Production Design is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for feature films and awarded with Rajat Kamal (Silver Lotus).

The award was instituted in 1979, at 27th National Film Awards as National Film Award for Best Art Direction, and awarded annually for films produced in the year across the country, in all Indian languages. The award renamed as National Film Award for Best Art Direction from the 57th National Film Awards in 2011.[1][2]

Winners

Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:

List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
Year Recipient(s) Film(s) Language(s) Citation
1979
(27th)		 Jayoo Patwardhan[3] 22 June 1897 Marathi  –
1980
(28th)		 Meera Lakhia[4] Bhavni Bhavai Gujarati <templatestyles src="Template:Hidden begin/styles.css"/>
For perfectly creating the glamour of the royal palace juxtaposed with the grim austerity of hutments, for successfully providing a period touch down to the smallest details, for providing a stamp of authenticity to the film.
1981
(29th)		 Manzur[5] Umrao Jaan Urdu <templatestyles src="Template:Hidden begin/styles.css"/>
For re-creating the sets of the Lucknow Kothas and aristocratic homes with an unerring sense of the historical period portrayed.
1982
(30th)		 Nitish Roy[6] Kharij Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For recreating milieu with delicate details.
1983
(31st)		 Nitish Roy[7] Mandi Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the inventive creation of a backdrop which admirably complemented the varying moods of the film.
1984
(32nd)		  • Nachiket Patwardhan
 • Jayoo Patwardhan[8]		 Utsav Hindi  –
1985
(33rd)		 Sham Bhutker[9] Rao Saheb Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the authentic creation of a setting of the early years of the century.
1986
(34th)		 P. Krishnamoorthy[10] Madhavacharya Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For effectively recreating the era of Madhvacharya.
1987
(35th)		 Thotta Tharani[11] Nayagan Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For interpreting the visual content of the film as authentically as possible, both in the design and construction of the sets and the colour schemes, to create the appropriate atmosphere and character of the film.
1988
(36th)		 T. Vaikundam[12] Daasi Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For his minute care and concern for detail of prop and decor, creating a period locale which becomes an amalgamated part of the film enhancing its aesthetic value.
1989
(37th)		 P. Krishnamoorthy[13] Oru Vadakkan Veeragatha Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For adding to the aesthetic value of the film as a whole by carefully recreating the essence of the reality of a bygone era in Kerala with minute attention to details of pros and decor.
1990
(38th)		 Nitish Roy[14] Lekin... Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For maintaining the era, etching the characters against the canvas, with perfect color, design and execution.
1991
(39th)		 Samir Chanda[15] Rukmavati Ki Haveli Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating an authentic and real setting, matching the mood and manner of the film.
1992
(40th)		 Samir Chanda[16] Rudaali Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For its realistic recreation of the desert scape, with its requisite architectural structures, both opulent and humble.
1993
(41st)		 Suresh Sawant[17] Muhafiz  • Hindi
 • Urdu		 <templatestyles src="Template:Hidden begin/styles.css"/>
For recreating architecture, landscape and interiors of exceptional beauty and cinematic integrity, synchronised to perfection with the thematic content of the protagonist's search for the poetry of an ailing maestro.
1994
(42nd)		 Sabu Cyril[18] Thenmavin Kombath Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For creating an appropriate space for a romantic fantasy in cinema-scope in tandem with the cinematography.
1995
(43rd)		 Sabu Cyril[19] Kalapani Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For his apt and outstanding recreation of the early decades of this century, with a remarkably detailed work of mis-en-scene.
1996
(44th)		 Thotta Tharani[20] Indian Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For erection of sets and selection of locations perfectly retaining the period depicted in the story and enhancing the huge canvas of the film.
1997
(45th)		 Ramesh Desai[21] Thaayi Saheba Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For his meticulous attention to minute details creating the exact atmosphere and aura of the film's period lifestyle and its changing perspective decade to decade.
1998
(46th)		 Nitin Chandrakant Desai[22] Dr. Babasaheb Ambedkar English <templatestyles src="Template:Hidden begin/styles.css"/>
The film covers a large time span from the pre-electricity age to post independence India. The scene, both indoor and outdoor move effortlessly around rural, urban, Indian and foreign locales and blur the distinction between sets and locations – with the aid of faultless camerawork, the art direction almost single handedly creates the entire period mood and feel of the film.
1999
(47th)		 Nitin Chandrakant Desai[23] Hum Dil De Chuke Sanam Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For recreating the haveli ambience and matching it with the existing structure used, the décor of the sets and for recreating the best of life styles of the region.
2000
(48th)		 P. Krishnamoorthy[24] Bharati Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For aesthetically recreating the period of early twentieth century taking great care in selecting authentic properties of the time to enhance the décor of both interiors as well as exteriors, thus bringing alive Tamilnadu of that period.
2001
(49th)		 Nitin Chandrakant Desai[25] Lagaan Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For aesthetically recreating the pre independence period village with authentic details.
2002
(50th)		 Nitin Chandrakant Desai[26] Devdas Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating an evocative visual setting for the romantic drama.
2003
(51st)		 Indranil Ghosh[27] Chokher Bali Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his muted recreation of a period and its ambiance.
2003
(51st)		 Sharmishta Roy[27] Meenaxi: A Tale of Three Cities Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a colourful ambiance which effectively supported the narrative.
2004
(52nd)		 Samir Chanda[28] Netaji Subhas Chandra Bose: The Forgotten Hero  • English
 • Hindi		 <templatestyles src="Template:Hidden begin/styles.css"/>
For effectively recreating the period prior to the second world war across nations.
2005
(53rd)		 C. B. More[29] Taj Mahal: An Eternal Love Story Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For effectively recreating the mughal period and rendering life to an era.
2006
(54th)		 Rashid Rangrez[30] Waris Shah: Ishq Daa Waaris Punjabi <templatestyles src="Template:Hidden begin/styles.css"/>
For the authentic recreation of a historic and culturally rich era.
2007
(55th)		 Sabu Cyril[31] Om Shanti Om Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating authentic film settings of 1970s and recreating them in a dilapidated condition a generation later.
2008
(56th)		 Gautam Sen[1] Firaaq Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For its perfect use of props and choice of colours to enhance the ambience of a post-riots.
2009
(57th)		 Samir Chanda[2] Delhi-6 Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a very convincing match of actual locations with detailed, recreated sets.
2010
(58th)		 Sabu Cyril[32] Enthiran Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the style and finesse realised in the creation of a set design that is coherent with the futuristic visual style of the narrative.
2011
(59th)		 Indraneel Ghosh[33] Noukadubi Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For a detailed visualisation of the Bengal renaissance through a very intricate weaving of sets, props and the colours that epitomise such an era. He brings in his expertise and knowledge of that period and deftly merges it with the tragic plight of star-crossed lovers in this famous Tagorean tragedy. Recreating locations without making them too elaborate is a highlight of this film.
2012
(60th)		  • Boontawee 'Thor'
 • Taweepasas
 • N. Ilayaraja [34]		 Vishwaroopam Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For a subject that transcends different times and space, the commendable production design has played a huge part in making this film what it is."
2012
(60th)		  • Ashim Ahluwalia
 • Tabasheer Zutshi
 • Parichit Paralkar • [35]		 Miss Lovely Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a style and finesse realized by authentic recreating an era in a not too distant past and dressing up the location that is coherent with the visual style of the narrative."
2014
(62nd)		 Aparna Raina [36] Nachom-ia Kumpasar Konkani <templatestyles src="Template:Hidden begin/styles.css"/>
For convincingly recreating spaces from a different era and with minute attention to detail."

References

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External links

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