Architects of Baroda-Yashwant Mistry

Cover Story in 10th Anniversary issue. Interview and discussion of works by Yashwant Mistry, Architect, Baroda Published in Sept 1996 in the Indian Architect and Builder

 

The Architect is a Trustee....

Introduction

In the Indian context, the pressures to modernize were acutely realised after the British left. The issue of Formal Roots in the context of Contemporary Indian Architecture were largely unanswered. Few architects recognized the need for such a quest and fewer made a deliberate attempt to explore the possibility in their work. Architecture as an active agent of change in society was barely perceived. The complex task involved a strategic approach where specific issues needed attention. Much influenced by the theories and works of architects like Corbusier and Kahn, was a new generation of young architects who willingly took up the challenge of assimilating and synthesizing a Modern Architecture for India. A few among them could comprehend and decode the traditional systems and values of a culture as diverse as India. Three major Schools of Architecture contributed to this modern crop of young architects in the early years of Independent India - Bombay, Delhi and a small but effective college in Baroda. Trained and educated rigorously by architects of the Colonial "Raj", these young architects absorbed the rigorous working methods which would prove to be an asset in the scenario which Modern India held in store for them. Some of these instructors were State Architects practicing in many states of British India, thus imbuing a sense of In the process of this quest, many works of these architects have become landmarks in the Architecture of Contemporary India. With studied zeal of purpose they have created a niche for themselves in the pantheon of India's Modern architects. Recognition of their work by academicians and architectural historians has been forthcoming only in the recent years. While many of these architects are absorbed in their own pursuit of excellence, they have either not been acknowledged or have deliberately shunned efforts to publicize their work. In the scenario that exists at present the reasons for avoiding publicity could be a gross misrepresentation and misunderstanding of the ideas of the architect. For a Modern architectural idiom to emerge, a meaningful exchange of ideas should take place. The need of the day is to initiate a process by which a genuine dialogue occurs between architects and the so called critics. What we are dished out today is little more than a dressed up documentation of an architect with scanty references of his ideas and notions with which his works are conceived and built. Yashwant Mistry, in his late fifties, is a contemporary to that generation of architects who have sought to give modern architecture in India a footing at the international level. Lesser known than his contemporaries Raje, Doshi, Correa or Rewal, Mistry hails from a family of architects. Trained under the watchful eye of his father, Mistry acquired his education like a classical architect would have during Renaissance. A qualified painter from the JJ school of arts, he graduated in architecture from the MSU, Baroda. Unconventionality and Perfection do not go hand in hand but Mistry accomplishes both in almost all his works. Unfazed by the doubts expressed by others Mistry relentlessly executes his projects with remarkable alacrity. His dedication and zeal to architecture comes from his strong belief in a timelessness of an architectural work. His unorthodox concepts not only express themselves at the level of the basic idea but also to the level of detailing. For this he spares no efforts in working out the details of the project. Armed with the knowledge of all associated crafts Mistry is able to get the best out the people who implement his works. An avid designer, he believes and dreams of a world where all objects of daily use would be designed vigorously. His utopian and idealist notions are often expressed in his designs. One gets an idea of his tremendous capacity to design not only from a plethora of architectural projects but also from the objects he designs. Roofing tiles, details for sliding doors, shoes, furniture etc.. As a teacher he always encourages students to think unconventionally and advocates a freshness of approach. A strong believer in the classical notion of an architect, he believes and expects that architects should be masters of all associated crafts and sciences. A stiff critic of the present educational system being practiced in the country, Mistry strongly promotes the approach of a practical education to the students by practicing architects. Practicing for over 25 years, Mistry has always believed in the concept of trusteeship in his practice. He is of the belief that an architect is the trustee of the client's ideals and his money and is morally bound to deliver the desired product to the client. He attributes a great degree of responsibility to the profession for the state of our cities and architecture. In a series of interviews spanning over a month, Yashwant Mistry has stated his beliefs and ideals concerning his working style, concepts and ideas on broad range of subjects. Presented in a hitherto unexplored format are a plethora of his works in the form of visuals. His works speak for themselves and require no unnecessary descriptions in words. His convictions on architecture are mirrored in the interview that follows.

Interview with Yashwant Mistry

1. Could you tell us something about your childhood and teenage years and their lasting impressions on your life? When I was four my father presented me his set of finest brushes and colours available those days. I was fairly good at it and innately meticulous in my paintings. When I was in college I did a mural of Ajanta for my college. During my college days I also did a lot of book jackets for prominent Gujarati writers of the late fifties to basically satisfy my creative instincts. I also did two years of painting. But painting was a flat medium and I was longing for some thing more challenging. At the same time I saw Frank Lloyd Wright's photographs and my decision was made. I decided for to become an Architect. 2. Your father was a very well known Interior Designer in his times. Did his working style / methodology affect you in anyway ? I come from a family of architects. My ancestors were extraordinary craftsmen and I belong to the caste of carpenters. The meticulousness and aesthetic was basically inborn in me. My father was the pioneer of Interior Design in India. He was accepted as the Master Interior Designer in the thirties and he has designed the interiors of palaces of Gwalior. He was also invited to design the Interiors of the Laxmi Vilas Palace in Baroda when His Excellency Pratapsinh Gaekwad's was getting married. My father and his colleagues worked in the very precisely styled tradition of Interiors in those days. They would design the brackets, lighting fixtures, tapestries, carpets, door knobs, ceiling etc. to the minutest detail. The way they would treat each and every artifact emotionally was a thing to be seen to be believed. He was my first teacher. His style of working, discipline and the decorum that he and his colleagues would maintain while working has made a lasting influence on me and my working style. I am trying to practice those things in my architecture and I have yet to see whether I am successful or not. These days the interpretation of Interiors is very different. Today it is little more than furnishing. Very few people know about the bygone styles. 3. Where were you educated? I did my two years of advanced painting in Bombay and then I came to Baroda. It was the oldest school as far as the Faculty of Architecture was concerned at that time. I had applied at JJ, Bombay, Delhi and Baroda. I visited all the colleges and out of the three I liked Baroda the most and so I came here. AT that time there were teachers like Prof. M. B. Dave who was also the state architect for the state of Hyderabad and Prof. Jadhav who was the State architect for Baroda. 4. What was the effect of the British Colonial Architecture on the architects of the period? What was the situation of Architecture at that time? Most of the practicing architects then were influenced to a greater or a lesser degree by the Colonial British architecture. Their sense of aesthetic and their judgment of proportion was far better than the senses of architects of the present generation. Architecture in India and its practice was in its infancy. It was a period of transition. Modernism had just begun to make its presence felt. The theory of orientations according to climate and environment had also gained credence. But the general aesthetic had started to deteriorate even then. The architects of that period were Gregson, Bately and King, Episcopo, etc.. At that time architects could only be afforded by the rich and the very rich people. It wasn't meant for the middle class people. At that time the a lot of styles were emerging but a lot of it was restricted to Architecture of the Facade. A room was a room and there wasn't much that could be done about it. The present interpretations of space were not considered valid back then. The Volume of the built mass was used to show the power of the person it was built for. 5. Did you perceive a vacuum after the British left? You see, after the British left, there was a lot of confusion which followed. This confusion has reflected in the attitude of the people of the country and the architect is one of them. In the present context I would say that there is hardly a sense of aesthetic that is prevailing in this country today. In the earlier times everything that the architects did, they were emotionally involved. It is this feeling towards the profession that is lacking today. Most of the architects practicing today are young and are born after Independence. The Neo-rich culture of today is in no condition to promote such a sense among the professionals. Their priority is to flaunt their richness. The architect gets the freedom but he is so poor in his aesthetical sense and he is not able to utilize the money and the resources available to him to create good architecture. 6. Who were your heroes? Whose work would you say has impressed and influenced you the most? I respect all the master architects because all of them had something to say. They were absolutely perfect in their architectural statements. I have tried to understand this perfection and the philosophy behind their working style. Mies, for example, had achieved excellent standards of aesthetic in the Barcelona Pavilion way back in the thirties. Less is more was his dictum and it is not boring at all. The delicacy of a steel stanchion, which was machine made, circumvented the limitations inherent to its making, and yet was one of the most beautiful parts of the building. I consider that all masters have taken real pains to establish a system. In the Indian context I have tried to practice and evolve something. I have yet to succeed on that front. But the effort goes on. Amongst Indian architects, I respect the work of Doshi, Raje, Correa, Kothari. But they fall in a totally different category than the masters. I feel that very few architects detail out buildings as perfectly as the masters did. I feel that an architect should understand his materials thoroughly. His emotional feeling for his architecture should reflect in his detailing of the buildings. 7. As a young architect what were your concerns? My concern as a young architect and even today is that everybody, especially architects, concerned with the building industry directly or indirectly should try to deliver the best product to the clients. There are a lot of foreign collaborations coming up today which is a good sign. The architect can and should demand from the building industry for the best quality product. Architects should train themselves in the use of the newer and better materials coming up as a result of these collaborations so as to fulfill their obligations to society. This is my basic concern because the building technology prevalent in India today is very primitive and our education system should begin to acknowledge this shortcoming within itself and adapt to the times. I am also very much concerned about the energy crisis which is going to take a very serious turn. 8. What were the difficulties and problems that you faced as a young architect? I did not face too many problems when I started out in 1962 July. At that time my Prof. Dave and Mr Suryakant Patel who were both my teachers were practicing in this town. The population of this town was about 70,000 and there were not too many architects practicing in this town at that time. So the mad rush that exists today was not there. Mr. Suryakant Patel had impressed Baroda with his good architecture which helped in bringing a certain degree of awareness among the people in Baroda. As I was from Bombay, I had a slight advantage due of my professional attitude towards my work. Also, having grown up in a family aesthetic awareness and the love for detailing was inherent in my work it worked wonders for me. I will always continue to practice in the same spirit and I feel that I am growing younger day by day. 9. What is your perception of the younger generation of architects? We are basically practicing under the influence of the masters in India. The younger architects are very reluctant to use the newer materials and finishes. We have these notions of exposed concrete and brick being beautiful. But these are not the only materials available otherwise the innovations of material would not have come about. Everybody should start experimenting with the different materials. Tell me, Can you as a young architect of today's generation imagine a building in India done in stainless steel? What would you do if the client demanded such a thing? Are you going to tell him that he has to use exposed brick and exposed concrete because you are afraid to use any other material? One should take it up as a challenge. You can demand total liberty in design and in the way the material is used and then create an architectural object satisfying your and his aspirations which would essentially be timeless. I believe in timeless architecture it should retain its character and freshness even after ages pass. For such work to come up one's architectural detailing has to be extraordinarily good. You see, good architecture is invariably characterized by simple detailing. The trick lies in creating simple and beautiful details so that their implementation is possible. In almost all my works, detailing is of prime importance. 10. What would be your advice to a fresh architect beginning his own practice today? I feel that fresh architectural graduates should not be permitted by the governing institution to start their own practice immediately. I say this because the present educational system does not teach the practical aspects of architecture to the extent they are necessary. The six month apprenticeship period is insufficient. The general standard of the apprentice trainee is so pathetic that he or she can barely trace and draft properly. Drafting is the primary language of architecture. Architecture is not instant poetry. It starts from an engineering science where a lot of basic problems are sorted out. Only after this is achieved can the architecture attain the level of the sublime. It is necessary for the student to understand the number of processes that a design goes through on paper before it is built. Any mistake in the drawing can create bad workmanship, mishaps even bad architecture. This aspect is totally ignored in the schools. As an architect one has to coordinate nothing less than 15 different agencies of work. An architect has to demonstrate a reasonable degree of proficiency in all these areas before he begins practice. This has automatically reflect in his design also. In the absence of such skills, the consultant will start dominating and the design suffers. Such an immense amount of experience can only be had by working with a good firm of architects for a reasonable amount of time before one ventures to start his own practice. A client comes to an architect with his savings and aspirations of a lifetime. He makes the architect a trustee of the money and the aspirations. The architect's duty is to translate these aspirations and dreams of the client into reality using this money. The responsibility of an architect is tremendous. If the architect blunders the dreams of the client are murdered. Architecture remains forever whether it is good or bad. I urge the architects and people concerned with the building industry to give our profession the true respect and position in society it deserves. 11. Most of your work is known for its uniqueness of approach and Design. Could you describe your working style? I am very emotionally attached to my work. Whenever a client comes to me I try to understand his needs. Very often the client does not understand himself very well. I try to understand him and the things that make him tick. It also becomes very important to understand the ego of the client within the framework of society, relatives etc.. As an architect sometimes one has to play the role of a Psychologist to understand the personality of the client before one designs. 12. Could you explain how sketching aids design process in your architecture ? How is sketching important to you in your architecture ? I believe that sketching is most important. You cannot sit on the table with a set square and a parallel and start designing straight away. If you are emotionally attached to your work then sketching really becomes an indispensable tool in designing. I would put it like this that when one is sketching one can think about a multitude of things which are going to influence the design. They could be the client, his program, your philosophy, the site, the environment and so on. It is often like doing Yoga. Most of my projects have evolved from conceptual sketches which are not larger than 2" x 2". Sketches are a precise documentation of the thought process that goes on in one's mind while one is designing. 13. Due to the advent of Computers very few architects tend to sketch. Do you believe technology can replace the good old charcoal stick or the pencil? No. Not at all. The computer is a man made machine with limitation and it does not have any emotions. This is what I believe. A computer is similar to the instruments one uses and it definitely is very useful in today's context but it will be a long time before one is able to design an emotional computer! There is a common belief among youngsters and the general public that designs done on a computer are better. But that is a myth. The computer is being used effectively as a marketing tool by many. For me it is nothing more than a tool.

Into the Dark Area of ideas

In 1996, Indian Architect builder commissioned articles on the importance of sketching in architecture. Having trained under Anant Raje, I took the opportunity to interview him as his sketches were legendary. Below is the text of the interview interspersed with the pages of the magazine as published in Jan - Feb 1996.



Could you explain how sketching aids the design process in architecture?

Sketching basically is an exploration in searching for form and spaces, without any accuracy of dimensions or material choice. The thick or the thin lines with smudges, suggest the density of mass with minute pores for desired intensity of light. The whole idea of sketching should remain extremely nebulous.

Due to the advent of computers very few architects ,tend to sketch. Do you believe technology can replace the good old charcoal stick or the pencil?

Frankly, anything is possible through computer-aided graphics for design. But, without an idea or feel for what one is looking for, the computer may turn out what seems to be acceptable in the very first attempt. The diagrams may be so perfect that a trap could be laid and the rejection may take a long time, in the absence of direct involvement of a certain feeling which is necessary to probe into the dark areas of ideas.

In connection with the above question, do you personally believe that sketching can improve the quality of drawing?

Not necessarily. Sketching without formulation for a statement of problem, however diffuse it may seem, may lead to irrecoverable situations. The progressive development of a sketch, without control on the overall scale of the project, would make it difficult to assess the nature of spaces and their desired relationships to the overall character.

How is sketching important to you in your Architecture?

There is a certain freedom from mundane aspects of the programme of requirements. Those spaces which were not thought of earlier suddenly surface, indicating the new beginning, to reorganise or compose parts of building plans with interior and exterior spaces. The hardline drawings, which then follow, give something which was not thought of before.

Your sketches are known for their correct proportions - to the extent that they can be scaled and drawn - can you tell us how you achieved this?

The eye has to be disciplined and trained for minute observations, in the visual context of a given place or position in space. Otherwise, it would be difficult for the hand to record the impressions of what is being observed in the mind's eye and coordinate the same impression through the hand on paper. The impressions could be of such urgency that instant choice of medium, to record, is of the foremost necessity for the architect. In the absence of this, the essence of what is being recorded would be lost, making room for what is described as a meaningless record, pages after pages, incredible in quantum but devoid of character. Proportions in sketches - are not necessarily essential. To change proportions is one's own prerogative, to heighten the impact of communications. To lend correct proportions in sketches may be generated from being continuously self-critical, until the hand draws what the eye sees.

In your sketches how do you achieve a sense of light.which becomes crucial to characterise the space as an enclosure?

The light has to be sensed. Its intensity lies in the first dense mass drawn with charcoal or graphite or any other medium. It is trapped. It needs to be released.

Sketches often lead to the final choice of materials. Is this true for your design?

It is difficult to sketch without some sort of an idea about the material. The material has a direct relationship with light. The material and its form, has a character which can only be enhanced in the presence of light.

Do you have any favourite subjects that you like to sketch?

Mostly parts of buildings, with or without some sha-:!ows. The stronger the shadow, the stronger the building form. The joints of branches of trees, small plants, rock formations and hoofs of animals.

What effect did Kahn's sketches have on you? Could you tell us about the aspects of his sketching that have influenced you? During my apprenticeship with you I have often heard you mention Giovanni Batista Piranesi and Antonio Sant 'Ella. Can we discuss how their sketches also influenced you?

Drawing with charcoal came from observing Kahn's drawings and their development at various stages, till the sketch became communicable through its substance and its graphic qualities. Both the Piranesi's and Sant 'Elias drawings were inspiring in their densities and tonal values. Their drawings were directed towards spatial compositions. This was most important to learn.

Architects like Mies, Corbusier, Kahn and Mendelssohn have designed buildings which have become landmarks in the history of Modem Architecture. Corbusier was also a pioneer of an art movement. Would you say that their ability to sketch contributed to their architecture?

The architects who are mentioned were artists. Artists have to have a medium through which abstract ideas can become commmunicable. The sketch leaves an imprint of the message on the artist. This is an inspiring moment, without which the later development becomes characterless.

Sketching is acknowledged as an important tool of design in the field of Fashion Design. Set Designing for films, product design and so on. Satyajit Ray and Sergei Eisenstein were known for their ability to sketch.

A question paper for History of Architecture - Part 2

Here come the next 50questions.. Ready?

50 The Gopuram developed mainly in the __________ dynasty.


51 Name the Brahminical version of the Buddhist Chaitya hall.

52 It is a residence or a dwelling for monks with a verandah opening into a big or small central hall, with cells in the side walls for habitation and meditation. What is it called ?

53 This architecture achieved Thanjavur's and Gangaikondacholapuram's most monumental expression. This sanctuaries are surmounted by steeply rising pyramidical towers with a crowning dome like roof sculptures of exceptional quality. Name this epochal architecture.

54 This temple demonstrates a remarkable stylistic evolution in the increase of scale & elevational complexity at Pattadakal. Wall projections are flanked by pilasters. It has a square roof and the outer walls have figures of Vishnu and Shiva in different forms. The vitality of early Chalukyan art is amply displayed in these sculptures. Identify the temple.

55 The plan is oblong and its crowning glory is in the form of the oblong valuated roof. Name this structure.

56 At perhaps no other time has the tomb been more important in the consciousness of the people than in this dynasty. Delhi on account of its Imperial associations was considered the most appropriate site. Which dynasty are we talking about?

57 This place has 70 temples and is known as a small town of temples. Temples had their beginning here. Name the place.

58 A notable feature is the rich ornamental treatment of the exterior with traceried openings and fine entrance pavilions of unusual sophistication. Inside, the sanctuary facade contains five pointed archways with two slender minarets flanking the central opening, enticed with prominent aerial windows, a typical Gujarati vernacular device. Identify the structure.

59 It is famous for its ten carved, semicircular windows enclosed with exquisite tracery in the form of tree stems and branches. Those on the western wall are considered to be the finest examples of carved tracery in India. Identify the structure.

60 A remarkable feature of the this period's rock cut architecture is the fine quality of the figure sculpture which adorns the rathas. Identify the period.

61 This structure contains a congregation hall with an arched roof an apsidal end containing a Stupa cutout of the rock. What is this Buddhist structure called ?

62 Early in the second millennium, in large area of Deccan a type of architecture developed sufficiently as a separate style. This style was designed in the reign of a particular dynasty. Identify the dynasty.

63 Seven temples are grouped closely together surrounded by numerous minor shrines & plinths facing eastwards towards the Malprabha lake. Identify the place.

64 This temple initially consisted only of a cella and a mandapa each of virtually gigantic proportions. The cella measures 56 ft. in plan and rises about 140 ft. high. Name this temple.

65 This Stupa was transformed from a domical structure to an elongated one. Identify the Stupa.

66 This Stupa was discovered in 1873 in a ruined state, completely despoiled by local people who had quarried its bricks and stones for village construction. But, with the pieces of sculpture and part of the building we can safely conclude that it was similar, if not exactly alike, the Stupa of Sanchi, and was the predecessor of this great monumental style of constructing Stupas. Identify the Stupa.

67 The moulded base of a temple is called an __________ .

68 The simplest way to describe this form is as a four sided pyramid with parabolic edges. What are we talking about?

69 The three rathas at Mahabalipuram appear to be various types of Chaitya Halls. Name any one.

70 The Stupa was the origin of various structures developed in the far east. Name any one.

71 This place is an epic in stone and colour. It tells the story of Buddhist architecture, sculpture and painting. Name this place.

72 Of all the great powers that together made the history of southern India, none had a more marked effect on the architecture of this region than the earliest of all, whose productions provided the foundation of the Dravidian style. Which dynasty are we talking about ?

73 This Stupa probably erected in the first century B.C. shows ornamentation of both cultures - Greek and Buddhist. On an architectural foundation of a quasi Corinthian order, with pilasters and a moulded entablature, there may be seen such an agglomeration of motifs such as the Buddhist Chaitya arch, a Greek triangular pediment, an Achaemenid niche, and an Iranian fire altar. Identify this eclectic Stupa.

74 In the ancient times the science of architecture was known by a particular name. Name it.

75 Much of the particular character this art assumed, was the result of a notable change taking place at the time in the constitution and the principles of the creed. The Gandhara compositions marked the beginning of the movement of this art. What this art called ?

76 This gate 54 mts in height is visible from a considerable distance. It was probably built to commemorate Akbar's successful Gujarat's campaign in 1573. Identify the gate.

77 To some extent the requirements of the temple can't be satisfied because it was an adaptation of another structure which was planned for secular and civic use. Identify the temple.

78 This palace is long, double storied building extending for some 360 ft. along the water front of two small lakes. Identify the palace.

79 In India different schools or regional tendencies came and went, crossed and entwined, with one rising while another was declining. After Alexander's conquest, Iran was for many centuries under Greek rule. While pre existing contents of Iran & India continued, this art that developed in North west India and Afghanistan also has the touch of Iran. Name this art.

Buland Bharat ki buland tasveer, Hamara Bajaj!

80 The huge rectangular tank for ritualistic ablutions, lies beneath the main eastern approach to the temple. A flight of steps takes one up to a torana archway resting on two graceful moulded columns. Name this famous temple.

81 This vihar differs from the hinayana vihar. It was now fulfilling the functions of both abbey and church, secondly, relic worship was supplanted by image worship. Name this important Buddhist phase.

82 The plan of all architectural forms of the Hindus including the site plan, ground plan, horizontal and vertical sections are regulated by its norms. Identify it.

83 This place was a coastal capital of the early Pallavas. Name it.

84 It was the period of the "macabre". This word is a derivation from the Arabic word for a cemetery. Name this Arabic word.

85 To achieve equable balance the upper and the lower parts of the temple, a richly sculpted barrel shaped form was projected out from the middle of the vimana to interlock as if it were the tower and the mandapas. Name this temple.

86 This place at one time was a thriving and bustling complex. A number of stupas, stambhas, toranas and viharas accumulated on this site. Name the place.

87 The shrine in Hindu temples is always dark and entered only by the single small door in front. The temples of this sect, on the contrary , have several entrances to the shrine. Which sect are we talking about?

88 Shikharas built in this style have sukanasa. Heavy solidity in the early works is maintained but is relieved in the amount and quality of sculptural ornamentation. Identify the style

89 The outer most periphery of the mandala is allocated to a certain number of Gods. What is this number ?

90 Legend has it that Lord Shiva was engaged in a mortal dual with a demon named Andhok. In this battle Shiva perspired and a drop fell on the earth. From this drop a big creature evolved and all the gods had to gather together and pin him down in a lopsided position. It is on top of this creature the Gods made their abode. From this process an important aspect of Hindu architecture has evolved. What is it known as ?

91 The main support or piers take the form of huge wooden structure resembling an inverted pyramids with its truncated apex resting on a solidly built masonry. Each pier built of layers of logs can withstand flood current below and carry a reasonable load above. Where in India was such Bridge construction technique used?

92 The city is surrounded by about 11 kms of walls except on the south were there was a lake. The numerous structures comprising this area are made from locally quarried red sandstone. Identify the city.

93 The preliminary innovation introduced into the scheme of this mausoleum was that of surrounding the building by a spacious park. The immense square garden with the tomb isolated in the centre, marked an advance both in providing seclusion and securing an appropriate setting. Which tomb are we talking about.

94 These cave temples provide the most complete illustration of early Buddhist traditions in India. Identify the site.

95 It is basically a grid of squares. What is it actually known as?

96 The Chalukyans shifted their capital from Aihole to this place located on a lake surrounded by steep rising cliffs. Name the place.

96 This region's architectural character is similar to the timber architecture of mountainous countries of Europe. Which is this region.

97 Some Greek deities like Hercules, Pallas, Athena, Eros, and Bachhus are visible in the Buddhist pantheon - thinly disguised. What is this art called ?

98 By about 600 BC, republics and kingdoms had been established all over North India. They were republics formed of tribes, presided over by a chief called the Raja. He was from a particular caste. Name it.

99 Around the fifth Cent. BC, this kingdom became the most important of the Northern republics, because of the important kings Bimbisara and his son Ajatashatru. After that the most important event was the invasion of Alexander in 327 BC, which left a floating Greek populations in the Northwest, and also left a motley of Indo-Greek kings in the regions. Name this important kingdom.

100 In the very centre of the Himalayan region, lies this magnificent lake. The shores of this lake are very regularly indented, so that its shape suggests a lotus flower. Around the lake are the towering snowy peaks of the Himalayas. Towards the northwest rises Mt. Kailash, with an unmistakable pyramidal peak. Finally, the Indus, the Brahmaputra and the Ganga - all have their source in this region. Name this lake.

Itne Kapde (students) ek saath koi Machine (teacher) nahi dhow sakta!

A question paper for History of Architecture - Part 1

I used to teach History of Architecture from '96 to 2003 in the schools of Vallabhvidyanagar (Near Anand) and the MSU Baroda as a visiting faculty member. As a student I had found the subject quite dry, boring and uninteresting. The curriculum for the second year was quite intensive as well. In the first semester they were to be lectured on the entire western history starting from the Greek and Roman civilizations up to the Baroque times. All this to be drilled inside young, agile minds hour after hour, week after week was quite an experience. To ease their predicament about notes and references, I made notes for them on my trusty old 386 computer and gave them neat, formatted notes.

This was quite a relief for them at least till I discovered their clandestine use for these same notes.

After they came out of their examination at the end of the semester, I discovered small pieces of paper lying in the corridor. These pieces of paper were actually my notes reduced on a photocopy machine and taken into the exam hall for easy reference.

This did it for me. Their next semester was Indian architectural history. I came up with a simpler method which actually was less of a headache for me.

I found fifty different topics on Indian architectural history and asked them to pick one for their one and only assignment of the semester. They gleefully picked up the topic and the icing on the cake for them was that these would be presented by them in a seminar and we would have an interactive semester. They were encouraged to explore the topic in detail and present it to the class.

After presenting it to their fellow classmates, which incidentally they enjoyed quite a bit, they were "encouraged" to submit the assignments electronically on floppy disks. Well, it was the late nineties and internet was a bit unheard off and floppies were widely used. Copy and paste from the internet was therefore a bit difficult but they had still employed a few typists to make their assignments quite thick.

Come the exam day and my pleasant surprise was announced. The exam would be an open book variety - hitherto unheard of in the history of the college, and all their assignments were their study material. To make their task "easier" there were at least 200 questions and an undisclosed number of versions of the question paper to discourage their diehard habits of sneaking a peek at their neighbour's paper. To make matters a bit light I had interspersed some advertisement one liners for fun which are in italics...

Some fifty questions are "copied and pasted" below. In the second part of this post I will post the answers to these questions so please keep revisiting my blog for them if you are interested.

Just Do it!

1.      Perched on a huge boulder to the northeast of the lower sivalaya temple at Badami, is nirandhara, with a dvitala vimana. Its gudhamandapa is entered through a Mukhacatuski, since the boulder slopes on the west, the  vimana is underpinned by a featureless Upapitha. Identify the temple.

2.      In this period the Garbhagriha appears clearly for the first time. Identify the period.

3.      This form became the major focus of Buddhist worship symbolizing the end of physical body and attainment of nirvana.  An umbrella made of wood or stone covered it.  The three elements of the umbrella represented the three jewels of Buddhism: the Buddha, the law, and the community of monks. Identify this form.

4.       In which kingdom did the temple evolve from the meeting hall?

5.      "Unlike other areas of India, a unique building style developed here, based more on the development of overseas ideas than the evaluation and adaptation of local architectural traditions to Islamic needs." Name this region.

6.       The simplest of the Rathas, it is an unpretentious version of the rural portable wooden shrine with a square base and curvilinear roof. Name the Ratha.

7.       "The City of cut stone" was situated on a great trade route. Identify this city.

Arre Huzzor Wah Taj Boliye!

8.      What are Nirandhara and Sandhara temples?

9.      In size it was the largest of all Stupas. Name it.

10.  "The conservative southern Hindu stronghold that was injected with doses of an alien and virile architectural style. The energy generated by this infusion culminated in a great building of this region. This was as triumphant and bold a structural statement, as subtle and glorious had been the exotic sculptural achievements of the Hindu builders of nearby Halebid and Belur." Name this building.

11.   Jain sadhus and sadhvis reach this place before the monsoons, as they are not allowed to travel during the monsoons. Identify the place.

12.  During this period many stupas were erected by Ashoka on the sides sacred to Buddhists.  Stupas are actually sites containing __________________.

13.  A notable characteristic of these buildings is the appearance of the long and stately flight of steps leading to the entrances, made necessary by high plinths. The lofty terraces gave an added dignity to the composition as a whole, the well-proportioned stairways elegantly wrought to make an introductory approach. Identify the place.

14.  This Stupa, in an ancient city, had a remarkable feature. The concave curvature of the plinth exaggerated the illusion instead of correcting it. Name the Stupa.

15.  "Ala-ud-din Bahman who in AD 1347, having thrown off his allegiance to Delhi, established his capital city in modern Karnataka State. Bahman Shah, an adventurer from the Persian court, had thrown off the political as well as architectural yoke of Delhi. He surrounded his city with 50 feet (15.2 m) thick fortress walls and a 90 ft (27.4 m) wide moat scraped out of living rock. At regular intervals the outer defenses were punctuated by bastions, barbettes and battlements of cyclopean order." Name the city.

East or West India is the Best!

16.  The development of its style drew influence from Roman Basilica, which was evolving concurrently in Rome.  Like the Basilica it is also a long chamber divided longitudinally by two rows of columns.  In the apse the two isles meet and curve around the Stupa. Identify the structure.

17.  This edifice at Taxila is among the most significant monuments of the period of Hellenization in India. It has many affinities to the Greek temple in terms of the plan and its Ionic columns. Identify the structure.

18.  The earliest Brahminical shrine was nothing more than a cell to a house an image while other rituals were still conducted in the open. The oldest shrines, once again  a group of caves are found carved in a mountainside near ancient Sanchi. Name this place.

19.  This term is derived from a Sanskrit word. It means "the mound of ashes formed when the deceased person is cremated." Name it.

20.  "Four larger domes mark the corners of the periphery, while the sanctuary is crowned by a stately contoured stilted dome rising over a square clerestorey. The glorious white monument testifies as much to the originality of its designer's concepts as to his failure in establishing their acceptability." Name the building.

21.  The palace of this city clearly resembled the Assyrian palaces of Mesopotamia. Name this city.

22.  So vigorous and self-confident was the this style that its influence permeated way beyond the region into Rajasthan and Central India. Its most influential feature was intricate lattice work and the use of carved jali screens. Identify this style.

23.  It is the oldest building of the Aihole group. The shape is comparatively low, flat roofed building. Three of its sides are completely enclosed by walls, 2 of which are relieved by perforated stone grills, but the fourth side formed an eastern open porch. Identify the structure.

24.  A Structural alteration of some significance, the dome is composed of an inner and outer shell of masonry with a distinct space between the two. The appearance of the Double Dome. In which dynasty did it first appear?

Mera Bharat Mahaan!

25.  "The Indian builders here broke through the mass of the cube and hemisphere by providing a veranda running around the cubic half, thereby giving to some of the tombs the impression of a two-storeyed structure. The zenith of this style, however, was not the tombs but a ceremonial gateway popularly known as the Charminar of Hyderabad. Each of the four facades contains the familiar ogee arch of 36 ft (11 m) span, above the apex of which are  diminished storeys of arched and richly embellished cornices." Name this style.

26.  This structure derives its name from the five tiers, the final one consisting of a large single chattri. Identify the structure.

27.   In Persian this word is considered to be a highly pejorative term among the civilized inhabitants of Iran. Identify the term.

28.  The irregular humble mound of rubble that had been piled over by the reverent worshipers over relics and ancient treasures to make a sacred site. This was then transformed by the royal builders into a hemispherical brick paved tumulii. Identify the  structure.

29.  This typical temple structure stands on a high platform, not rectangular in shape as its sides project or recede being carried parallel to the lines and angles of the building it supports. This platform is much wider than appears necessary thus leaving a broad flat surface terrace all around the temple. But it was so ordained for a specific purpose. In none of these temples is there is an interior pradakshina path and this space provides a suitable substitute for processions and circumambulation.

30.  At one time this place was probably a bustling capital but today it is a cluster of 16 deserted temples. Name this place.

31.  Wherever a Hindu temple stands, whatever its size, body and substance and to whichever God it is dedicated to it is built in principle on the same plan. What this plan known as?

32.  It remained the capital of the Chalukya Kings till nearly 600 A.D. Name it.

33.  Under this emperor the Moghul polity and state craft reached maturity. From a petty power they were transformed to a major state. Identify the emperor.

34.  Erected as a Vishnu temple,  Nandi occupies the central bay of this temple. Identify the  temple.

35.  The shikharas of this place are architectural masterpieces. It now created a "visual drama" by ornamentation of its own shape. In semi-relief, this was applied on all four surfaces of the shikhara. The corners of the base of the tower became like a vertical chain of superimposed mini shikharas. Name this place.

36.  The subject matter of these cave paintings, as of most of the surviving examples is the various lives and incarnations of the Buddha told in the Jataka tales.   The absence of shadows suggest an unworldly light appropriate not only to the subject but also to its location, deep within the rocks. Identify the place.

37.  This site is celebrated for its three successive groups of Buddhist Hindu and Jain cave temples. The southern group comprises of 12 Buddhist excavations; these belong to the early period of Chalukya control of the Deccan in the 7th and early 8th centuries. Identify the site.

38.  In plan this great stronghold takes the form of an irregular semicircle with its chord parallel to a river. Its massive enclosure wall consists of a solid rampart under 70 ft and nearly one and a half miles in circuit. Identify the complex.

39.  The Lion as a pillar base is not an uncommon motif in the architecture of several civilizations. Here the it was combined with a tiger to make the lower portion of the column shaft and another was introduced into the capital. Identify the  period.

40.  The temples of South India developed a structure often used in the treatment of the entrance. Name this structure.

41.  This form is a spatial representation of metaphysical and spiritual conceptions of the Hindu ideology and theology. It is a set of spatial sequences expressing Hindu ideas of the supreme beings, the universe and its conceived analogy with human psyche and body representing universal structure, its governing forces and forms of energy. Which form are we talking about.?

42.  The chola king Rajaraja Chola commissioned this gigantic temple. No tower higher than 60 ft., had been attempted earlier, but this temple had a tower about 200 ft., high. The cube of the Garbhagriha was carried vertically up to a height of 50 ft. Name this temple.

43.  This temple consists of three axially aligned elements; a fine bay mulaprasadas with ambulatory and superimposed Garbhagrihas and matching attached closed hall, a detached cruciform open pavilion, and a free standing torana. Identify this temple.

44.  This tower is 72.5 mts high and tapers towards the top. Its diameter decreases from 15 mts to 3 mts at the top. Identify the structure.

45.  This structure derived its name from the "Cow gate" of ancient times. Name this structure.

46.  This emperor was particularly depressed to find in India no gardens such as he had known in his country. Identify the emperor.

47.  Here the Hindu structural temple had its beginning and its introductory form. Name the place.

48.  In the latter half of the seventh century, the temple structure in its medieval aspect, was beginning to assume a prescribed form. As in the case of Greek and Roman architecture, these buildings can be classified into two orders. Name these orders.

49.  On the throne sit four large white marble figures - each facing one of the doors of the shrine. These area large figures : They sit with their feet crossed in front, after true Buddha style. Name the temple.

Have a break Have a KitKat!