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

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apoorva.pathak@gmail.com

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

Suryakant Patel, Bhupen Khakhar and Rasik Shah on Art and Architecture

In conversation with Suryakant Patel, Rasik Shah and Bhupen Khakhar on Art and Architecture

Apoorva: Prof. Patel, What do you feel about Bhupen's works?



Suryakant Patel: I know his work and I like it very much. His work impressed me because of its uniqueness. It was different from people doing routine Expressionist and Abstract paintings in Baroda, when we met for the first time.



Apoorva: I have always wondered if artists and architects can meaningfully co-exist as co-professionals. Did you have any discussion related to this?



Bhupen Khakhar: We have thought about it. We also feel that a seminar or meeting involving architects and artists has not happened in India. Here a discussion of topics would generate an interest in people. The reasons for this probably are that we have not given this serious thought of this sort of coexistence.

Now it has started happening in a way but I doubt if it is coexistence the way you mean it. I think, the only time when it has happened was when Charles Correa designed The British Council building in New Delhi and Howard Hodgkins did a mural which is a part of the building.



Suryakant Patel: Yes, it acts as part of the building and does not become like a small photo frame. The mural overlaps and appears to go in and out. I think that is a correct fashion. One cannot commission artists after the building is complete and ask him to do something on the walls. That is of no meaning. The problem is that this sort of work is often considered as mere decoration.



Apoorva: Baroda has a long history of good art and architecture for almost 200 years. The kind of participation that you are talking about is lacking here and also in the people educated from here.



Bhupen Khakhar: No, there are two things. What are you saying is a work of collaboration, working together. The point we pointed out is, seeing each others work and enjoying it. This has happened but the former has not happened even though 100 years have passed.



Apoorva: What you are saying is that there is some lack of understanding on the clients' part or on Government’s part?



Suryakant Patel: Not just from the government. To convince the client is a difficult job. Above all there is always this confusion about the choice of the artist or the architect who will collaborate. In this confused scenario where does the collaboration come into picture?



Bhupen Khakhar: I agree, This is a big problem.



Rasik Shah: Suryakantbhai, I look at it in a different way. See, we are talking at a very professional level, but even at the level of educating the artist or architect the interaction is lacking. At a later stage we do not treat it as an integral part. I think it should be built into our work culture.



Apoorva: In India, though art and architecture have existed simultaneously, there has been very little interaction even at the institutional level. In Europe Art and Architecture are not distinctly different entities. Here apparently it is the other way round, so what could be the reason for this?



Bhupen Khakhar: To a certain extent artists ignore architectural movements and vice versa. Speaking of which, I have ignored architectural movements like say the Postmodern movement. I would have known them then if I would have interacted with an architect whether this building is Post Modern or not. On the other hand in Art movements occur that perhaps an Architect will not be able to recognize or distinguish.

If you see now in Faculty of Fine Arts, the work has remarkably changed now. The directions are very different from what they used to be a decade back. Now, perhaps you will see some semi abstraction in the work. Mostly symbols which industrial societies use. I observe it in the Art field but I do not know much about Architecture.



Suryakant Patel: See, many forces are at work. One is the client, who gets a priority because he is going to occupy the space. You cannot impose things that he does not really like. Of course you can educate him to a certain level, but you cannot go beyond that. If the client is very appreciative then this is possible. I have always seen this happening. For instance, if I work for Dr. Kurien in Anand, the work is always published. We appreciate his feelings and we develop our works to the highest level.



Bhupen Khakhar: We also do not have any experimenting museums here in India. Today, in Europe, museums initiate numerous experiments. Here, are no funds available for such activities. Museums act as institutions providing a forum for such related activities. It becomes difficult for an individual to come up with funds. This has not developed yet.



Suryakant Patel: Here, bureaucracy is the greatest obstruction.



Rasik Shah: If we look at the European history of art and architecture, let's say in 1915-20 and about Corbusier, Picasso, etc. Their work reflected each others influence. These movements and influences have not occurred here. I feel is there is a big gap.



Bhupen Khakhar: No, It has occurred slightly. In art an inquiry into the indigenous way of painting has happened, Something that relates to our things that we see around. Similarly in architecture also our climate and our materials and I suppose our "pol" housing and all I could see the beginnings somewhere.



Suryakant Patel: It is happening. After all, it is continuity of our glorious history.



Bhupen Khakhar: People have realized that making big boxes is of no use. Now in India the use of spaces is different. In India, we use bedrooms mainly at night. The drawing room and kitchen are the most heavily used. So architecture has evolved and people have accepted not to have doors between kitchen and dining which was happens in Europe.



Suryakant Patel: Earlier, if your architecture looked Western, it was considered progressive. For appreciation, it had to have the Western or European stamp. Now, thankfully, it is different. Architects do explore regional expressions and reinterpret them.



Apoorva: Simultaneously, I believe a similar movement had also happened in Art?



Bhupen Khakhar: It had happened in 1950. Our Indian artists who had gone to Europe, were influenced by Europe. People in India found it very exotic because for we were seeing it for the first time.

Many artists have come back and most of them have come back to our own roots. So there is also a change there.



Apoorva: What could be the reason for this simultaneous shift in both the fields?



Suryakant Patel: The thought process is a continuous process, it may be in literature, it may be in art, it may be in architecture.



Bhupen Khakhar: Politics also. In the sixties, Jawaharlal Nehru & Kennedy always talked about International relations.

But now things are very different. Now everyone thinks about their region, their country.



Rasik Shah: I think that is a very crucial when we talk about regionalism.



Suryakant Patel: I believe that is the right way of looking at your material and technology. If we cannot make bricks the way Britain does then why worry? We should use our bricks in the best way you can.



Apoorva: So, instead of aspiring to some other standards we are now setting our own Standards?



Bhupen Khakhar: Yes, and slowly we will set our own aesthetics also.

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.

Master of the Useful Art

Published in the Baroda Times supplement of the Times of India on 3rd November 1998
In his late sixties, Suryakant Patel’s exposure to architecture began as a child. Being the son of an architect, Suryakant Patel took to Architecture as a profession and after starting his initial training at the J. J. School of Architecture, he left for the Leicester School of Architecture in the U.K. After returning to India, Suryakant taught at the Department of Architecture, MSU as a reader. Simultaneously he set up his practice under the name of Sthapatya Kendra. After quitting from MSU, Suryakant Patel decided to establish a School of Architecture wher principles of construction would be taught as an integral part of the design process that an architect goes through. This process would still encourage fearless experimentation and creative inquiry into the real life issues that surround an architect.


Known for a wide ranging variety of projects, Suryakant Patel’s ideas about architecture of the present day are quoted from an interview.

On his attitudes and practice

In my early days of practice, I left jobs because of certain standards I had decided to maintain in my practice. Architectural practice is like our Hindi films. If your first role is of a comedian then you are typecast for life. The first job will establish your image, which will remain with you for your life. You should have the clarity and dedication towards your work. 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. But I cannot help but 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. Unbelievably low fees and improper services rendered by some architects could be the reason. The professionalism is missing.

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 passed I learnt many things. I believe a slower but steadier rise in a career is better than sharp rises and falls. My education from England fostered this confidence in me. Being in England, knowing the people, their attitudes, made me appreciate my Indianness more. My education taught me one thing - 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. While dealing with the client, his requirements should become the basis for a design. 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?

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 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 architects and the client's expression should be interwoven.

Materials

In my opinion, anything you want to design must follow relevant constructional technology. 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. 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.