Prof. Suryakant Patel's Ideas about Vadodara

Discussions with Suryakant Patel circa 1995-1996 about Baroda

Problems :

·         We have a beautiful city in which we cannot walk; we cannot send our children to school on cycles. We cannot allow them the freedom of running, playfully.

·         Workers have to cycle for miles. Every day we have about one fatal accident on the road in our city. The roads are death traps.

·         Places of Entertainment, Vegetable Markets, Shopping Centres, Go downs and Ware-houses are grouped in the centre of the city and the transport Centres are also located here which creates a traffic bottleneck.

·          Industries are situated on one end of the city and workers staying on the other end of the city have to cycle down to distant places through the city with criss cross movement.

·          On account of expansion of the city, Railway Station and S.T.Depot has come in the centre of the city, bottle necking the traffic at these places. New areas and industries are thus cut off.

·          River crossing is mainly done from the Tilak road which caters 80% of the criss-cross traffic load.

·          Air strip is badly connected to the areas outside. One has to enter and cross the city to go to Air port.

·          Through heavy loaded traffic passes through the city, jamming the roads.

·          Rural bus stops are situated in the city are creating unnecessary traffic bottle neck.

We must plan for the entire traffic in a comprehensive way.

Possible Solutions

·          Using the bus where it can move fast and where it can work efficiently.

·          Plan the circular routes with fewer stoppages. Let people walk to reach their destination.

·          Treat buses like railways and not like cars. Let not buses pass through heavily populated areas.

·          Inner city traffic by minibus transport. Evolve other methods to deal with inner city transport.

·          Think of electric trams and trolley buses and not polluting mass transport systems in future.

·          Use mass media to educate drivers. Insist on minimum qualifications of drivers of heavy vehicles.

·          Stop all U-turns, prohibit driving straight from minor streets to major street. Prohibit over-taking on bends and hills. Insist on powerful back lights and reflectors.

Slow Traffic :

* Carts, hand push by animals and human beings should be slowly eliminated if traffic is to be made efficient. The camel cart should be banned immediately. This will generate some strong opinion but politicians should be taken into confidence.

Service to Shops :

·         Service to shops and go downs should be staggered and should be banned from 7am. TO 9pm.

·          Trucks should have transport go downs on the outer city and merchandise should be brought by smaller vehicles at the appointed time. Trucks should not be allowed in the day time to pass through the city.

Cycles :

·          All out efforts should be made to make cycle a major mode of personal transportation, workers, students and children will have a cheap and healthy mode of transport.

Traffic Lights :

Why should we have traffic lights and also a police-man? Can we not have traffic lights operated by a sitting police-man as per the demand of traffic flow? Can we depend on s system which is designed for a continuous and uniform traffic. Now signal lights are necessary for pedestrians crossing also.

Parking :

Long term parking facilities are now necessary. Paid parking must be planned on municipal open lands. Open land should be prescribed for parking. Cars must pay for occupying the valuable and expensive road space.

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Apoorva Pathak

+973 36796998 | +91 9033441833

apoorva.pathak@gmail.com

http://juxt-a-position-ap.blogspot.com/

Bhupen Khakhar & Rasik Shah on Suryakant Patel

In conversation with Bhupen Khakhar, Artist and Rasik Shah, Architect about Suryakant Patel



Apoorva : What was your first impression about Suryakant Patel ?

Bhupen Khakhar : When I met Suryakant for the first time, late Prof. Chhadua had given his background, plus I had seen a house which he had designed and which I liked very much near to the place I stayed earlier. Since then I was curious about the archi¬tect. Prof. Chhadua told me that this was designed by Suryakant Patel. I didn't know much about Architecture then but I used to like that house because it resembled an animal standing on two legs. This was my first impression of Suryakant. Later, after I started teaching at the department, I got a clear image of Suryakant. At that time Achwal and Suryakant were the two main people in the college.

My impression about Suryakant was that he works very intuitively, like a painter. Suppose if some painters have not learnt much and don't know much about literature but still there is something inside them which gives your impression. I have felt the same for Suryakant that he is an artist from inside.


Suryakant Patel : You are right Bhupen, I do work intuitively. I believe that intuition is the sum total of all your experience. If you have lot of experience about seeing things and doing things then you develop an intuition. As I tell the students that I sketch in about 15 minutes and then mull over it for 10 days and then go back to it. I repeat this process till I feel satisfied that the initial sketch or the intuition is fully realized. The first sketch retains its concept till the end.


Bhupen Khakhar : Rasikbhai, How did you meet Suryakantbhai?

Rasik Shah: I was studying Architectural Design in the UK when I saw his work in magazines in London. I have not studied under him. At that time I had not met him personally. When I came back to Baroda in '68, we met and I was fascinated by this Chemical engineering block in Faculty of Technology which was built by him, and I told him that, If this building had been in the UK, it would certainly have won The RIBA Gold medal. That was our first encounter.


Bhupen Khakhar : I think, you were also teaching in the dept.?


Rasik Shah: I had not thought about it seriously. But Suryakant convinced me and because we had a common language to talk, we established a rapport and developed it.


Apoorva: So after you met, you must have and you must have talked to him about architecture and education etc.?

Bhupen Khakhar: Rarely, very rarely. He used to talk about it with Babu Chhadua.

Suryakant Patel: I used to talk and write everything about Architecture with Chhadua.

Rasik Shah : Let me tell you how we all got close to each other. Around 1980 after Prof. Achwal expired. Suryakant had been toying with this idea of starting a School of Architecture for a long time.

The first thing we did was to set our priorities. It was to be run by professionals. Another agreement amongst us was - no patrons like industrialists or politicians. Then during that time Suryakant contacted Mahendra Modi, Bhupen Khakhar and Prabhudasb¬hai. This is the background to the school.

Four Projects by Suryakant Patel

Isckon

For me, a design solution has to reflect simplicity in structure and form. The form in turn should reflect the material it is made from. When this project came to me, I felt that that it should reflect the spiritual values that Isckon stands for. I worked towards a design which would spiritually express the this idea by expressing truthfulness in material and structure.

Their requirements for the temple were slightly different form a normal Hindu temple. It included a congregation and meeting hall along with the Garbha griha and so on.

I worked on this project for about a year and made two models. I decided to let the strength of the concept do most of the talking for me.

The land that they had in Mayapuri is bounded two rivers and a road on the other side. Due to waterlogging in monsoon, they had decided to fill it up. The land being about 150-160 acres, the cost would be prohibitive. I suggested that we could use this natural phenomenon. I was of the opinion that the temple could be built in the lake and the temple should be approached by bridges. They liked the idea. In that part of India, people extensively use boats for transport and this made an impact on me. We designed it in a way that people can go around the temple and then enter it. So this is how the whole concept was built by seeing the site, the condition and the requirements.

As far as the material was concerned, no stone was available in the region. Most temples in the region were constructed out of lime and bricks. Simultaneously, Isckon had also set up a small factory for terra-cotta in which they were making a banner with Gods and Goddesses. I decided to use this Terra-cotta as a basic cladding material. Precast Concrete, as the modern material, would be used for the structure. We designed the entire complex in two or three design modules. We had decided to use this module with cast in situ concrete and clad it with terra cotta and some golden tiles in between which would shine.

It would have been a fantastic project if it was realized.



Bombay Gujarat Cloth Market, Surat, Gujarat.

A group of merchants from the Mulji Jetha Market approached the architect to design a new shopping complex for the whole-sale silk market which has developed in Surat over the centuries. Although the existing market was found to be dirty and congested, the vibrancy of life and interaction between buyers and sellers inspired the architect to recreate a design which would help retain its dynamic atmosphere. In a covered arcade, spaces were thus retained for exhibiting sign boards, glittering bulbs and cloth lengths, but with visible demarcation of shop areas, and enough room for free and easy movement.

To remove congestion, all the shops are placed on the first floor, approachable by ramps, from a street-like corridor. A small platform is provided outside each shop where the customer and shopkeeper conduct their transactions. Customers agents have been provided with small office-cum-residential areas in the market complex. The complex thus has to be a self-contained unit, requiring, in addition to the shops, an infrastructure of banks, a post office, a hotel and restaurant.


OWNER: Bombay Gujarat Art Silk Vahepari Mandal

CONSULTANTS: Duban Consultants, Bombay

PRIME CONTRACTOR: Charotar Construction

COVERED AREA: 39,498 sq. mt.

YEAR OF COMPLETION : Phase I & II : 1972-1982

COST: Rs. 250,00,000



Bakrol Housing, Dist. Anand, Gujarat

I was awarded the project on the basis of a prize won in the all-India competition on low-cost housing, organised by HUDCO and the Hari Om Ashram. It was a challenging task to construct 200 houses within 10 months, and that too within an amount of Rs. 4000 for the construction of each unit.

To remain within the constraints of the budget, various alternatives were considered for getting the maximum area covered at minimum cost. Keeping this in mind, the use of material, which would need to be transported from distances, was ruled out, and only the locally available material was selected, tested and used. I went to Bakrol to see the site. I decided to get the material from a radius of 1 km. There were canals being made near Anand and a lot of brick bats were available. I found it useful.

A can making factory used to reject improperly printed cans. This also we decided to use. Because of the cost factor, I decided to use bricks as the main material, even in the roof. I constructed a vault in brick bats of 9 ft. near my office. I tested it by loading it with 15 people on top. After I was thoroughly satisfied with it, I decided to make all the houses I made almost on cross wall system. Since the technique of vaults required neutralizing of the horizontal thrust on walls, a system of row houses with courtyards was evolved. This system was finalized after studying the prevalent social behavioral pattern, and after various groupings of houses had been analyzed to suit the site.

In the minds of the people living there, it is a “pucca” structure. The planning of the scheme incorporates outside spaces like courtyards and the cost came to 10 Rs/sq.ft. at that time. Due to this costing, I could design 300 sq. ft. per house for which I got a prize.



OWNER: Gujarat Rural Housing Board

CONSULTANTS: Mahendra Bhavasar, Vadodara(structural)

PRIME CONTRACTOR: Charotar Construction

COVERED AREA: 45.93 sq.mt per unit

YEAR OF COMPLETION: 1978

COST: Rs. 4,200 per unit



School of Architecture, Vallabhvidyanagar, Gujarat.

“As the site was surrounded by various hostels, I decided to close off the school from the outside, and create an open space or courtyard within the building complex, towards which all activities would center. The corridors were sunk so that studio areas could maintain their privacy, and at the same time have an unobstructed view of the courtyard. The corridor walls were conceived as exhibition areas for students' works, and the corridors themselves as an intimate space for staff and student interaction. The courtyard is linked to the open exhibition-cum-activity hall. The idea for this came after a significant amount of thought for the Indian conditions. Most of the buildings designed for such purposes in the earlier part of twentieth centuries would invariably have long corridors and hallways. This would prove very cumbersome functionally where security is an issue. In India one needs internal looking spaces with courtyards. This way the problem of security can also be solved. The open space which you have incorporated inside makes it ore spacious and the building doesn’t feel alien to this land! The exterior construction of the building is of earthwork up to a 2.4 mt. level, which merges harmoniously with the landscape, and also provides insulation.

Internally, the corridor and the classrooms are designed not to disturb the proceedings of the classes.

When we decided to shift the college here from Baroda, I had no other thought but a cozier, comfortable atmosphere and environment for my students. Sometimes, you learn more in a comfortable environment. You like to sit near a tree, you like to discuss and communicate with your friends. Here, I believe, it increases communication.



OWNER: Parisar Trust

CONSULTANTS: A.S.Himmatbhai & Co.

COVERED AREA: 2045 sq.mt.

YEAR OF COMPLETION: 1985

COST: Rs. 25,00,000



Farmhouse for Self

Architect Suryakant L. Patel possesses in the isolated wilderness of the ravines of Mahi river of Gujarat, a outstanding house which blends modernity to traditional architectural practices.

It is perched on a hillock about ten meters and the brick walls tend to merge with the undulating landscape all around. Fortress like, and yet pleasantly inviting the house is built like a pleasure pavilion. Thick walls and an abundance of terraces flow easily in and out of the house. Moreover, the clever partition of openings, allied with an intelligent disposal of facades facing the valley, make for an effective circulation of air which is more ingenious but softer than western air-conditioning, to combat the heat. The rich vegetation around is an added help. The ground is covered in white mosaic tiles which reflect sun's radiation instead of absorbing it, and the water.

Radiating an unusual tranquillity, one cannot help but imagine it to have sprung from the Genius of the place. The circular volumes and brickwork rising to the top majestically bear a testimony to this.

It was to reside with nature that he constructed this house with utmost care over the years. Some thirty years ago when an opportunity presented itself he acquired 60 hectares, of land in Bhimpura, which he knew well, having hunted there as a child with his father. On a hill overlooking a river he built a shelter, which he replaced sometime later with a modest lodge of bricks and wood where he could rest with his hunting companions after a day full if emotions. Gradually, Suryakant came to his lodge to spend his week ends. He tasted peace. He dreamt. He fully benefited from this time suspended in space. He saw how life want by in peace, when one was in the company of friends, in a landscape which evoked the dawn of this world. Every return to noisy suburbs was a mortification

A desire arose in him and he constructed a vast property where all his family could settle for long periods.It became, he recalls an obsession. “For years I thought of this project. I had total liberty; I was my own client, the space was not measured for me. But do you know what I finally did after having carefully elaborated the whole scheme. I went to the spot and drew the plan on the ground with a stick! Everything was built like the growing of tree; as time went by, taking one's time leaving place for the unexpected. I wanted my house very open to nature” he says, “to sunrise or sunset, moonlight, to the beginnings of the monsoon. I did not want to leave out anything open to the elements, the house had however to protect me from their excesses! Majestic though it is, to mingle with its site, it should envelope me in this peaceful warmth, in which we all want to be cradled at the end of the day”.

More than any other a house which an architect has constructed for himself, is an indiscreet mirror of his deep personality.

Quotes from an Interview with Suryakant Patel

While I was teaching History of Modern Architecture to students between 1995 - 1998 at the APIED, then just known as IED, Suryakant Patel became aware of some of the articles written by me in the Indian Architect & Builder and we got talking on numerous issues. I had the good sense to document all of these at that time. The possibility of a book was also mentioned and we had several discussions along those lines..

Below are some of the quotes I had documented in numerous discussions with Suryakant Patel between 1996 and 1998

On his early jobs and works.

In my early days of practice I had to leave jobs because of certain standards that I had decided to maintain in my practice. I feel it is very much akin to our Hindi films. If your first role is of a comedian then you are typecast for life. The first job will  establish your image. You should have the clarity and dedication towards your work.

While studying in Bombay, I saw that architects could induce respect from everybody. One of the contractors told me, "I hate you architects because you know little and try to dictate terms. Practical aspects are not foremost in your mind. All the same  I respect you because your insistence is infectious and you manage to get things done your way. To say the least most of you are honest people."

Today the scenario is quite different. I feel that the image of Architects is at its nadir. One of the reasons could be the unbelievably low fees that some architects charge and cannot render proper services. The professionalism is missing.

I feel at an early stage in one's career it is better to execute smaller jobs efficiently. One lacks the requisite experience to give adequate justice to a large project. These smaller projects, when published will demonstrate your abilities and people will learn about the work you are doing. This way clients will know your ideas and the kind of work to expect before they come to you. You have to achieve a particular level and maturity before you start getting larger projects.

I have never gone out of the way to solicit clients and canvass for work. It is possible that by canvassing, I will get more work but then I will not be able to maintain the quality of resolution that I expect from my architecture.

In the late fifties, I began my practice in Baroda. Along with it I also taught at the Department of Architecture at the MSU. Then  my mode of transport was a humble cycle. Progress in my career was slow but steady and as time went  I learnt many things. I believe a slower but steadier rise in a career is better than ups and downs. My education from England fostered this confidence in me. Being in England, knowing the people  and their attitudes, working and living with them made me appreciate my Indianness more. Education does something and it did something to me - probably to be more Indian than most Indians

On clients

In my long practice I have found that clients are ready to pay  fees which are reasonable. Any discrepancies in the fees between you and other architects have to be explained because this breeds mistrust in the client. If some architect quotes a lesser amount,  it becomes the standard. This  way everybody loses out to unhealthy competition. The architect works more for less, and the client is not able to judge the discrepancy in the varying amounts. 

While dealing with the client, his requirements should become the basis for a design. His way of life, his behaviour etc. also become important clues and offer valuable insight into the type of a person he is. Above all, he is not totally ignorant and as architects we should try to explain and involve him in the project. This will prevent problems at the later stages and he will not say, "I did not tell you this." or "Oh, this is something different, I never expected this." It will also ensure his trust in you as an architect. If he comes back to you with another job then you are doing good work for your client. I respect my clients' aspirations. I believe Creativity does not always lie in the creation of something exotic, new and strange. Man has taken ages to change the pattern of his daily life. Then why should his form and shelter be so completely and arbitrarily changed by an architect

If clients insist on something that is not in your architectural vocabulary then you may have to leave the work. It is not necessary to take all the work that comes your way. Being selective about clients and the type of work you want to do certainly goes a long way in establishing your image as an architect.

I have found that people do understand if you talk to them nicely and convincingly. Let me give you an example. If somebody is playing music you cannot dictate the way he should play a piece because you like it that way. An architect is also equally creative and this also has to be explained to the client.

On Architecture

Architecture falls in the realm of art where it can be identified as a "useful" art. It has the element of function that the user defines. The architect's and the client's expression  should be interwoven.

Managing construction.

In India we have followed the British system. The concept of Master builder that made the Architect a completely in charge of construction, management and Design is extinct. Now the construction, purchase of materials etc. are done by different parties having little knowledge of each other's work.

Detailing

Detailing should always depend on the material you use, the climate and the purpose you want this detail to serve. In European climates, you want to keep out the cold and damp, and want more sunlight inside. So the windows will have double grooves, and minor detailing so water and cold drafts will not penetrate. The wood used is soft and treated which does not expand. So finer detailing is possible.

Because of this rich experience, they have produced books that we use in our schools and to teach students to follow these details. This process has its disadvantages because in India. Here, good seasoned wood is not available easily. You have to use secondary woods often which may expand. Then you have to check the detailing, the size of wood. In India, breezes in living spaces are more than welcome so the detailing would change. The windows instead of coming in the forefront, will be set back, and you don't have to worry about the weather. These are the problems that we  face even today, because we  blindly follow  details given to us by the West. I have always designed and developed my own details.

Materials

In my opinion, absolutely anything you want to construct and design must follow the relevant constructional technology to the material. The level of construction technology available from place to place in India differs greatly. If you are designing in a village and expect the exposed concrete of the metros, you may be disappointed.

I have always relied on locally available material. I do not mind using deformed bricks in my designs. In a farmhouse, for instance, they add to the character and act as a part of the landscape.

On designer sensibilities

What  I  believe is that a sensitive designer can  design  almost anything. He has the sensitivity and creativity in him to design,  evolve  and  create  new things provided  he  knows  the technology involved.

I  believe that the technology and the scale are the only  variables  that differ, but the sensitivity remains a constant.  Sensitivity in any person can come with the awareness and indulgence of all the five senses. I mean that a human being is highly developed and creative when all five senses are highly developed. I would  call such  a person an artist in the true sense of the word.

On Sketching

Sketching for me is an intense pleasure which brings me complete understanding of spatial relationships and their organizations. Our country abounds in its wealth of vast and beautiful complexes, and each time I sketch, it makes me richer in my understanding of the fabric of our architecture.