Architects of Baroda–Manoj Patel

Article on Late Manoj Patel published in Indian Architect and Builder in December 1997

For the large number of practicing architects that Baroda boasts, the number of practicing Landscape architects is appalling. Architects often double as Landscape Architects which results in pathetic results of either incorrect choice of species or planting distances or other such technical errors. Very few have a genuine interest and an inclination for seriously pursuing Landscape Designing as a profession. As an architect, Manoj Patel has shouldered both the responsibilities to a great degree and has attempted to do justice to the otherwise lackadaisical approach to Landscape in Baroda.

* What inspired you to take up landscape seriously as an architect ?

I had a liking for nature since my early childhood. I was born and brought up in Nairobi, Kenya. It was in this part of the world that I acquired a knowledge about plants and grew more and more fascinated with what nature had in store. I gradually acquired a natural affinity for plants and trees. After we came to India, I studied to be an architect from the MSU, and this inclination for nature, which was a hobby I had cultivated as a child matured into a full fledged pursuit in terms of landscape design. Today people have acknowledged my landscapes as "sensitive landscapes."

* What are the distinguishing features of your landscapes?

I try to incorporate water as an element in most of my designs. This can be said to be a distinguishing feature. Usually large water bodies surrounded by beautiful rocky bed give me a great pleasure. These are my favorite elements and I think I have used them inevitably in his every project till date. I enjoy working with rocks. Giving them new meanings and a different shape every time, gives me satisfaction.The feeling of combining the two most important elements required for the survival of mankind and taming them keeps me attracted to this profession.

* How do you start designing a landscape ?

Landscaping, according to me, is not an easy profession. One has to take care of different aspects like the type of land, size of the land, orientation of the plot, ambience of the surrounding area etc. Such factors affect the design and planning of the land. The immediate plot governs the profile of your plot. Your plot has to be designed in a way that it stands out. This requires a considerable amount of study of the plot as well as the surrounding plots.

* What according to you are the problems related to the profession ?

With relation to what I have said earlier, this profession also has the lack of trained personnel. Trained personnel are absolutely difficult to obtain for specialised jobs, especially in a place like Baroda. To solve this problem, I think there ought to be courses for training Gardeners just as there are courses for Draughtsmen.

* What about the present curriculum of Architecture Colleges?

I believe that Landscape designing should be included in the architectural curriculum in a more systematic manner. At least the basics of landscaping can be imparted in the five year curriculum. Students would be far better equipped to deal with a professional Landscape Architect. As the situation stands today, even practicing architects often consult a Landscape architect after the design is done. If one is more aware about the issues concerning Landscape, then he or she would be more conscious as a professional.

* What are the current trends in Landscaping today?

Today the trend is shifting towards landscaping as more people seem to be getting aware of beautiful gardens as a whole. Even people who own small bungalows demand a garden in their house. Not just any garden but one with a small pond or a waterfall with rocky bed. People have begun to understand the need of a garden in their house. As a result I feel that the demand for trained professionals will be on the rise. Today people are ready to spend money for their comfort. Just as Interior designing has gained importance, even Landscaping is getting its due recognition. A lot of good landscape designers and projects have come up in recent years which provides the proof.

* Can you remark on something which has been very striking or has made a strong impact on you?

Water. Water has made a strong impact on me. For me, Landscape designing is rarely complete without a water body in my designs. A water body plays a pivotal role in my designs landscape designing. Mesmerising sounds can be created by placing rocks in a particular manner. The rhythmic sound of rushing water with proper illumination can create a serene atmosphere. I also have a soft corner for animals. I make it a point to give them some space in his designs. Spacious animal houses for rabbits and dogs, beautiful cages for different birds etc. The chirping of birds can be very relaxing. Chirping blends well with the sound of water and you have your perfect garden.

As if reflecting the ideas and the concepts that Manoj expresses in words, the farmhouse of Mr. Arunkumar Shah bore a mute testimonial to Manoj's sensitivity towards Landscapes. Located on the outskirts of Baroda, Manoj has designed the House as well as the Landscape as a retreat for a busy businessman.

A small patch of green and a subdued driveway with an interesting random rubble wall on the left usher you into the realm of this tastefully articulated House. A suspense develops due to this crucially placed stone wall. As one is further drawn inwards a small arched opening in the stone wall beckons you into the world of surprises it has in store for you. A waterfall with its alluring display of rivulets of water and their tinkling sounds attracts you towards your left. " Made out of boulders which were available, these were arranged painstakingly - without breaking the original form of the boulders - to form a waterfall as envisaged specifically for this design." Manoj informs me. A meandering path on the right draws you towards an arched portico. The mango trees and the chirping of birds are the only things that meet your eyes and ears as you try to reestablish your link to the world outside. I was reminded of Rudyard Kipling and his description of the Banyan Tree. As I explored further, Manoj's liking for water and its elements manifested itself again in the form of a small but well done swimming pool in done in cobalt blue tiles. The colour blue punctuates the lush green lawns forming a visual relief in the otherwise intersting Green of the landscape. A cleverly disguised water tank in the form of a tower evokes the memory of the long forgotten clock towers in cities and villages of Colonial India. Another seemingly eclectic element in the form of the inevitable jhoola forms the other edge of the garden closer to the house. A jhoola ia an absolute must in any Gujarati residence which in this case is cleverly adapted from the medieval columns of wood carved by an unknown artist a long time back.

The farmhouse and the landscape seem to complement each other as and seem inseparable parts of one another. I have often thought about Landscape and Architecture as the Yin and the Yang where neither is complete without the other. Almost all Manoj's projects seem to display this facet of designing. He displays this ardor for even while designing office spaces. One rarely expects an office at the fourth floor of a commercial building to have a beautiful terrace garden. When Manoj decided to make his own office, he chose the terrace so that he could have a garden within his easy reach. The office located in Sayajiganj had one such beautifully created garden complete with an aviary and lush green lawns. I use the past tense because the garden no longer exists. Due to some problem with the owners of the building, Manoj had to dismantle the entire garden complete with trees and an enticing lush green lawn. Situated just near the entrance of his office at the terrace floor, the landscape provided a cool relief rather than the harsh glare which meets the eye when one looks out of the window. "I am sure when the garden was existing, it would have brought down the temperatures of the offices below. I did try to convince them as they did not have to bear any cost in maintaining the garden. It was mine and I would have taken care of it. But to no avail. I had to remove it." says Manoj ruefully. All that remains of the garden now is the aviary and the collected sculptures which seem lost in the harsh terrace of the building.

One hopes that people become more active and friendly towards such environmentally friendly gestures if only to save valuable energy and money!

Architects of Baroda–Vijay Matai

This article was published in Indian Architect and Builder in February 1997

Vijay Matai, A Baroda based architect, Graduated from MSU, Baroda and a Post graduate from the Academy of Architecture at London, has a valid point to state. He says, "All architectural work should have an in built consistency and its own character. Buildings should complement their surroundings within and without." Matai believes that architects should be as responsible as any other professional and are not subject to extra pressure in this era of Developerism. "There have been limitations in any age but within that resistance one has to try and go beyond one's own limits. The situation is never perfect and even then there are architects who do exceptional work in these situations. Some architects are naturally talented and creative, some are lucky. But whenever the opportunity presents itself, one should do something for his own satisfaction and creativity - Other limitations will always be there but within that resistance one has to try and go beyond one's own limits." As if trying to prove his point, Matai expresses his point through his architecture. Most of his buildings, except when he purposely makes them that way, are never pompous and dominating.

His buildings establish a firm relationship with the terra firma seemingly growing out of the ground. Creating a friendly atmosphere and inviting the onlooker, his buildings deftly negotiate the threshold between the inside and the outside. His peculiarity is in the way he weaves some "outside" within the overall building form by the way of a courtyard or a garden. His distinctive sense of the human scale asserts itself inside the building in terms of overlapping levels. This visually connects the spaces and gives a sense of proximity to the people occupying the building.

After he has achieved this basic quality in a building, he is open to the question of "style". "Stylistic preferences are governed by various aspects like client's preferences, personal preferences, location etc. An architect should be able to achieve a suitable and proportionate whole. Personally I like to look forward and evolve into a futuristic direction rather than pick up elements from the past. It is essential to develop a system and set the goals in terms of the quality of the environment, image and spaces one would like to achieve. A general discussion within the staff members with regard to the client's needs, aspirations, our own perceptions is generally discussed first and subsequently alternatives are developed." He says.

For this particular house for Mr. Subhash Khurana at Baroda, Matai was given complete design freedom. In Matai's words the brief of the client was "The family consists of four members. The client is a builder and civil contractor for the past twenty years. It was the desire of the client that the entrance vestibule should be such that all vertical movement should be from there without disturbing the other activities. He gave complete freedom as far as the building form and the elevation was concerned. He was more particular about the specifications and detailing."

While designing, due to the less width of the plot, Matai has tried to achieve a sense of depth visually, by using diagonal and curved surfaces. The curved surfaces on the exterior and the stark white finish, triangular pergola elements and the railings are reminiscent of the American architect Richard Meier. To this Matai shrugs and says "Maybe." He adds, "Due to the limitations of site, the objective was not to create a very massive solid structure, so that spaces such as the garden etc. do not seem cramped and hence external features have certain slender elements and diagonal curved surfaces and also the use of only one colour to give the exterior a neat and clean effect along with a certain degree of porosity."

Inside, the spaces are linked in a way so as to exploit the diagonal thereby achieving a balance in the interrelationship of spaces. Had it not been for the diagonal, the depth-width ratio would have seemed out of proportion. The juxtaposition of the diagonal on the plan also aids in visually separating the family spaces from the public spaces. Another compelling feature in the design are the double height spaces which visually connect the two floors. This also helps in regulating the temperature of the house. He says, "All spaces of general use like - formal living, family living, dining, staircase, study/bar etc. have larger volumes and are visually continuous, but at eye level they don't overlook. This was also to maximise human comfort as all these areas are connected to the staircase cabin which is located to exhaust the hot air."

He uses various elements like the staircase or the triangular column frame to lend the Interior some richness like the exterior. He says, "The interior too has certain elements and materials to enhance the internal spaces and their continuity, so that the width is emphasized in relation to the depth of the structure."

Architects of Baroda – A. M. Shirgaokar

Anand Shirgaokar

An unpublished article on one of the architects of Baroda.

Anand Mansantosh Shirgaokar was born on 10^th October '39 at Cochin, Kerala. A graduate from the Dept. of Architecture at the MSU, he also has a post-graduate diploma in housing from the University college, London. After setting up his practice in 1964 in Baroda, he has succesfully completed projects which include housing, commercial, recreational and industrial buildings

Recipient of several national awards including Commendation award in the category of "Low Cost Housing" by JK cement works at New Delhi in 1990, and the fifth annual JIIA award in '93 for excellence in architecture in '90 at Mumbai, Shirgaokar has participated in the exhibition during the Festival of India at Paris in 1985-86 for the Contemporary Architecture in India.

Besides being a member of the board of studies for Architecture, Baroda and member of the UGC panel of experts, He has also been the chairman of various committees of IIA convention, Baroda - 1972 and of IIA for 1980-82.

Speaking on his current pet project, the KAA project, Shirgaokar said, " Designing with a team of architects of KAA foundation, the prime challenge was the phased execution of the buildings in a manner that at no point in the phasing would the scheme look incomplete. It is designed as series of raised plinths which connect to terraces and inter-locked court yards. Pedestrian movement through the design is the spine which binds the diverse buildings.

Also, all courtyards flow into each other, and sections of terraces can be seen which visually unite the spaces. The plinths are progressively raised to create a sequence of terraces. As the KAA has limited funds and the inflow of money quite unpredictable, I have intentionally designed the Campus in a way so that at no point in its phased construction would it look incomplete. This was a challenge."

Keeping in mind the educational purpose of the building, the ex-Professor of MSU remarked," The building itself should be an educational aid for the students. We have tried to exploit all types of Construction orders - different types of masonry walls, arches, several kinds of spanning elements like waffle slabs etc., even the floor patterns are distinct and in a way this has helped us procure the material which we raised from the suppliers. The redesigning was done without disturbing the old building which was a hostel block. Dovetailing elements so that it can be reused as staff rooms or computer rooms has been the attitude. I believe the students of architecture should get an environment with a distinctive character because this reflects in their work."

Shirgaokar's concern for students reflected in his style of teaching. "As a professor, I believed that the student should learn more from practical aspects of architecture than from the books. I categorized learning in two levels, a) learning from the books and b) learning from practical experiences on the field and keeping abreast with the latest advances in material and technology. Only this will be instrumental in giving the student the three - dimensional understanding of his conceptions."

In a conversation about Shirgaokar's methodology of Design The ex- HOD of Architecture, MSU, S.P.Deshpande said,"He consciously avoids over indulgence in the play of forms, spaces, volumes or even the exposure of structural elements. However he has never let himself be straight jacketed. His latter works express a down to earth attitude by the way of functional areas, volumes and forms aimed at achieving appropriateness of space and structure. Climate, locale are reflected in the overall form, openings and the layout, to create a functional, comfortable building and micro environment. There are no "isms" or philosophies in Shirgaokar's designs."

Speaking on his design methodology Shirgaokar said," Architecture, for me means, exploiting the areas that are not "labled" spaces. Transition areas, staircases, entrances, corridors etc. become important elements in my architecture. For me, a house doesn't mean only designing just the building form but the entire gamut of possible interventions where an architect should be concerned. Besides this, I am very conscious towards the quality and quantity of light especially in our climate. Climatic considerations add to the demands that we make from a design. Sensitivity towards fenestrations in our tropical climate is another area that becomes our area of concentration. Most of our buildings are passive cooled. The outer walls protect the inner core and hence keep th environment inside comfortable."

Speaking of his influences in the context of his designs, he remarked, "To me, besides Corbusier and FLW, Kanvinde, Doshi and Suryakant Patel's works are of great esteem.", remarked Shirgaokar. Shirgaokar's work can not be classified as any particular architect's impression. "I can call my work as a consequence of continuous assessment towards other's works. My self development was to contemplate on what I've already done and assessing my own works. " commented the architect. He has gone through the process of a critical analysis and understanding the constructional complexities of an architect in Free India and his works refelect a conscious attitude towards detailing.

Talking on client's approach Shirgaokar aversed," When you talk to a client, sometimes you can predict whether he is egoistic or he will compromise with the architects ideas. I select those clients who have seen my work and are convinced. Clients who are not convinced, decide after studying my earlier works. If the client has certain ideas which may not be in our vocabulary like false arches, domes and pillars etc which are mainly decorative, then it becomes difficult to accept such commissions. I don't believe in false ornamentation. I believe and follow developing my structural concept... whatever is structure in a building that is always seen. We exploit structure, space and services. We try to identify aspects of these as elements in our design. Therefore some designs look sensible and restrained because the superfluous is taken out and the unwanted is not there whatever is left is genuine stuff. To enhance the structure we try to give a color to some of the elements which serve to highlight the spaces. We started with very few projects and that gave us the brooding time. In fact we were doing a research type working on the small structures which has been very helpful".

"Architecture, the designing and construction of building, has always been a struggle to explain to the society that aesthetics was an outcome of structural elements and their interplay.", expressed the concerned architect. Reminiscing his earlier days, he said," I established my own practice in 1969. At that time Suryakant Patel and Mahendra Modi were the ones who strictly followed minimalism. Earlier my clientele belonged to the middle income group. So my main concern was cost consciousness and projecting architectural values. I follow these values even today."

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.

POST INDEPENDENCE ARCHITECTURE OF VADODARA

In 1999, The Kalabhavan Architects Alumni Foundation (KAAF) hosted an exhibition of building materials between the 5th and 7th of February. KAAF constructed and donated the building for the Department of Architecture, MSU, Baroda. One of the unique features of this exhibition was a presentation of fifty years of architecture in Baroda.

The presentation was on the “Architecture of Baroda” from the past five decades or after Independence. The attempt here was not to criticize and pass judgement but to take stock of the situation. In many ways it attempted to bring forth the attitudes of the architects and the people of Baroda that were adopted in the past five decades.

We, (Brinthalakshmi and I) had attempted this through the slides and other presentation material that were collected from more than 25 architects who had consented to give us at least five of their projects. All this will came together in a slideshow with a commentary by both of us. This presentation was scheduled on February 07, 1999.

What follows below is the commentary that was given by both of us as the slideshow rolled on.

Should any of the readers have any photographs, please mail them to me so that they can be inserted as a part of this post.



POST INDEPENDENCE ARCHITECTURE OF VADODARA

A Presentation by:

Apoorva Pathak

Visiting Faculty, Dept of Architecture, MSU

&

S. Brinthalakshmi

Lecturer, Dept of Architecture, MSU

INTRODUCTION

Brinthalakshmi: Like most Indian cities Vadodara has grown physically in the last 50 years at a pace it has not experienced in its 2500 years of history. This sheer physical size surrounds and dominates the historic inner core of the city. The traditional architecture of the inner city is barely visibly and experienced. The landmarks of colonial architecture - once proud symbols of Vadodara’s glorious colonial past – are lost in today’s concrete jungle. The urban scenario today is chaotic yet vibrant with a variety of architectural expressions vying for attention.

Apoorva: In the midst of this vibrancy and variety, we intend to trace various attitudes in the architecture of Vadodara region since Independence. When globalization is the order of the day, it becomes relevant for us to take stock of the situation and search for new and relevant expressions for the twenty first century.

Brinthalakshmi: This presentation on post Independence architecture commences with a brief introduction to the architecture of the early days of independence when colonialism was waning, but designers lived in the legacy of the past. This is followed with the section on the pioneers of modern architecture who ushered in the winds of change.

Apoorva: The torch bearers for change have been the individual residences. These constitute the widest variety of architectural expressions in Vadodara and many attitudes become clearer through them. Following these will be Housing, Developerism, Factories and Institutions.

ARCHITECTURE OF VADODARA

Brinthalakshmi: With independence came an euphoria, which infused architects with the belief that many social and physical ends could now be met through physical design. This time of thought reflected that masters of the modern movement in architecture and urban design.

Apoorva: Much new building was indeed required to meet social ends. The political and administrative recognition of India led to a new configuration of states. National policy of decisions led to a variety of new building tasks. The policy of decentralization of industry created the need for the industrial infrastructure and housing to attract workers to widely dispersed new locations. In the educational area as a part of this initiative, the Vadodara college was raised to the status of a University in 1949. The Kalabhavan started offering a degree course in architecture in 1954.

Brinthalakshmi: The initial years after independence saw divergent paths in architecture- one of the continuation of the classical Revival and the other modernism. Qualified Civil Engineers undertook most of the architectural works in Vadodara at this time. They ruled the roost of all building activities because they had all the required proficiencies for handling the new material - RCC. The traditional building activities had still to learn the ropes of these new materials. As a direct result of this these qualified contractors were in situation to dominate the building scenario, with a positive effect, of Vadodara during the early 50s’. A few among them were C. R. Patel and Co., Desai & Shah and Western India Construction. Continuation of old colonial expressions can be seen in the Lalcourt building and Sardar Bhavan by C. R. Patel (opposite Chisholm’s Nyay Mandir) completed in 1950. M.K.Jadhav a chief architect of the old Bombay State designed it. This reflects modern architectural ideas of using plane surfaces and minimum decoration as in Lutyens, Government house in N.Delhi. the Adhyapak Niwas a set of apartments for University teachers in the University campus also designed by Jadhav on the other hand show no decoration at all. Residential building on the other hand continued to be built with a settle decoration (in form of jalis on parapets/railing) fill the late 50s’.

Apoorva: Master, Sathe & Bhuta from Mumbai, first introduce Modern architecture in Vadodara. They designed for the Alembic group of industries and for the M. S. University - The Faculty of Home Science, Sarojini Devi Hall- the hostel for women, The extension for the Faculty of Technology and Engineering. Their other work includes the main branch of the Bank of Baroda in Mandavi. This impact of modern architecture is further strengthened with the appoinment of M.B.Dave in 1951 (an architect by training from Hyderabad) as the architect of the M.S.University. He went on to become the Head of the department of Architecture. His contribution includes the Gandhinagar Griha, Federation building, General Education auditorium and residences for leading Industrialists and personalities- Indubhai Patel, Nanubhai Amin and Dr. Thakorbhai Patel. The mid 50s’ saw the influx of even more younger blood in the guise of Madhav Achwal and Suryakant Patel , both of whom were to play pivotal role in shaking the minds of the future generation of architects emerging from the Department of Architecture, Kalabhavan, Vadodara. Achwal & Patel incorporated within the curriculum newer thought and process followed in a modern western world. Kalabhavan thus became a front runner in architectural education by becoming one of the first institutions in India to have a Modern view of architecture.

Brinthalakshmi: Architectural thoughts in the first couple of decades came to terms with independence and the international scene. It seemed that importing modern architecture, which derived its legitimacy from a belief in the universalism of science, started an architectural revolution. Anglo Indian forms of architecture persisted until a whole new generation of Indian architects emerged. These new architects were still inspired by western, if not especially British, models of urban design and architecture.

The coming of Le Corbusier to India in 1952 set a new dimension to existing trends of design for many architects in Vadodara. Works by the P.W.D. department and the state continued the office which by the mid of 50s’ had given up British ideas. The most prominent works of the state Vadodara being the office building for the Gujarat Electricity Vadodara and the Vadodara Railway Station.

Apoorva: With this brief introduction, we come to an end of the first part, where we have attempted to set the stage for the extensive work that Architects of Vadodara have done in the past four decades.

THE TORCH BEARERS

Brinthalakshmi: Traditional housing in the early fifties for the middle class consisted of basic requirements in terms of two bedrooms, a living and a bath/WC area. These houses were to develop on parceled lots of land which were called societies. A single middle class bunglow of about 900 sq. ft. could be constructed for about Rs. 19,000. Such societies were to develop for the retired employees of Sarabhai Chemicals, Alembic etc. Similar such societies were to develop in Karelibaug, Harni, beyond Panigate, Lalbaug and Manjalpur.

Apoorva: Following these developments came the subsequent developments of the individual house. This individual house was the modern equivalent of the British Bungalow. Individual practices within Baroda have adopted interesting attitudes towards this “type” in their expressions.

ISSUES OF HOUSING

Apoorva: From little over a lakh in 1901, Vadodara had a little over a million souls in 1991. By 2001, this figure is expected to almost double. Vadodara will reach the mark of two and a half million by 2011 according to various estimates. Issues of housing cannot be ignored under the circumstances.

Brinthalakshmi: According to many sources development on the western side of the city is much faster compared to other areas.

A brief analysis reveals that while the western areas of our city constitute close to 43% of the total area under the BMC, the number of people occupying these suburbs have gone up from around 2400 in 1971 to around 6000 in 1991. While this was only a 54% increase in 1971, The nineties have shown a percentage growth of 63%. By 2001 it is likely to reach a figure of around 70%.

Apoorva: The Urban Land ceiling and Regulation act (1976), has had a mixed impact on the housing production process in Baroda. During the late seventies, it led to increase in land supply through the exemptions available under sections 20 and 21. During the late seventies, the Baroda municipal area witnessed an unprecedented spurt in housing activities. The cooperative finance societies also helped in the provision of finance to the cooperatives registered during this period. This uncharacteristic surge in the Real estate situation may also have led to the paradoxical slump in the market today. Among the general set of reasons are related to a severely competitive commercial environment anywhere else in India.

As for Baroda, the formal private sector comprising of Builders, Land Developers, Land suppliers etc., contribute nearly 77% of the total housing supply in Baroda.

Brinthalakshmi: The years between 92 and 95 saw great speculation by investors in the Real estate scenario of Baroda. This coincides with the Bull Run at the Bombay stock market. A lot of investment flowed into real estate in anticipation of profit. Land was easily available and finance was easy to come by. Builders and organizers prospered. Unlike the past, the private organizer has to produce at least some of the housing before the payments from the buyers start taking place.

DEVELOPERISM

Apoorva: Developerism is a term coined for the recent phenomenon of buildings built for the anonymous or unidentified client by the developer. It carries with it many connotations of aesthetics, economy as well as political clout in many cases.

Brinthalakshmi: Developerism, in the context of Baroda, has started flourishing mainly after the early eighties but its roots lie in the economic upliftment of the region since the early sixties. This starts mainly in the early sixties with the appearance of state owned industrial units like the Refinery, GSFC and IPCL.

Apoorva: The developer, in today’s context is the patron of architecture. He is in a position to shape the aesthetic tastes of today’s society. As a direct result, architectural expressions of today have to be economical as well as “aesthetically appealing” to the mass. The Developer – Architect nexus is in a position to generate a plethora of architectural expressions, which will constitute the built urban scenario of today and tomorrow.

Brinthalakshmi: While this movement has begun to crystallise, and is here to stay, it is important to pause and take stock of the situation as it stands today.

Due to Reasons of economy, dimensions of usable space have altered. The classic case in point is the “ten feet spans” of beams and columns in multistoried blocks which have their effect on room sizes. Also, the norms for ceiling heights have been redefined.

On the other hand, efficient planning and incorporation of newer technologies have also made their contribution towards the movement.

THE INSTITUTIONS

Architecture in India today is faced with the paradox – “how to become modern and return to the source, how to revive an old, dormant, civilization and take part in the universal?” It looks towards the future but is rooted in the past and its present makes its position clear in space and time.

The institutions designed by architects of Vadodara are a clear attempt to resolve this paradox faced by the profession today.

CONCLUSIONS.

The architectural expressions that we have witnessed today are a result the combined interaction of climate, culture, and craft within the cultural milieu of Vadodara city. While no strict classification or architectural “ism” can be imposed on such a huge body of works, one can only trace seminal strands of thought processes. What one has seen is not a blind imitation of the western ideologies. Simultaneously, it is also not retrogression to the past. It is on more ways than one a healthy regionalism – for the want of a better word. Such a regionalism is not a camouflage, a fitting or a fancy dress. Instead it is the synthesis of what is most common-sense, dignified and enriching – sensually and symbolically – from tradition with freedom, comfort and securities offered by the industrial civilization. It upholds the individual as well as local architectural features against the more universal and abstract ones. It involves a critical synthesis of a region’s history and tradition and their reinterpretation and finally the expression of these modern terms. Hence the fundamental strategy of regionalism is to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a place.

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.

--

Apoorva Pathak

+973 36796998 | +91 9033441833

apoorva.pathak@gmail.com

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

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.

Home Decoration enters adult education stream

This article was published in the Baroda Times Supplement, Times of India on 6th October 1998. The evening course mentioned here was actually developed by me specifically for the Adult Education Faculty in MSU, Baroda.

Adult Education or the continuing education courses have been running for over two decades in Baroda. Initially offered short-term courses for home decoration it was usually targeted at housewives. It was based on a demand from the housewives of higher middle class who often had extra time on their hands and wanted to do something fruitful in their spare time. The various faculties would come forward with courses and the centre would run it on their behalf in the summer. After some time, it was thought that the course could become a para professional course, which would aid the skilled workers and the spouses of professional Interior Designers in assisting them. This sort of course involved the professionals from the field in an active manner.


The architecture department has come up with a proposal for two long term courses and 10 short term courses. The two long-term courses of One year and six month duration have commenced since the third week of July.

There are two important points that distinguish these courses from the professional level Interior Design courses. One is that they are for the mass audience and therefore no aptitude test is conducted prior to admission of the students into the course. These courses are geared towards an appreciation of Interior Design as a professional discipline and appreciate its many facets.

“This was the main idea behind formulating this course for the lay public. People appreciate good music and art so why shouldn’t they become conscious about the spaces they live in? There are many aspects of Design, which are less known to the common man. These courses would definitely broaden their horizons.” Says Prof. Navangul, The Head of the Department for Architecture. “We really appreciate the efforts made by the Adult Education centre towards educating people who are interested in various disciplines. So we took it upon ourselves to formulate the courses, with the help of a visiting faculty member within the Department of Architecture, and are conducting classes in the Faculty of Technology. Along with an artist we have young interior designers who are extremely enthusiastic about teaching this course.”

Ms. Hemaben Patel, the Ex HOD of School of Interior Design at Vallabhvidyanagar feels that, “Such courses fundamentally help individuals to appreciate the spaces and generates an awareness about deign as a whole. It does not, however, mean that they would be able to design and develop spaces as a profesional designer would. But they would definitely begin to appreciate spaces and what makes them interesting and appealing to the human mind. Such courses, in the long run, can definitely create an awareness among the lay public about the art involved in creating spaces. Professionals related to the field of Interior Design spend their entire lives in making dreams come true with their skill and inventiveness”

Some professionals are however doubtful and have a note of caution.