Situated in the midst of a vast arid expanse in Kutch, the architecture of Khamir Crafts Resource Centre in Kukma is one of participation in the celebration of the crafts from the region. Designed to facilitate a network with the artisans by responding to their way of life and work, the place builds upon the complex cultural relationships therein.
Studio culture 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 about space-making.
Q: How long has it been since the completion of your studio space, and how has it transformed?
Parth Shah [PS]: Our studio was completed in August 2007. Since then, it has transformed in more ways than one. Some of the immediate physical changes are visible in the way the ‘green’ has become a part of the building over a period of time. Continue reading STUDIO: BPS ARCHITECTS→
Samira Rathod, Principal, Samira Rathod Design Atelier [SRDA] writes about the predicaments and opportunities of practising interior architecture in India – a context where the discipline is disorganised and there is lack of clarity on the role of design consulting in the interior space.
To write about interior design as a practice is very tough since we do not see Interior design as a formal, organised discipline in India. When we were studying architecture, there was no independent/separate interior design practice in India and no interior designers that were respected or known enough. Continue reading [IN]SIDE: SAMIRA RATHOD ON PRACTICE OF INTERIOR DESIGN→
‘The Structure: Works of Mahendra Raj‘ is an elaborate account of the significant career of one of the predominant structural designers of India – through an archive of images, drawings and writings on the prolific structures envisioned by Mahendra Raj.
In a curated series on archival texts, views, discussions and comments on the state of architecture and design education in India, Shirish Beri provides observations, on the importance of a student-teacher relationship and challenges students to nurture their inquisitiveness which lies at the core of architectural education.
The post-independence period in India witnessed the beginning of a new design culture with the founding of quality institutions and initiatives in arts, crafts and cultural projects across India. In the quest for a unique modern identity, the architecture and design trajectory of an independent India aspired to establish a significant voice in the making of a new kind of society. In this context, the exhibition: IMPACT: Design Thinking and the Visual Arts in Young India attempts to foreground the radical design discourse in India in the 20th century, featuring select works of individuals, groups and organisations at the intersection of art, craft and design.
The contribution of the history of modern architecture in India is unparalleled in terms of the many experiments that were embarked upon in search of spatial and social innovations that were responsive to the cultural, social, political and economic landscape of India. At a time when architecture in India needs a critical review, it is this history that serves as a reference and a foundation.
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 about space-making.
Shubhra Raje, principal architect of shubhra raje_built environments closely engages with different drawing practices within her studio. By excavating and analysing visual material in Shubhra’s studio, we attempt to decipher the draftsmanship cultures, their relationship with the design process and the way in which they inform her practice.
Images and Drawings: Courtesy Shubhra Raje Author: Vedanti Agarwal Curation and Film: Matter.
Shubhra Raje’s practice emphasizes the act of drawing as a means of critical thinking. Her rigorous drawing habit traces back to schooling years at CEPT University, where drawing by hand was ingrained in the academic rigour. However, her perceptions on the necessity to draw as a mode of thinking (as against drawing to represent) evolved through learnings during her time at the Cornell University. Representational drawings command a style that is conscious of its viewers. Design-thinking drawings are undisturbed collaterals between the engaged hand and the searching mind, oblivious of another eye. The scale of Shubhra’s practice enables her to engage with all stages of drawing in the design development process.