The National War Memorial in Delhi by Chennai-based Webe Design Lab is a built landscape that emerges from an unprecedented participatory process, programme, ambition, and typology. In its comprehension, the project creates a space of sanctitude in memory of Jawans, and of pride, and honour for their families and citizens of India, which is respectful to the context.
Google Earth Image of the Site: Before
BACKGROUND & TIMEFRAMES
One of the most enduring images from Delhi since 1931 is the axis of India Gate, forming one of the pinnacles of the ceremonial Vijaypath (the erstwhile Rajpath or the Kings Way) – the currently debated Central Vista. The ceremonial boulevard was designated by Edwin Lutyens as the centre of what he contrived as a ‘modern imperial city’, tethering an enclave of buildings of political eminences such as Rashtrapati Bhavan (formerly the Viceroy’s Residence), Secretariat Building, Vijay Chowk, designed by Lutyens himself and Herbert Baker. Renowned as one of the foremost European designers of war memorials and graves, Edwin Lutyens designed the All India War Memorial, popular as India Gate in tribute to the soldiers martyred in the First World War from 1921-31. Beyond it, since 1972 stands the Amar Jawan Jyoti, an inverted bayonet with a soldier’s helmet – an insignia in homage to India’s victory in the 1971 war with Pakistan and to the brave soldiers who died while serving India’s armed forces. The area surrounding this is marked as the Lutyen’s Bungalow Zone (LBZ) which is also enlisted on 2002 World Monuments Watch list of 100 Most Endangered Sites. Needless to iterate, it is a site of cynosure – an avenue in focus with the ongoing debates around the Central Vista project. It is a landscape of immense cultural, historical and political significance. Continue reading National War Memorial, Delhi: WeBe Design Lab
BY dd ARCHITECTS
Restored through a continuous effort spanning over a decade, Sree Vadakkunnathan Temple Conservation Project was carried out under the supervision of Thrissur-based Vinod Kumar MM of dd Architects. The process focuses on the authentic with an idea of reviving traditional workmanship through an amalgamation of interdisciplinary interventions.
Located in the heart of Thrissur – the cultural capital of Kerala, Sree Vadakkunnathan Temple (incrementally built around 12th century) has played a significant role in the evolution of the temple town. Conceived as the conceptual centre of the temple town, the place continues to be a living institution in the core of the new and aggressive developments around.
An aerial view of the Vadakkunnathan Temple precinct positioned centrally in the dense urban fabric of Thrissur
Continue reading SREE VADAKKUNNATHAN TEMPLE CONSERVATION PROJECT
By reading into the cultural environment of the sixties and seventies, and the rise of a range of affinities in architecture that emerged in the wake of Independence in India, two pictorial essays by Stefanie Zoche and Sabine Haubitz document a part of a larger cultural zeitgeist. The essays focusing on the essentialised photographs of facades of single screen movie theatres and churches in South India propose a common ground – an enquiry into what they refer to as ‘Hybrid Modernism’.
Our Lady of Miracles, Kochi
In India, architecture evolves in a palimpsestic disposition, especially in the rurban areas. Historical, provincial, aspirational layers exist in this pluralistic built landscape. The development of modern architecture in India succeeding the influences of international style made a gradual headway from 1920s and -30s and pronouncedly was acknowledged with Le Corbusier’s vision for Chandigarh. While post-independence architecture in India is largely attributed to modern architecture, it belongs to perhaps only a fraction of the built landscape. Architecture in the remaining paradigm is countered by a gentler transition, more self-conscious and self-referential, consolidated socially and culturally. Familiar and immediate frames of references are appropriated and contextualised at a local level. Moreover, it is not homogeneous across the country but exists in complex crossovers.
Continue reading Portraiture: ‘Movie Theaters’ and ‘Churches’
Hiren Patel, Principal and Director, Hiren Patel Architects writes about an approach to architecture where the question of thinking in detail is central to the idea of a project and the work reaffirms this belief when it endures inhabitation over a large span of time.
The semi-covered veranda: pavilion in the middle of the site for a Village house project: structures that promote outdoor living and bear a better relationship with the natural context.
For me, designing a building is like creating a painting on a canvas. Growing up, I always had an inclination for the arts. As a student, architecture opened up a whole new way of looking at art and design. This, I think, in some way influenced my approach towards architecture. Continue reading HIREN PATEL ON ‘MAKING’
Founded by Nitin Barchha and Disney Davis with their shared passion for design, the Mumbai-based practice ‘Material Immaterial Studio’ indulges in the sheer joy of crafting and the process of experimenting with the character of materials. The studio forges unconventional handmade curiosities which appeal to the architectural intellect as reductions of spatial scale by “exploring the bare beauty of materials”.
Every once in a while, one entertains an idea of a peculiar venture; the grounds of which tend to be less pragmatic and more whimsical. While these ideas end before they take off, Nitin and Disney fostered their fascination with materials into a unique endeavour which celebrates craftsmanship. Continue reading Material Immaterial Studio