With R Ravindrakumar & Suhasini Ayer, Auroville
In a world of tremendously paced technological advancements, technique often supersedes skill as technology replaces craft. While alternate modes of construction and production with higher efficiency and precision levels continue to influence the building industry, there exists a sustained effort to renew processes rooted in intuition and the idea of endurance. Suhasini Ayer, Principal Architect, Auroville Design Consultants and R Ravindrakumar, Principal, Ravindrakumar Roofing Technology, shed light on aspects of sustainability and construction methodology deployed in crafting the metal, respectively.
Continue reading Crafting Metal Roofs
David Robson pens a critical review of a recent book by Shiromi Pinto that creates a fictional story based on a relationship between celebrated Sri Lankan architect Minnette De Silva and global architectural icon Le Corbusier.
Book by Shiromi Pinto
Reviewed by David Robson
The writer Shiromi Pinto has recently published her own fictionalised account of the life of Sri Lankan architect Minnette de Silva under the bizarre and inexplicable title ‘Plastic Emotions’. Apparently, in this Trumpian world of fake news and casual lies, it has become acceptable for writers to take the lives of real people and re-cast them to suit their own purposes. But can such cavalier distortions ever be justified if, along the way, the personality of the protagonist is distorted beyond recognition, if the people who surrounded her are pilloried, if her achievements devalued and her ideas misrepresented?
Minnette de Silva, St. George’s c.1952, LASWA
Continue reading Book: ‘Plastic Emotions’ reviewed by David Robson
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