In a dialogue with Nashik-based architects, CAUSE – an initiative, author Rama Raghavan poses questions and explores themes on practice, conservation, publicness, ambition of a programme, perceptions of constraints and challenges through the lens of their project – Shanti-Krishna Museum of Money & History.
A conversation with the architects on the nuances of their practice and the project.
The Coin Museum and Numismatic Centre in Anjaneri is a building that has been an integral part of the city of Nashik. The institute founded in 1980 by the Indian Numismatic, Historical and Cultural Research Foundation has been a landmark of the city. Earlier constituting a research centre and a library relating to numismatic studies, it was also home to an impressive privately owned collection of coins and artefacts. The museum known locally as ‘Nane Sangrahalaya’ (Coin Museum) flourished for a while but gradually began losing ties with the community over a period of time.
Recognising this fading dialogue, the trustees, with the support of the Ministry of Culture, the Government of India, decided to establish a renewed identity for the museum. The new extension spanning nearly 9000sqft was thus conceived and rechristened the ‘Shanti-Krishna Museum of Money & History’. A product of thoughtful, responsive processes emerging from context, the extension to the coin museum was conceptualised and completed in 2018 by a Nashik-based architectural firm, ‘CAUSE – an initiative’ co-founded by architects, Ali Kaderi, Purva Shah, Nandan Malani and Amol Suryawanshi.
‘NUDE MODELS’ by Nuru Karim explores the structure within natural systems using technology and processes.
Evolutionary tools in model-making have enabled the translation of concepts of abstraction and coexistence from nature to built environments. NUDES, a Mumbai-based contemporary practice thrives on this process of model-making, while acknowledging the extent of design articulation that is possible with the implementation of these tools.
Architectural models, historically, are approached as tools that guide design thinking. Apart from their role in the essential act of communicating design, they have evolved over time to represent conceptual underlays in the design process. The fascination of Nuru Karim, Founder and Principal, NUDES, with model-making processes goes back to his undergraduate years. The practice of creating three-dimensional objects at NUDES is intrinsically connected to the design processes that generate buildings and ideas. The studio, that spans their practice across diverse spectrum of architecture, urbanism and public art, employs the idea of evaluating design through perceptions and imaginations at the human scale through these models.
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.
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→
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