Dean D’Cruz, co-Founder and Principal Architect of Mozaic writes about his learnings from a three-decade long tryst with the landscape of Goa, and the way in which its biodiverse terrain became the foreground of a practice in environmentally responsible architecture.
It has been 32 years since I came to Goa. In the beginning, I worked for Gerard D’Cunha and in time entered into a partnership with him which was then called Natural Architecture. This was interesting and a change for me; since my college days, I was intrigued by technology, which I loved. Earlier, as a student of architecture, I was inspired by Mies, and Corbusier for their mastery of forms. But then slowly, I began to appreciate the level of detailing in the work of architects like Gaudi. Gerard had worked closely with Laurie Baker who was always very hands-on, maintained a down-to earth approach to architecture where one actually builds oneself! So, it was a very interesting learning – this integration of technology and the Baker-approach to architecture. As I grew, I was influenced more by the humanistic approach to architecture rather than the final sculptural form.
Continue reading Dean D’Cruz: On Sustainability, Architecture and Practice
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’
In a series on archival texts, views, discussions and comments on the state of architecture and design education in India, Architect and Academic Krishnapriya Rajshekar shares from her experience as Assistant Professor at Wadiyar Centre for Architecture (WCFA), the significance of context in a studio culture, ‘making’ of a campus experience, and the intrinsic pedagogical framework embedded in an architectural education. For the curated short series, a prologue by Suprio Bhattacharjee.
The north block, walls drawn, beyond the roof of the library at WCFA
BY SUPRIO BHATTACHARJEE
When I had set out to write the first essay that in many ways I had thought of as an ‘anchor’ to this series – though not a definitive, dogmatic or instructive one – as points of view, definitions, what can be determined as radical or not, etc. – all of this tends to alter and transform over time – I had never thought it could be seen as a set of ‘implied’ questions or loosely framed inquiries to which one can directly respond.
In many ways, I am indebted to Krishnapriya Rajshekar, Assistant Professor at the Wadiyar Centre for Architecture [WCFA], Mysore, for breaking this aforementioned perception I have had of my one piece of text. Continue reading An Ephemeral Lab in a City of Fixity
Architecture, Academia, and Gendered Homelessness
In a curated series on archival texts, views, discussions and comments on the state of architecture and design education in India, Prof Dr Anuradha Chatterjee discusses the specious, generalised view of academic practice in India. She writes critically of the prevalent discriminatory and discursive structures or biases that this space and contemporary professional discourse have grown to embody.
THE (PROFESSIONAL) ACADEMIC
Academia in India has evolved a lot, from the times when we were labeled as teachers to now being called faculty members. In fact, Pearl Academy in Delhi has started offering postgraduate Continue reading ‘I am Damned If I Do and Damned If I Don’t’
In a curated series on archival texts, views, discussions and comments on the state of architecture and design education in India, Kiran Kumar & Madhuri Rao review the significance of ‘History’ in architectural education and practice of contemporary architecture as a “…..tool to operate rather than a static and canonic body of knowledge.”
The facts are really not at all like fish on the fishmonger’s slab. They are like fish swimming about in a vast and sometimes inaccessible ocean; and what the historian catches will depend, partly on chance, but mainly on what part of the ocean he chooses to fish in and what tackle he chooses to use – these two factors being, of course, determined by the kind of fish he wants to catch. By and large, the historian will get the kind of facts he wants. History means interpretation.
–E.H. Carr, What is History?
It is necessary at crucial junctures such as our present, to come to terms with change and to re-direct and accommodate shifting practices. This will ensure that architecture and history will continue to be sponsored by and for the collective. The process of evolution of the past is an engaging construct to reflect on themes – generic and those that have been susceptible to modifications. The past can become relevant and meaningful only if it becomes an anchor to our conscience, diffusing into our politics, economics and our daily mundane, not as a characteristic or stylistic manifestation but as a reflection to what has always remained relevant. Continue reading History: Narratives for Meaning and Operation