A Recorded Lecture from FRAME Conclave 2019: Modern Heritage
In this lecture, Mary Norman Woods talks about women architects in post-independent India, and their role in Indian society. She also speaks at length about two prominent women architects from two different generations, and their illustrated body of work.
Exploring the different forms that architectural practice might take beyond the usual metrics of originality and innovation can complicate our understanding of modern heritage and its implications for contemporary practice.
Peggy Deamer, US architect, educator, and activist has argued that how architects practice is as important as what they design and build. Writing in 2018, Deamer put forth the proposition that “architecture cannot produce spaces of freedom — public spaces, healthy spaces, accessible spaces, affordable spaces, sensually liberating spaces — for the society architects presume to serve if they are produced in unfree circumstances such as unpaid labour, gender inequality, generational hegemony, unsustainable work hours, non-existence work-life balance, lack of collegiality or discipline, [and] crippling competition.” Her words remind me of a question that Ellen Perry Berkeley, another American architectural critic, writer, and educator, posed exactly four decades ago. Then, Berkeley wrote: “the real problem for a thoughtful woman is not whether she is accepted into the profession, but whether she wants to be accepted into the profession as it is now.”
The Takshila Lecture on Architecture and Society is delivered by an eminent professional / academician that addresses growing disparity between the practice and pedagogy of Architecture in India, and the realities of our social, cultural and economic contexts. The lecture and the following dialogue aim to challenge the status-quo with a conviction that an open and honest conversation on the state of practice will instigate positive change.
Architecture BRIO, one of the most versatile amongst emerging practices in India, has been able to create projects with a refreshing sense of newness and surprise. This piece is an attempt to understand the key ingredients of their design process with an emphasis on the act of drawing as a negotiator of ideas.
In 2006, Shefali Balwani and Robert Verrijt established their practice – Architecture BRIO after returning from Sri Lanka where they worked with Channa Daswatte. Their initial projects were designed for Magic Bus – a non-profit organisation and entailed very efficiently resolved simple structures that enable ideas of play and interaction to manifest. Since then, their practice has engaged with works of various scales and typologies with sites in the peri-urban region of Mumbai, across India and South-East Asia. The portfolio is significantly diverse with the common themes that concern tectonics of site, formal and spatial explorations of architecture, critical reading of the programme, systems thinking, and clarity of material and detail that have characterised their work.
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.