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
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
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
In context of the recent demolition of the Hall Of Nations, Prem Chandavarkar observes that the lacuna in understanding the definition and the meaning of heritage will lead to the loss of many valuable buildings that belong to our recent past.
A couple of weeks ago, the Hall of Nations, an exhibition hall in Pragati Maidan in New Delhi, was demolished to make way for a new convention and exhibition centre. The building was a rare example in the world, and the only one in India, of a space frame built in reinforced concrete. Completed in 1972 and designed by architect Raj Rewal and structural engineer Mahendra Raj, it was widely recognised as one of the icons of a period of modern Indian architecture that started in the 1950s and continued till the 1980s. This was an era that centred on India’s desire that the potential of her newly won freedom should offer the country a new modernity, and the cutting-edge architecture of that time, produced by the first generation of post-independence architects, was a significant and powerful representation of this quest. Continue reading What is Heritage? – Prem Chandavarkar
By Ar. Brinda Somaya
Brinda Somaya explains a critical period of architecture practice in India that connects the ‘masters’ to the contemporary practices outlining the nature of work in an era that helped India come to terms with its modernity by minting the term ‘The Bridge Generation’.
I believe I belong to the first generation of practising Architects to be born after India got her freedom. For ease of reference and to give us a sense of identity I have coined the term “Architecture in India – The Bridge Generation” after a great deal of reflection and thought. The term evolved in my mind as I believe we ‘bridged’ the architectural space between the Great Masters and the current generation that continues to enter the global architectural space. Continue reading Architecture in India – The Bridge Generation