The Capital Project of Chandigarh is among the most widely discussed and debated projects in the history of Modern Architecture in India. Under the trusteeship of Prime Minister Nehru, several young Indian architects joined hands to contribute to the mammoth task of nation-building, working across diverse sectors such as buildings for Space Research & Technology, Administrative Infrastructure, Cultural & Educational Institutions and Housing. At the forefront alongside his better-known contemporaries, was Architect Shivdatt Sharma [SD Sharma], a silent but powerful contributor to the ‘modernist’ landscape of a young India. In this piece, curated and assimilated by his son and architect Sangeet Sharma, SD Sharma writes about his time working alongside Le Corbusier and as an apprentice under Pierre Jeanneret.
In an intimate note that follows, Sangeet Sharma shares instances of growing up in the newly built city of Chandigarh and working under Shivdatt Sharma as an apprentice for almost two decades. He reflects on the many relationships that he has nurtured with his father, over the years – one of a friend, philosopher and guide.
Situated in the midst of a vast arid expanse in Kutch, the architecture of Khamir Crafts Resource Centre in Kukma is one of participation in the celebration of the crafts from the region. Designed to facilitate a network with the artisans by responding to their way of life and work, the place builds upon the complex cultural relationships therein.
Studio culture is the embodiment of a pattern of work that nurtures the craft of building. Architecture workspaces are especially readable in this context as architects are, in this case, designing for themselves. With every workplace as distinct and specific as the work it produces, the people who design and work in these environments reveal their ideas about space-making.
Q: How long has it been since the completion of your studio space, and how has it transformed?
Parth Shah [PS]: Our studio was completed in August 2007. Since then, it has transformed in more ways than one. Some of the immediate physical changes are visible in the way the ‘green’ has become a part of the building over a period of time. Continue reading STUDIO: BPS ARCHITECTS→
Samira Rathod, Principal, Samira Rathod Design Atelier [SRDA] writes about the predicaments and opportunities of practising interior architecture in India – a context where the discipline is disorganised and there is lack of clarity on the role of design consulting in the interior space.
To write about interior design as a practice is very tough since we do not see Interior design as a formal, organised discipline in India. When we were studying architecture, there was no independent/separate interior design practice in India and no interior designers that were respected or known enough. Continue reading [IN]SIDE: SAMIRA RATHOD ON PRACTICE OF INTERIOR DESIGN→
The contribution of the history of modern architecture in India is unparalleled in terms of the many experiments that were embarked upon in search of spatial and social innovations that were responsive to the cultural, social, political and economic landscape of India. At a time when architecture in India needs a critical review, it is this history that serves as a reference and a foundation.
Perched on a hill top within the walls of the majestic Golconda Fort sits the stark but vibrant Hilltop School designed by the Hyderabad-based DesignAware led by Architect Takbir Fatima. Arshiya Syed, a Hyderbad-based Architect and Urban Designer writes about her readings of a space designed for an education that has much to learn from.
Riyaz Tayyibji writes about the significance of the work and legacy of Hasmukh C. Patel remembering him for his unique oeuvre and his ability to design humane spaces of delight.
For the last decade and more, I have called a place designed by Hasmukh C. Patel; ‘Home!’
My apartment is on the ‘4th Floor’, which happens to be the eighth level, as each apartment is a duplex with rooms organized around a double height living room. A large balcony overlooks a public park and a sculptural stair physically connects the rooms. There are days when we forget we are living seventy feet above the street- there is something grounded about the way the apartment works. Our children often refer to our lowest bedroom as ‘the basement’. There is no sense of disconnection, no sense of the typically isolated
apartment. This is not a ‘flat’ that is born from Continue reading TRIBUTE: Hasmukh C. Patel, (7 December 1933 – 20 January 2018) by RIYAZ TAYYIBJI→