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Original Manuscripts - Apoorva Pathak
Anand Mansantosh Shirgaokar was born on 10th 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.
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."
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."
Neemuch, a taluka of the Mandsaur district of Madhya Pradesh is a remote place. A town of about a lakh people, it is on the undulating Malwa plateau. The remnants of the British Raj are seen by the presence of a railway station and an omnipresent church.
Headed by a politician or a collector, Neemuch improvement trust is a local body which acts as a facilitator of land and finance. Its prime aim is to improve the availability of land by area development and avail infrastructure facilities. It also makes the finance available for the development of housing through the state level housing authority and HUDCO.
The main challenge was to achieve a greater sense of community and yet maintain an equilibrium between function and amenities. This low rise, high density solution aims at optimal use of land and building resources. It creates an appropriate environment suited to the life style of the eventual users.
The Row and cluster housing is developed with common walls. Privacy is achieved by angular placements in rows and unparalled rows across roads and pathways. This helped in creating linear open spaces and interlocking community areas. All houses are provided with front and backyards. Dwellings at the first floor level are given access from an outside stair and they can avail of an open terrace.
Housing architects, especially those working at low cost solutions need to have an innate knowledge of local material and available technology of the region. Shirgaokar has successfully used Rubble and stone slabs which are indigenous materials to the region. Moreover, the locals have used for centuries, hence, they are well versed at its usage. The local stone can be cut and rough dressed in thickness 75-100 mm and 600*3000 mm sizes. Rubble for the stone masonry is available in 150-170 mm sizes in even thickness due to the nature of the lime stone strata. Traditionally the locals have been using 100 mm thick, 750*1200 mm slabs on the edge dovetailed and clamped by iron `U' pins staggered at intervals. Such elements are capable of supporting the load of a single story house of act as partition walls or supporting walls to staircases, parapets, compound walls , grills, etc. or as spanning elements like slabs, beams, lintels, etc.
The use of RCC has been completely avoided, in process reducing constructional cost effectively by cutting down on the cost of the steel. This was possible because of the optimal utility of the indigenous material and local technology.
One out of every four houses in the scheme is for the MIG which would be sold at the market price. This would subsidize the prices of the remaining houses of the EWS and LIG. But the actual allotment has not been done according to the initial proposal. The scheme envisioned for a particular category and standard of living is presently occupied by people with higher aspirations. This disparity generates its own outcomes and the outer and inner spaces coupleed with the poor maintenance of infrastructure and open space by the local authority have aggravated the situation.
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.
Mihir is a graduate in sculpture from the Faculty of fine-arts, Baroda. He also has a bachelor's degree in Chemistry. He had his elementary lessons in landscape designing when he took up gardening as his hobby. His fancy for nature began in his early days of innocence with nature camps and trips to the forests. Even today whenever Mihir finds the time, he rushes off to the forests to enhance his knowledge about nature and be among an environment he seems to love. Another favourite activity is to take children to forests and teach them the ways of Nature.
Under the watchful eye of Mr. Lavkumar khacher, Mihir's love for nature blossomed from a mere interest to a serious concern and now Mihir practices as a Landscape Designer. His experiences with gardens started gradually when he was training to be a sculptor in the Faculty of fine arts. He started experimenting with rocks, water, a variety of flora, and redesigning gardens.
Today, at the age of 32, Mihir is now a seasoned landscape designer. A competent designer in his field, Mihir, talks about the various types of projects that he takes up. " The first type are the smaller gardens which people want to develop as a part of their houses. These fall into the smaller category of residential gardens. People seem to be much more aware about the environment and do demand self sustainable gardens. Since it agrees with a lot of things I do, I also try to promote the organic concept. Till today, landscape design hardly meant more than planting some rose trees or flowering plants. Trees would almost invariably be planted in a straight row in a mechanical fashion. The major part would almost always include plantation. Today the elemental awareness in landscape design has gone up. Clients have specific requirements in terms of hard and soft landscapes and specific outdoor activities." Comments Mihir about the type of projects as well as the general trend he perceives. Further he adds," now-a-days landscaping is given equal consideration along with the architecture. Clients are more conscious about their surroundings and they crave the feeling of oneness with nature. Most people prefer to have a rocky bed, lush green lawns and waterfalls in their gardens. This creates a serene effect and soothes the mind, body and soul."
On the other hand Mihir also takes up larger projects which involve landscaping on a very large scale such as farmhouses with acres of land. Here the strategy for designing becomes more definitive and meticulous. "It is a job which requires tremendous amount of patience and time. It includes the study of the bio-diversity, texture and variety of soil, soil composition, study of ecology, elementary knowledge of flora and vegetation and finally the building which serves as a central premise. These help in formulating the concept of the design. Client's needs and requirements plays a pivotal role in conceptualisation of the landscape.", Says Mihir. He has long meetings with each and every member of the family, understands the prevailing culture and tries to identify each member of the family with his designs. He takes care for the special and very private spot to be created for the voracious reader of the family, big lawn for the party kid, a private place for the client and for his personal friends.
The most difficult part begins once the conceptualisation is over. Mihir has to play three-in-one role. At times he is the botanist bent meticulously over the floating hydrophytes with which to decorate the pond, or a geologist studying the rocks for their suitability to be used in waterfalls, where as most of the times he has to be an ecologist who knows the exact propositions of natural elements required to create the blend and harmony.
"Every place is specific in terms of its bio-diversity of species of plants and animals which differs from other places. In this aspect Baroda differs from Ahmedabad. Also the site surveys conducted matters a lot. It specifically helps in finding the drainage pattern and variation in soil etc.. It lays the foundation of designing and planning of better surrounding. It is also decisive for the types of plants to be used for gardening." remarks Mihir about his working method.
Mihir believes in designing the land without altering it's present existence. He does not prefer to raze the ground and level it, but instead tries to create new patterns from that existing ones. Nevertheless he gives due considerations to the technical parameters such as load bearing capacity of the land, proper drainage, water proofing, whether fiber glass should be used or not, seepage and other materials that are to be used in landscaping.
Mihir's fascination for water bodies is evident from his works. "It is interesting and exciting. Captivating sound effects can be created by placing rocks in a particular manner. This generates a natural sound system. With the slow rhythm of rushing water and with proper illumination an overall effect of nature is created. Making a waterfall is the most interesting part. I take a keen interest while the work is going on. ", Says Mihir understating the extent of his participation. Mihir is known to be on site continuously for a month taking a bucket of water and pouring it over the rocks to get the desired effect.
Creating water bodies is not the only speciality of Mihir. The most interesting projects for him are the afforestation projects. Recently Mihir has undertaken the project of designing a unique nature park for community purpose. This nature park is a joint venture of wwf india and atira, ahmedabad.
The proposed plan for the nature park includes a woodland, a scrub land and a wetland. The plantation has been planned in a manner to reflect the three modules of ecosystem. As providing education has always been wwf's purpose, a campsite has also been proposed. This campsite will be designed for a one day/night stay with the intention of nature education or orientation.also watch towers, thematic interpretative signage,fencing and security rooms have been suggested. Above all different propositions for replenishing the flora and the fauna have been suggested. This plan is a result of a common concern. "Depletion of the plant cover and associated loss of biodiversity on our earth should be a major concern for all today. Urban environs in particular are an easy prey to development. Atira, a campus of about 5 hectares designed by kanvinde in the 50's in ahmedabad, was one such green lung of the city which brought down the temperature by a couple of degrees in the summer. It is sad that even this green area has deteriorated" says Mihir. As a direct result of this nature park three major objectives would be solved.
A) preserve and enrich the existing ecosystem and conserve the biodiversity.
B) provide an innovative environmental education facility.
C) help generate environmental awareness among students and other sections of the society.
A bearded trio, Neelkanth Chhaya, Kallol Joshi and Sohan Nilkanth, jointly form the firm Mandala Design Services. In their mid forties, they have been practicing in Ahmedabad since 1987. Neelkanth Chhaya, the spokesman of the trio, talked to me in Ahmedabad.
* How did your partnership begin ?
Kallol and I started a partnership in Baroda. After we won the competition for CEE, I came to Ahmedabad for the implementation of the project. Soon Kallol too joined me in Ahmedabad. Our third partner Sohan, joined us towards the end of 89. Sohan and I used to study together in school and we knew each other very well and needless to say are good friends. When Sohan came back to Ahmedabad from Nigeria, he initially started practicing on his own.
Around the time when we decided to do the Karnavati club competition... at that time we persuaded him to become part of it. We had also worked together in Nigeria. "
* What is it that prompts people to get into a partnership?
Well several factors I suppose, One is that if you are in a partnership, then the responsibility of running a job does not get... sort of neglected if you are not there. You have a choice either to take very senior employees or if you are partners then one can depend on each other. Say somebody has got some social commitment coming up or somebody wants to go and pursue a serious hobby then the office does not come to a sort of limbo. If you are partners you can survive, depend on each other... that is one of the reasons. Other reasons are that if you are friends you quite often enjoy doing things together. You have similar language, you share similar kinds of interests.... of course you are different, each one is different but still you have certain things that are common. So its a way of sort of keeping in touch with your friends, provided that your goals and outlook are reasonably similar and your language in architecture is not so diversified.... then it a partnership is possible. If it is possible then that option can be explored.
* Doesn't it happen that, in a partnership that one partner is able to explore outside the practice slightly more than other partners ?
Its a very tough question. You see, any work that you do consists of many parts. Some of which are more visible some less visible. Both are important and need to be done. Temperamentally people are also different. Some people like to do things sort of compactly. One may need to persuade them and talk to them and organize things in a way in which common different things come together. Some people like to work inside their own minds and explore things. So if your partners understand your different temperaments and that various aspects of work are equally important then it is possible to continue otherwise it tends to become a little stressful.
* You have the name Mandala for your firm, how did it come about ?
When we first came back we were very much interested in the possible continuities between our traditions and the new architecture that is being built. We were also sort of interested in the traditional terminology. Mandala was a term taken from there which in a sense is not just an Indian word. For example Carl Jung uses this word to mean an archetypal ... image.
* When you do get the job or project is there a kind of division among partners that one partner handles something exclusively?
It varies according to the size and complexity of the job and it also as to how the job came into the office and also according to who the client is. If you have a very large and complex project then you will need all the people you can get. In that kind case all the partners get involved in one aspect of the project. If it is possible for a job to be thought out in sub-sections then obviously the partners will take up one section... sub-section and keep on co-ordinating with the other aspects of the same project having laid down certain basic principles at the beginning. If it is not too large and yet it is a job which is very interesting for all the 3 partners, then obviously out of interest you will keep in touch about the project. But if its a small job it is not possible for all the partners to keep in touch in detail about al the aspects. It would tend to be handled basically by one partner who goes to the site, meets the client, contractors, consultants etc. So that the other partners can pay attention to other things.
* Especially when you are dealing with larger projects how is it that the whole thing runs smoothly?
It doesn't run smoothly (laughs)... I mean every job has its sort of pickup, certain problems and doing and redoing and redoing and redoing. Because its very rare that all the co-ordinations come together simultaneously so that you do something and then .. say a month later the structural engineer having done his calculations needs to change some aspects. Now if that is the case and that would occur in a large job there would be many such issues and if you have been able to organize the job in which there are distinctive parts which can be handled then I suppose having partnership is extremely useful. Like in a housing project there was a distinctive requirement to divide the various housing categories both because of the economic and the social characteristics. It was therefore possible to allot certain specific areas to each person. In the initial stages we did a lot of work together and then split up and then kept on sort of putting those drawings together.
* You may have had a lot of differences, how do you sort them?
There are many kinds of differences some may be to do with architecture like two people disagreeing on a particular element. In such a case the person who is dealing most continuously with the job has the prerogative to take a final decision and the others have to accept it even though they may make jokes about it from time to time.
* And during the process of deciding whether it should be x or y there may be a lot of intense discussions?
Oh yes ! There are certain practicals like what should we pay somebody? what should we pay so and so or for example whether this man should continue in the office or not and so on. The resolutions are not always satisfactory. Very often we have to sort of decide to take a decision.
The third kind of difference may be over the overall objective and the directions of the partnership. Those are the most difficult ones and they sort of begin at discussions. They begin as reviews and they may sort of change the direction or the manner in which your practice is being run. They have quite important implications to all the partners. In that I suppose that it is best for everybody whoever is involved to have some bedrock principles and then if he doesn't sort of go with those then it may not be possible to continue. But normally the main way in which the problem is sorted is in discussion.
* Could you tell me something about your method of designing?
Basically, the sensibility for the people should come across. For us this means the way how people in our society like to live. Also climate - how we like light and shade - these factors contribute to a local sensibility - not a universal sensibility. Any project after it is begun goes through some development. At the construction stage every single project goes through further experiences because of certain difficulties and the accidents in the process of a project. We have not tried to avoid the accidents. We have sometimes suffered as a result where people have changed projects to such an extent that nothing of the original project was visible. In other projects we have been able to negotiate the process of change, and help it to debanalise the order. Order is made less obvious. By this process of layering desires and intentions upon the original intentions, and in some ways this method is telescoped.
* Coming to the formal aspects of your practice - How do you handle the finances?
Not as well as we should that's the first thing. See, its very tough because of the amount of input - the time input. I for example teach therefore I take almost half the day off. I spend as many hours in school as I spend in the office. Thats one factor. The other factor is the job you are dealing with and who is handling how many projects. If the work is reasonably well distributed then as long as you are dealing with the job and completing its requirements, the time may not be such a big issue. Very complicated formulae dont seem to work. So if you have profit then there must be a sort of system for sharing it. That system which takes into account all these factors and that again is a matter of discussion between the 2 or 3 people concerned. We havent really had much of a problem in that mainly because I think all the 3 partners see each others work so we just split the profits.
* What are the disadvantages?
One of the major ones I think is that your future is tied up. Suppose tomorrow I want to reduce the number of people to a bare minimum, work with only computers.. let us say for example if one person gets that idea then that person has to sort of convince the other 2 persons. Or lets say I want to retire after 2 years, then you can't just say Well I'm going, its not morally correct. So you have to sort of prepare the ground, start slowly. So partnership has certain difficulties of adaptation which an individual may be very quick in doing but a partnership will take some time. I suppose that in a partnership it happens that work may be done by all but 1 or 2 of the larger partners are in the limelight the others are sort of in the background. I suppose those are the main disadvantages.
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."
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.
A city with an immense art and architectural heritage which was at its peak during the British era, the seat of the princely Gaekwads, Baroda today can hardly boast of a similar contemporary modern architecture. When contemporary architecture cannot root itself in its own context, there is very little choice other than interpreting a western language for a search of an Architectural identity. While a few architects are in search of an architecture rooted in the Indian context, most lament the unparallelled pressure from the capitalist forces of developers where architects and architecture are often reduced to a state of helplessness.
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 inbuilt 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 and inviting to 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 in the form 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.
The Bungalow at Gotri demonstrates Matai's meticulous design process. Besides the functional requirements, Matai asked the client to express the notions he associated with his house. "After getting a fair idea of the image, elements and quality that he had in mind, We tried to create a building which would be reduced in scale despite the large builtup volume in relation to the site. Hence our choice to use two different materials in subdividing the building and also to create more intimate and interesting spaces." To achieve a greater integration of exterior and interior spaces, the Garden becomes an integral part of the house and almost all rooms overlook it. Contrasting materials and colors and flowing spaces create a vibrantly pleasing mood.
Using load bearing walls, Matai has created a composition of spaces which effectively separate the formal and informal spaces of the house. The formal drawing room opens onto a small porch while one enters the house through a small double height space from the car porch. The dining room forms the hub of the house around which other spaces are clustered. The dining room opens onto the semicovered garden. This effectively makes the space look larger than its actual dimension. Also the double height of the dining room connects it visually to the bedrooms on the first floor. The "bridge" which crosses the dining room is characteristic of almost all private residences that Matai has built so far. Beyond the dining area is the family living which is an extension of the dining room and is divided by an elaborate partition. The kitchen and other service areas occupy the rear areas. The first floor is taken up by two bedrooms and are connected to terraces with pergolas. The bedrooms also have private balconies.
Essentially a work space for research and development of Horticulture - Consisting of laboratories and offices. The brief was essentially interms of functional needs and the relationship of various activitieas and the cost.. The building is set as a part of the large GSFC township, a certain degree of separation from existing housing was essential and yet it should fit into a beautiful, green environment. Externally a quiet and dignified quality was to be achieved and the interior would give the opportunity to reflect the nature of work been done in this building, hence spaces and details which offer natural elements, plants and openness, scope to develop inside. Overall a simple building having a clear znd easy circulation, enclosing nature inside.
A commercial project located in the prime area of Baroda. The basic desire of the client was to achieve optimum utilization of floor space and yet create a distinct image of the building.
The plot which is more in depth on which 40% of the land is covered on the lower levels. Reacting to this it was felt that visually there should be more open space around the building and the tower should npt be too close to the main road. Hence on both sides open spaces upto the semi basement were created. The tower was set back for a clear view and instead of one solid mass, the facade was planned and broken up in five directions. It was also felt that the emphasis should be to project the facade as a whole and not as a series of floors stacked on one another.
Matai attributes a fair degree of his success to his position as a teacher in the College of Architecture at MSU, Baroda. "Personally, I think it has been a major factor in my growth. Any professional in the applied fields, whatever his latent potential, does improve qualitatively if he/she is also teaching simultaneously. Generally the level of exposure, consciousness and awareness at the personal and the professional level is enhanced and thus very satisfying. Practice has its own dimension, while teaching and interacting with so many young minds has a phenomenal effect on an individual. One can learn from the youth the bold, energetic and fresh approach to design problems. My work has become slightly better because I have been teaching at the MSU. Interacting with young fresh minds is a lot better than discussing finance and economy of projects with your clients. It keeps one alive and one tends to evolve everything at a more rational level." Says Matai.
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".. In the context of the third world, the architect must have the courage to face very disturbing issues. For what is your moral right to decide for a thousand, for a hundred thousand, for two million people? But then what is the moral advantage in not acting, inmerely watching passively the slow degradation of life around you...?"
Charles Correa, The New Landscape, p132
.To build in India today one must comprehend the physical and economic realities of under development at large. Many architects have begun to consider how design and planning can actively contribute towards change. While a few are defeated by the futility of making an impact fewer continue to implement their ideas. These committed activists regard their work as a "conscientious alternative" as compared to conventional designs of architects who mainly cater to the privileged few in India.
Embracing a totally new set of circumstances, the solutions of these professionals are often stimulating and provoke one to think about their innovativeness.
The issue of Housing would have to reflect the values of culture, tradition and the physical environment while at the same time grapple with awesome realities of economics. The conscious and sensitive architect often looks at "Appropriate Technology" for the answers. This often means that architects have to demonstrate the methods of building and face criticism for a hitherto unproven technology should it prove unsuccesful in comparision to the conventional one. Kiran and Riddhi Gandhi have decided to address the problem of Housing in the Urban Context.
Q: Why and under what circumstances did you form the Urban Development Group?
A: With sky-rocketing land prices and the negligent attitude towards the user, Housing for the common man is an expensive proposition. The housing problems in any country are an integral part of the economic policy and socio-cultural setup of the society. It should be considered within this framework. Since this became our strong concern, Riddhi - My wife, and I decided to form the Urban Development Group after a decade of experience in the profession. Riddhi is a Civil Engineer by profession.
The concept behind UDG was to build "Reasonable and affordable houses with an architectural flavour". Disillusioned by the system where they had little control over their projects which were financed by builders, they decided to turn "Builders" themselves. Since then they have been involved in housing development with a specialisation in cost effective, affordable housing.
UDG is among the few practitioners along with Laurie Baker who practice alternative construction. Riddhi has infact trained under Laurie Baker in 1991 program called Laurie Baker home at Madras.
The objective of UDG is to design and build reasonably decent and affordable housing with an architectural flavor. The methods they use towards achieving this goal are correct identification of area requirements, selection of suitable site, use of ACT and management principles with respect to time, cost and resources such that optimum utilization results. In their projects they have experimented with different techniques of alternative construction and have experimented the pros and cons of separate methods under various circumstances. Over a decade UDG has successfully completed projects like Anveshan, Abhilasha Township -Ujjain, Arvachin, Alaukik, Abhigam, Abhiyan are in progress. All these techniques have been used to the fullest advantage in their Model house Abhiyan.
Q: What is Abhiyan?
A: Abhiyan means a movement. Aptly named, it is UDG's fervent desire to combine individual efforts into a consolidated movement for cost effective housing. Kiran gandhi defines cost effective housing as " Apart from suitable cost, the qualities of the unit are strength, convenience of use, shelter from external forces, impermeability to moisture and no entry to pests. Apart from this common amenities, socio-religious needs , appealing design, lawful ownership become important factors in such cases.
A model house has been constructed by UDG at Bopal, a fast developing suburb in Western Ahmedabad. UDG has put all its consolidated technical and management experience of over a decade in previous projects in this project. The concept of the model house was to put before the public eye the extent of possibility using ACT combined with a precise understanding of physical and psychological requirements of human habitation. " Being an architect, this understanding can be developed but a few vital points remain to be ironed out for this type of building activity to become commercially feasible for builders to adopt." says Kiran Gandhi.
Competing in the open market with other builders obviously means that their prices will not be lower than other builders. What they have to offer is a well planned housing unit and quality in construction and materials. The architect's role becomes crucial in the area of detailing, construction management, cost, time, materials and financial resources." The path that Kiran Gandhi has chosen is surely a difficult one. Experimenting on projects involving technology not tried out earlier, and competing in the open market as a builder keeping the prices at the same level and offering quality products all at the same time is a quality which is rarely seen in an architect. An entrepreneur who has created a new field of interest, Kiran Gandhi has plenty of suggestions to make. He says,
Both Kiran and Riddhi Gandhi feel that this is not their best project. "Our best project is always our next project" they say. Abhiyan is the beginning of a widespread movement that they would like to spearhead.
Their immediate goal is to make an all out effort for a huge township of 2000 units where they can utilize their experience reaped over a decade. "In this only the government can help us as such large quantities of land can only be provided by them. This is our immediate objective." Is anybody listening?
Bhavnagar is tucked away in the southern corner of Gujarat. Earlier a stronghold of the Gohilvad Rajputs it was the first state to surrender its sovereignty to the Indian Union in 1947.
Governed by a dynasty of benevolent Kings Bhavnagar prospered as a port and a thrived as an important commercial centre.
My romance with the city began with a small trip to visit a cousin who was married to a descendant of Sir Prabhashankar Pattani. Fondly remembered as Sir P.P. even today, people revere his contribution to the city. Staying in a huge palatial bungalow built about a century ago aroused a lot of interest in the local architecture. Being a small town one could easily cycle around the city and see the monuments of a bygone era. Schools, Colleges, Libraries, Places of Administration and Justice - they are all there standing as silent witnesses to the winds of change that are sweeping over the city. A desire to know more about the city and its history prompted me to take up the city as a subject for my dissertation for my final year.
Three buildings inthree important locations attracted my attention. The first was the Darbargadh - The seat of power. An extension designed by the same architect who had designed the Victoria Memorial in Calcutta was too important to ignore. The second was a small library which came up after a existing gateway was demolished. A new institution designed to propel the populace towards modernity. The third was a hospital designed by William Emerson who designed Darbargadh and the Victoria Memorial.
A brief study of the old city became imperative to understand the position of these institutions and how they adapted themselves to the form of the city.
Located on the Western sea coast of Gujarat, adjacent to the Gulf of Cambay Bhavnagar is nearly the geographical centre of Gujarat.
Bhavnagar was the capital city of the former state of Bhavnagar. After the independence of India in 1947 it became a part of the Saurashtra state. During the time of the British rule (1757-1947) it was a part of the Gohilwad district.
Bhavnagar was established in 1723 by Bhavsinhji I (1703-1764). After realizing the vulnerability of Sihore in repulsing attacks, he sought a more secure place for his capital. He accidentally found a favourable site near the village of Vadwa when he was on his visit to the temple of Ruvapari. The new capital city would be in the open country in comparision to Sihore which was in hilly terrain and hemmed in from all sides. Bhavsinhji-I had intended his new capital to be a well protected haven, secure from attacks and also make it economically prosperous by establishing a port.
The old settlement of Vadwa had the benefit of various village tanks such as Gam (Gangajalia) talao, Prabhudas talao, Brahman talao and other smaller tanks. Most of these tanks have now been absorbed but their names persist. The religious places which were on these tanks have survived and have played an important role in structuring the city of Bhavnagar established in 1723 near the old settlement of Vadwa.
The main roads of the new capital city of Bhavnagar were oriented to face the cardinal points of the compass. These roads were bounded by gateways. A wall with a moat surrounded the city. The Darbargadh or the palace is located centrally and the hierarchy of institutions and street layout was established in reference to this important institution. The city was divided in four major precints. Each precints had "sheris" or streets which belonged to a particular caste of people.
Between the years 1870-78 Bhavnagar was under a joint adminstration. This period produced some notable reforms. The two important people who were responsible for these reforms were Mr. E. H. Percival and Sri Gaurishanker Oza of Bhavnagar.
These reforms were in the areas of administration, revenue collection and judiciaries. Post and telegraph services along with railways were introduced and augmented. The port was also modernised and a new economic policy was introduced.
These reforms and changes in the system caused John Houston to say ""Bhavnagar is the most important and the most advanced of the native states of Kathiawar. From a very early date it became friendly with the British authorities.It was the pioneer of civilization and adminstrative activity in the peninsula and has ever set an example to the neighbouring chiefs in the spread of education, in the prosecution of public works, in the development of commerce and in adoption of measures generally conducive to the welfare of its subjects."
Though the British had made their presence in the peninsula of Kathiawar since the early 1800's, their active involvement in the matters of the states is seen only after the 1857 revolt of independence. This revolt is the key event in the history of colonial rule in India. It marks the beginning of a major shift in the attitudes and perceptions of the British.
The Kingdom of Bhavnagar had helped the British with all possible material help and had arranged the transport of British troops from the port of Ghogha to Ahmedabad.
For the valuable assistance rendered by the Raval Jashwantsinhji (1854-1870) the British Crown conferred the title of "Star of India" on the King in 1867. After his death in 1870, Bhavnagar came under the joint administration of Mr. E. H. Percival and the Diwan Sri Gaurishankar Oza for a period of eight years from 1870-78.
Maharaja Takhtsinhji (1878-1896) who ascended the throne in 1878 was educated in the Rajkumar college at Rajkot. The young King was influenced by the western system and introduced more reforms, initiated complex urban renewal schemes and commissioned many public buildings. Many new institution "types" came into being. Among these were the High Court, The High school, The Hospital and The Library. These new institution "types" were a direct result of Colonialism. This period (1870- 1896) can therefore be called "an institution building epoch" of the Bhavnagar city.
The main urban renewal schemes of the period were the reconstruction and restructuring of the area near the Darbargadh and the Demolition of the fort wall.
This span (1870-1896) is therefore critical in the growth of Bhavnagar as a capital city and can be studied for its architectural success and significant contribution towards the transformation of the city as a whole.
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From blue chip shares to bhel puri and from books to bullion, Manek Chowk is the answer to any shopping that an Ahmedabadi does! Shopping in Manek Chowk can be quite a thrill and should be on the agenda of any tourist to Ahmedabad.
Locates on the axis connecting the royal buildings of medieval Ahmedabad - The queen's tomb, The King's tomb and the Jumma Masjid, Manek Chowk is the most dynamic shopping areas of Ahmedabad. Surviving through ages, it still maintains its importance in present day commercial activities of Ahmedabad. The virility and tenacity of the traders of Manek Chowk may have earned the name "Manchester of India" for Ahmedabad. Legend has it that a saint by the name of Maneknath had his ashram hereabouts and the agora may have been named after him. A temple by his name still exists at the southern edge of Manek Chowk.
The commercial activity in Manek Chowk is as old as the city of Ahmedabad. Its central location and easy accessibility are the main reasons for the commercial activity to flourish. This activity grew so intense that the royal buildings were gradually encroached.Totally blocking of the view to the royal buildings, the encroachments provided space for the growth of commercial activity more intensely. Because of this one gets a feeling of moving in a department store with medieval tombs peeking through the gaps as if reminding their presence amidst the fervent pleas of the hawkers. Being spread over a large area, a market for jewelry merges into the foodstuff market into books and so on.
The northern edge of the chowk opens onto the busy Gandhi road. The shops here are of a mixed nature selling a variety of items ranging from junk jewelry to hosiery products. The southern edge is mainly taken up by the gold and silver merchants. These shops are a part of the family heirlooms and are systematically passed from father to son. Hardly exceeding six by six feet at times, the location and the family name of the jeweler attract customers from far and wide. I met an owner of one such shop who said," I have been sitting at this shop since I was five years old." Being an octogenarian, I asked him since when was the shop in the family. he said," For at least a one hundred and fifty years. My grandfather migrated from Kutch in the early nineteenth century and bought this shop soon thereafter." I was truly amazed when he told me that the value of the shop had gone up by a thousand times after that. Asked if he ever thought of selling the shop for a bigger showroom elsewhere, he said," the customers do not come here because they like the architecture but they trust me totally." I had nothing further to ask. My questions regarding the marketplace were answered. I realised a market was made by the traders and customers- people who trusted each other and not by the massive departmental stores where the contact between people was reduced. This probably explains the spontaneity so much found in most of the Indian marketplaces.
The small pocket of space between the two edges is taken up by hawkers who sell steel utensils and cheap music cassettes from their laris. The inevitable chaiwallah does brisk business and so does the few panipuriwallahs and sandwichwallahs who satisfy the Ahmedabad's taste of something hot and spicy. The most fascinating character of this chowk is the changeover that happens as the night approaches. With almost clockwork precision the lariwallahs execute the changeover as if the shift were changing in a factory. The new shift now busies itself by serving the customers with tasty paubhaji, kulfi and the like. This batch continues its roaring business amidst blaring music till the wee hours of the morning. What was a busy commercial street during the daytime now acquires a festive character. Quite similar to the Ahmedabadi who slogs during the daytime and relaxes with his family as the evening approaches. The chowk apparently never sleeps. This then constitutes the main centre of Manek Chowk. The Stock Exchange accounts for the dense traffic and a multitude of haphazardly parked vehicles. Movement on foot and by vehicles is reduced to a snail's pace.
Some of the associated commercial activities are the Dhalgarwad- the cloth market, the fruit and vegetable markets, the spices market, the seconds book market. Perhaps one of the only markets selling exclusive ethnic cloth material of Gujarat is situated in the tomb of the queen popularly known as " Rani No Hajiro". The Dhalgarwad market sells dress material and ready made clothes. The market gives a feeling of a single tent where displayed dresses and eager shopkeepers vie for the attentions of the shoppers.
This market is so crowded that I had to stand up on the stool to take the photographs! The market for secondhand books is located under a " Fernandes Bridge" and has been the mainstay for poor and middle class Ahmedabadis. The market provides textbooks for school and college going students as well as books for competitive exams. All books bought from here can be returned at the end of the year for a small rent. Trust the economical Ahmedabadi to come up with a solution for books too!
Though shopping in Manek Chowk can be delightful experience for the occasional shopper, it can be a nightmare for the everyday visitor. Endless and undisciplined traffic, lack of parking space make the chowk choke for breath. The problems are many and solutions hard to come by. The long awaited transfer of the stock exchange to the Ashram road may partially solve the problem. Manek Chowk badly needs a break after a long and arduous tenure as the prime commercial area of a commercial city like Ahmedabad.
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Almost everyday one comes across new construction sites where previously older buildings once stood. Feverishly, construction workers erect the buildings anticipating bustling activity. But sadly most of these remain either unfinished or if complete, unoccupied.
After unprecedented growth in between 92-95, the real estate market has slowed down and may probably come to a grinding halt. Empty buildings, speculating investors and steep prices have made the situation difficult for the average man looking for a roof above his head. A complex and potentially disruptive situation has loomed ahead as we move unsteadily towards the 21st century. While housing shortage increases builders are increasingly saddled with developed property which they are unable to sell. 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. The fact that due to this frenzied development the city of Baroda has lost most of its princely architectural character of the early twentieth century, remains totally unaddressed and unattended.
One of the two states in the country to witness overall development, Gujarat has grown fast. So has Baroda, reflecting this trend. Industrialization in the areas of chemicals, petrochemicals, plastics at the public and private sector levels have their units in Gujarat not to mention the General Motors manufacturing unit at Halol, an industrial township nearby. All or most of the industries have a major unit/s in and around Baroda. Added to this is the large influx of Gujarati and Sindhi NRI's who have found investment in Baroda and around a fruitful proposition over the years. A logical conclusion to this large corporate presence would be a energetic, busy metropolis.
The area under the Baroda Municipal corporation covers about 108 sq. kms. Small by many standards but its transport linkages by road and rail and the presence of large public sector companies have made it a major business hub of Gujarat. A major part of the urban growth is still limited to the jurisdiction of the corporation. The upper and middle class income groups are mainly present in the southern areas of Alkapuri, Gotri, Old Padra Road and Fatehgunj. Sayajigunj, adjacent to the State Bus terminus and the Railway station comprises the new Business zone and new Hotels. These are all precincts outwards of the original walled city of Baroda. Alkapuri or the R. C. Dutt road is the alternative to the old city's commercial district. The growth in population and the density reflect that while the peripheries have flourished, the inner city has more or less maintained a low profile. The population of Baroda has shown a ten fold growth from the beginning of the twentieth century. From little over a lakh in 1901, it has reached over a million souls in 1991. A brief analysis reveals that while the western areas 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%.
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 was made in real estate in anticipation of profit. Land was easily available and finance was easy to come by. Builders and organizers prospered. The real spurt during the Congress regime of Mr. Chimanbhai Patel's tenure as the CM. A certain group of builders ruled the roost. As soon as the BJP came into the power, and the Congress fell out of power all the schemes which were under the Section 21 were stopped. These were the schemes which were actually required by the common public and were suspended abruptly. Also some of the builders were arrested under PASA - an incident peculiar to Baroda. This contributed to the escalation in the land prices as "Buildable" land became scarce due to the initial spurt. Land costing 40-50 Rs/sq.ft. rapidly escalated to four to five times the cost almost overnight. Prices in Gotri region which were in the region of about 100Rs, are in the range of Rs. 300-400. The price of the land at present has reached proportions where it is not feasible for the builders to build. Many builders are not able to sell their schemes totally and very few new schemes are coming up. Speculators are also scared to put in their money for this reason. The prices also went up because of the ULCA, and the Section 21 being discontinued. The release of the land was now not being done.
In a society where land is considered the most important source of revenue and profit, the landowners can greatly turn the situation towards their own profits. The organizer (developer & builder) considers the cost of land as residual. Considering the current rate of interests and availability of mortgage finance the organizer arrives at an estimated selling price. In this scenario if the landowner senses a higher demand, he refrains from selling the land. This can and has greatly influenced the situation of prices as far as Baroda is concerned. Another reason why a group of landowners can play a pivotal role is the way Baroda is physically structured. An air force base, An army cantonment, A training institute for defense personnel, Public sector units like IPCL, GSFC and IOC have occupied vast tracts of land. The Gaekwad's palace - The famous Laxmivilas Palace built by Major Mant - occupies another major tract of land in the heart of Baroda city. This creates a hemmed in situation for the growth of Baroda.
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 apex cooperative housing finance society also over extended itself through 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.
The housing market in Baroda has demonstrated a significant turnaround over the last decade. There are many interesting sets of reasons which have led to a slump in the housing market. The depressed economic situation in Baroda, the relative stagnation in housing prices have probably led to the decline in the speculative demand. The consumptive demand for housing has probably increased as a result of stagnation in prices. The consumers however face the problem of availability of housing finance since the funds from the cooperative housing finance society have dried up. Some of the builders however feel that, "The slump can be mainly attributed to the overall recession in the industrial sector. Baroda is mainly an industrial town and if the industry develops, the building industry will also develop. If the overall national situation improves, situation will improve here also."
The producers of Real estate have to hard sell their products to the genuine buyers who are most likely to occupy the unit. The co-operative finances, which were made available to the organizer directly from the financing agency, is not easily available now. While the GCHFS does not have loanable funds, its ceiling limit, which was 50 to 60 percent of the price of a unit in the seventies, is now just 10 to 20 percent of the price of a new middle income house. Thus both the clients and the organizer find this quite unattractive. One fallout of this has been the down market trend in the housing supplied by the private sector.
The major difficulty faced by the organizer relates to the increasing risks in not being able to sell the units that he builds. This is in total contrast to the earlier situation when most schemes were sold out at the first announcement, often before all permissions were actually taken. Secondly, even when the buyers are found, many are unable or unwilling to pay the installments even though 80% of the work may be over. Unlike the past, the private organizer has to produce at least some of the housing before the payments from the buyers start taking place. This creates a major change in the financial needs of the organizer. Such a process would put tremendous pressure on the new entrants and smaller organizers. A larger developer would have enough liquidity to tide over the financial crunch. The entire process for acquiring land and converting it into "usable" land for housing has become a business in itself with an entire group of brokers who maintain regular contacts with the authorities like the panchayats for the requisite permission of acquiring the coveted Non agricultural status. These brokers then contact the builders and sell the land with a 2-4% commission. Surely a lot of money changes hands at all levels for the machinery to work smoothly! The end loser in the process is almost always the client.
The issue of Real estate and its slump is multifaceted. While it is true that builders - as far as Baroda is concerned - provide a majority of the housing, the fact remains that most schemes find a customer with great difficulty. Builders require money to build. As of today little can be done. If finance is available at cheaper rates and clearances at all levels are easier to come by then the situation can definitely improve. But at this stage, the way the Government is running today, little can be expected. As far as Baroda is concerned, most of the Builders operate on small to medium levels. At these scales it is not economical for the builder to operate efficiently. If a real competitive market is to be induced then the scales have to increase enormously. This can happen only when the release of land from the Government happens efficiently and with a definite strategy. Numerous ceilings on land and costly finance are the major problems that the government can address and ease the situation.
On the flip side, the genuine customer finds the Real estate a forbidden domain. Dominated by speculators and escalating costs, he is peeved by the helplessness of the situation. Often, due to lack of knowledge or gullibility he ends up with a substandard product. Buying a plot of land and building on it as a private party is again discouraging for an average middle class consumer. Finance is also not easily forthcoming for investment in Real estate as it is for other consumer durables.
The situation may improve for both parties if a common ground can be reached. The Government or Private bodies may introduce quality ratings for Real estate which will ensure a basis for the consumer as well as the builder to obtain finance. The numerous regulations on land should also be channelised to a "single window clearance" system, to use Financial jargon.
The author wishes to acknowledge Mr. Bhanu Marwaha, Lecturer, IED, and his paper on the Housing situation in Baroda.
A few months back, Well known artist Prof. Sankho Chaudhuri released the book, "Contemporary Art in Baroda". The book which was almost 10 years in the making has been edited by another well known artist from Baroda Prof. Gulam Sheikh. The Baroda based public sector unit of IPCL has sponsored the work and published by Tulika, New Delhi.
The book ventures to distinctly highlight the significance of Baroda as a nucleus of contemporary art from the inception of the Faculty of Fine Arts about half a century ago.
The work is impeccably produced, lucidly written with lavish illustrations in black and white and colour photographs. A difficult task to achieve with four separate authors contributing to the book. Although some breaks in the language and style of authors is inevitable, the editor has excellently streamlined the book as it traces the evolution of Baroda as an important centre of contemporary art and art education from the 19th to the late 20th century.
Gulam Sheikh has authored the first chapter "Backdrop" which has explored the existing traditions in Baroda at the time of Maharaja Sayajirao onwards in terms of the mural tradition, the elaborately carved havelis, painted temples. The brief history alludes to some facets of the rich architectural features of Baroda. The work of Raja Ravi Varma, the commissioning of Nandalalal Bose to paint murder in the Kirti mandir and the establishment of the art school at Kalabhavan and the museum and picture gallery in kamatibaug are extensively discussed.
In the second chapter, titled the Post Independence Initiative in Art, Nilima Sheikh discusses the development of a systematic format in the education of art. In this system the artist is conceived as an creative and articulate individual whose creative process is constantly enhanced by contemporary discourse. Artists
and eminent educationists in the field of Art like Markand Bhatt, V R Ambedkar, N S Bendre, Sankho Chaudhury, K G Subramanyan and their work is discussed as spearheading this movement.
Ajay Sinha in "Envisioning the Seventies and the Eighties" as the third chapter writes about the changing climate at the faculty with a new group of artist and teachers - Jeram Patel, G M Sheikh, Nasreen Mohamedi, Vivan Sundaram, Nilima Sheikh, Krishna Chhatpar, Raghav Kaneria and others. The formation of a critical art scenario and the broad framework for critical thinking on the artistic issues and the then students who are now form the country's mainstream of painters, sculptor and printmakers are highlighted.
Ashish Rajadhyaksha, an eminent writer and critic discusses the recent past in the fourth and final chapter "The Last Decade".
He begins with the "Place for People" exhibition and the exposure provided by the Festivals of India to the Baroda school artist, the boom in the art market and the importance to the Kerala group who arrived in Baroda after the Trivandrum College of Art closed down due to striking students. A definitive discourse may not be possible because "Clearly the history of the decade has still some way to go before its definite chronicle may be attempted ", in his own words.
A painstakingly compiled work, however, as an architect one is let down after the first chapter which effectively locates art in the overall gamut of all creative disciplines including architecture. One also misses the work of a few important artists like Dhruva Mistry and Rini Dhumal who for personal reasons have chosen to opt out of this critical chronicle of Contemporary art in Baroda.
The book can definitely be a good reference for all those interested in the development of art, especially in India, as very few such works have been compiled.
Title : Contemporary Art in Baroda.
Editor : Gulammohammed Shaikh.
Research and Documentation : Belinder Dhanoa
Contributors : Gulammohammed Shaikh, Nilima Shaikh, Ajay Sinha and Ashish Rajadhyaksha.
Sponsored by : IPCL
Published by : Tulika, 35 A/1 (Second Floor), Shahpur Jat, New Delhi 110 049, India.