Afflicted with bureaucratic hurdles and unsettling realities, the condition of living heritage in the country is grave. At a time when the practice of urban heritage conservation has seen a paradigm shift to ‘beautification’, the meticulous restoration of St John the Baptist Church by Mumbai-based Vikas Dilawari Architects resurfaces the need for patronage in conservation.
Blueprint is a narrative of Gautam Bhatia’s work juxtaposed on his larger cultural projects, and his experiments with complexity and context.
The Building as a Metaphor
A chronicle of work can be many things – a catalogue, a celebration and a critique. This one is an uncanny montage of ideas and images: a personal retrospective into the architectural journey of one of the sharpest spatial thinkers in India.
The architecture of Gautam Bhatia is difficult to reconcile for a casual observer. What are his concerns? What is he trying to achieve? The work itself – as evidenced by the book – is eclectic, diverse and seemingly inconsistent. The projects themselves deal with an array of scales, programmes and situations moving from historic preservation and rejuvenation projects to urban design; From the ‘Palace’ to the ‘Mountain House’.
This three-point discussion sought perspectives and viewpoints on the perceivable aspects of interior design and the emerging tangential domains of the discipline – interior decoration / visual décor and styling.
INTERIOR DESIGN PRACTICE IN THE CONTEXT OF INDIA
An interior design practice when placed in the Indian context gets tied to not just our culture and aesthetics but more importantly, to how it is practised. In India, interior design has not been separated from architecture as a result of poor or no legislative or licensing control. It has, therefore, become a profession that architects adopt to create liquidity more often than not – an intermediary ball to keep rolling between architecture projects.
A Recorded Lecture from FRAME Conclave 2019: Modern Heritage
In this lecture, Rohit and Vandini talk about Mahendra Raj’s journey as a Structural Designer. They also provide an in-depth insight into the structural expressiveness, innovations and elements that allowed for new spatial possibilities in his illustrious body of work.
To talk about the works of Mahendra Raj, we have titled the work, “Structural narrative of Indian Modernity as an oeuvre of Mahendra Raj” as you will see, inflects and contributes, and helped create many artefacts that pioneer the narrative of Indian Architectural Modernism post-independence.
In this presentation, we will discuss only a few of Raj’s most important projects from over 250 projects that he has realised in the last six decades. Each project that we have chosen shows a visionary and pioneering engineering solution, exemplifying the bold and adventurous innovations his practice engaged in. As we discuss these works, the underlying story that emerges is of transnational exposures and exchanges of brilliant architectural and engineering minds, Le Corbusier and Louis Khan experimenting in India, Indian architects and engineers travelling West and coming back to engage with each other and local systems, we feel, created a fertile environment and incubator of sorts for new ideas that defined Indian Modernism.
Raj’s interest in structure started in 1951 when he was appointed as the Assistant Design Engineer for the construction of Chandigarh’s High Court. The geometric parasol roof consisting of shells presented the engineers with bold structural and functional hurdles. Working with other engineers, he, with his senior Gulzar Singh proposed modifications, that of a balanced cantilever, that supported on two columns, the fins that we now see which made the construction possible. This is what Corbusier wanted, and this is what finally came about from there.
Studio culture – as with all manifestations of the human intellect – is the embodiment of a pattern of work that nurtures the craft of building. Architecture workspaces are especially readable in this context as architects are, in this case, designing for themselves. With every workplace as distinct and specific as the work it produces, the people who design and work in these environments reveal their ideas in the space.
In this edition of the STUDIO series, we enquire about the early beginnings and work ethics of a long standing studio-culture of the Chennai-based practice Nataraj and Venkat Architects, founded by V S Nataraj and A Venkat in 1984.
A quiet pathway trails into the studio space, where dappled sunlight gently wraps its facade forming an interplay of shadows, materials and textures. Chennai-based Nataraj & Venkat Architects [NVA] is a 30-year-old design practice, and is among the city’s pioneering firms renowned for their contemporary vernacular architecture. In a brief conversation with ThinkMatter, Principal Architect A Venkat discusses the making of a successful practice with a philosophy rooted in collaboration, competition and consciousness. Continue reading STUDIO: Nataraj and Venkat Architects→