This conversation touches upon the unique aspects of working as a designer in and from India outlining the struggles of practice and the rewards offered by our special physical, socio- economic and cultural landscape.
Idea of Design in India
Jay Thakkar [JT]: One of the emerging areas within the design realm is a conscious amalgamation of the Craft + Design + Research + Technology – both in practice and in academics. The aim of our educational and research practice has been to identify a contemporary direction for these interdependent aspects that can help us situate design within a holistic societal framework. The core intent is to ensure that the manifoldness of the design as well as craft practices are bringing a new wave of change not only in their outputs but also in the processes and thinking.
Shimul Javeri Kadri [SJK]: Every few kilometres the soil, the climate and the cultural history changes, and so does our architectural expression. Being raised in a post-colonial time, surrounded by stories of the freedom struggle, the concept of India is a very powerful one for me emotionally – and I certainly identify with patriotism and the shared history of ‘Indian-ness’. The history of Indian architecture is strongly ingrained within me, and I am aware that I subconsciously search for cues and answers in this reservoir of vast knowledge.
Tony Josephy [TJ]: I think the very idea of ‘India’ and being ‘Indian’ is changing rapidly in today’s globalised world. But even in this situation we see a blend – on one hand there is conformity to tradition and on the other, there is also a total disregard to context, with the so-called international influences. It is important that we reconcile these questions of identity which are always seemingly in flux, and that as architects our responses remain appropriate and balanced for a sense of place and time.
Contextual Influence on a Practice
JT: The influences of a regional context in our practice is two-fold – one at the level of research work carried out at Design Innovation and Craft Resource Centre (DICRC) and second at the level of education. Through the research work, the intention is to highlight the importance of the contextual influences – use of local materials, craft techniques, the traditional wisdom of the master craftspeople, and most importantly the empirical value associated to the crafts. Through our educational endeavours, the primary aim is to make the younger generation value our cultural context by exposing them to the craftspeople and building practices, traditional and vernacular built environments, contemporary craft approaches and applications and design projects that revolve around the context of diverse crafts across India.
SJK: Projects in the office look very different depending on where and what they are doing. However, the desire to connect with nature is integral to all that we do. Covered walkways, waterbodies, and courtyards keep us connected to the natural environment and make it comfortable and beautiful. Humankind has always navigated their relationship with nature through these simple elements. Our practice draws from Indian historical elements at all times, but as with music – one may know the notes, but the stringing together of the notes is critical to good music. It amazes me how similar language, music and architecture are. The pauses, the rhythm, the high points, all well timed contribute to creating a classic.
TJ: The context is intrinsic in all our designs. Borrowing cues from the regional architecture, the spatial quality is elevated by detailing that references the vernacular, but which is interpreted in a contemporary aesthetic. The material palette is a refined combination of predominantly local materials which come together to create a unique spatial experience. We also incorporate the regional craft traditions into the built vocabulary.
Impact of Global Ideas on Contemporary Practices
JT: We perceive change as an evolution – especially within the craft sector as these forces of transformation – whether it being economic, social, political or global pushes the crafts and craftsmanship towards sustenance.
There is a strong need to amalgamate craft, design and technology to bring a paradigm shift not only within the traditional craft practices but also in the notion of romantic nostalgia associated with the heritage and craft sector.
While one aspect of our work is focused at addressing the challenges of globalisation at the grassroots level, the other aspect is focused towards ensuring the outreach of its impacts at a global platform. This has resulted in the most comprehensive online portal Building Craft Lab by DICRC which acts as a mediating platform to link the contemporary to the traditional and vernacular.
SJK: Globalisation and the exciting opportunities it throws up has had a two-fold downside as well. The reality of climate change and the rising inequity in the world are clear fallouts of globalisation. The craft of building is giving way to the technology of building. We are at a critical juncture where the architect must navigate the demands of the project in choosing the level of craft and technology the building will require.
TJ: Today, there is a lot of easy exposure to architecture and design happening all around the world, which has in general had a positive impact on the profession. The challenge for us is to ensure that upcoming generations see these global ideas and images in context, understanding the underlying ideas and thought processes and take that as inspiration instead of plain imitation.
Engaging with Craft Practices
JT: Our projects allow us to engage actively with a variety of craft practices not only to do research but for developing new innovative products, spaces, installations, online portals, appropriate technological devices as well as curated exhibitions within and outside India. These allow us to not only create a distinctive character but also ensures the dissemination of the craft knowledge to the larger section of our society.
SJK: The crafts of India – the textiles, the metal work, the spices, the food – it is all a sensory treat that I revel in. At one level, I believe strongly in the analysis of site conditions and needs and a rational process that leads to a strong competent project but the poetic emerges from this enjoyment of all things sensorial, and every area in India provides this opportunity .
TJ: I think as a practice we are more concerned with the creation of an appropriate sensory expression to substantiate the overall design intent.
It is important that architecture is not restricted to the visual domain alone.
For any space, the spatial & tactile experience is highly dependent on the choice of materials, detailing, colour palette etc, all of which combines to create the right ambience. Simultaneously, other factors like cost effectiveness, ease of maintenance, reaction to weathering etc, are equally significant and are considered while selecting materials.
Diversification of an Architectural Practice
JT: The primary basis on which DICRC was established was that research has wider implications especially within the field of Indian culture and heritage and needs to bring a paradigm shift in its approach and application. The model that gets created out of a specific set of projects turns into ‘toolkits’ which are then open to the public to use them in their own craft-design projects. Research at DICRC is inclusive and systematic in nature. The implementation of our projects is always followed by a critical reflection and evaluation phase, where we assess the impacts of the further action. The assessed research findings are then formulated into theoretical frameworks that are then further incorporated into design pedagogy at an academic level.
SJK: I have always been interested in the craft of building and its practice through the country. I believe we must create a repository of this knowledge which has been handed down through oral tradition and will eventually be lost with the growth of faster cheaper alternatives that are cement based. Architecture colleges also need workshops and much more hands-on construction knowledge.
I strongly recommend a stronger base of the humanities – an understanding of sociology, economics and anthropology for architectural students.
TJ: For a long time, all of us have been really concerned with the deteriorating state of architectural education in our country, which is negatively impacting the quality of our built environments. One of the things I have learned over the last 29 years of my practice is that an architect cannot practice in isolation. One has to know about society, about culture, about climate, about liberal arts etc, in addition to design and technical knowledge. As practitioners and teachers, we want to be able to inspire students to continually learn throughout their life, to continually question and explore, instead of seeing the degree as an end in itself ⊗
JAY THAKKAR is an Associate Professor and Program Chair (Interior Design) at Faculty of Design, and Director at Design Innovation and Craft Resource Centre (DICRC) at CEPT University, Ahmedabad. Jay has worked on various design, crafts and research projects in India and Britain. He has been actively affiliated with different universities and organisations in India, Europe, and Australia, and has published and presented papers, delivered lectures, organised field research and mentored many students.
SHIMUL JAVERI KADRI founded and nurtured SJK Architects towards its current avatar as a firm that values culture and climate and builds gently in the context. SJK Architects’ portfolio encapsulates the ideas of building naturally and lightly. Shimul Javeri Kadri believes in supporting equality through education and feminism. Apart from leading the firm, she takes on added responsibilities as an occasional writer, jurist, speaker and teacher are the to engage and discuss her passions and concerns.
TONY JOSEPH established Stapati in 1989 after completing his masters from the University of Texas, Austin in the Charles Moore Program. With offices in Calicut, Cochin and Bangalore, Stapati is a multi-disciplinary practice emphasizing on values of integrity, sustainability and innovation. Tony serves as the Chairman of Avani Institute of Design – an emerging architecture institution in Kozhikode, Kerala.
