Monday, December 23, 2019

Uncommon partnership which stood the test of time of the modernist duo


The original article appeared in The Hindu, you can read it here

Achyut Kanvinde: The man behind sustainable ... - The Hindu


Read the unedited version here....


Call it a quirk of fate or destiny, two men from diverse backgrounds met when they were chosen to go to the US for a study tour by CSIR (Centre for Scientific & Industrial Research) in 1945. The mission, to study modern research laboratories in the US so that it could be replicated in India post- independence. It was an era where a young emerging nation was about to take birth. There was this abundance of energy and enthusiasm which came with the spirit to build a new world.   One had studied at J J School, the other was an engineer trained at Roorkee. The former was the son of an artist from a humble background, the latter the grandson of Sir Ganga Ram. Life took them to the US, where they wanted to pursue their education to study design and architecture. The former, Achyut P Kanvinde, who studied Architecture and the latter Shaukat Rai who studied Civil Engineering. The duo came back and fulfilled their commitment by working with CSIR. The friendship which began then, resulted in a partnership – Kanvinde & Rai which survived over decades amicably. Where other partnerships floundered this flourished. It must have been pre-ordained as the two men complimented each other. Achyut Kanvinde’s (1916-2002) brilliance in designing and architecture was matched to perfection by Shaukat Rai (1922-2003), the Engineer who handled the project execution, management and business aspects. This gave Kanvinde an undisturbed environment to design. His son Sanjay Kanvinde who now manages Kanvinde, Rai  & Chowdhury with his wife Tanuja says, “they complimented each other beautifully. Each recognised and valued the contribution of the other to pave for an egoless work environment. When Morad Chowdhury joined, it was twenty years after the partnership had begun. He was fresh air and blood for the firm. The same thing happened when I joined.”  Morad Chowdhury joined the firm and became a partner in 1969. In the book Achyut Kanvinde – Akar, Chowdhury writes, “The two complemented each other perfectly. Charles Correa refers to Kanvinde Saheb’s sensitivity, the unique position he occupies in the history of contemporary architecture in India, and the partnership between him and Shaukat as that of high-ethical professional standards unparalleled in our times.”

It will not be an understatement to say that anything conceivable in brick and mortar was designed and built by the low profile soft spoken duo. There are no absolute numbers, but it could be easily above 500 projects covering schools, colleges, hostels, campuses, hospitals, temples, residences, office complexes, high rise, low rise…. The projects include – IIT Kanpur, Nehru Science Centre, Mumbai, IRMA Campus, GCMMF while those in Delhi – Ashoka Estate, St. Xavier’s School, National Science Centre, Cooperation Office, Embassy of Switzerland, Azad Bhawan, NDDB, ISKCON Temple, CCRT. Of these, Gandhi Memorial Hall, Azad Bhawan, NDDB office, National Science Centre and ISKCON temple make it to the list of modern heritage buildings of Delhi.

If one sees the wide spectrum of work spanning over five decades it gives interesting insights into the design vocabulary and how it evolved. Kanvinde Sahab, as he was popularly called was the quintessential modernist. The buildings he initially designed were typically straight faced geometrical ones. This geometry was in stark contrast to the ornate and carved Indian architecture which he trained in but later disdained. Though Kanvinde was a modernist since his days at J J, it was his study under Walter Gropius at Harvard which completely altered his core of thinking. As Kanvinde says in his writings, “it was Gropius who really exposed me to the power of technology on the one hand and the psychological dimensions of spatial concerns and realizations on the other.”  There are stories of how Kanvinde’s passionate argument, rooting for modernistic structure in Delhi in keeping with the futuristic growth vision as opposed to the traditional ornate Indian architecture, at the conference on Indian Architecture held at The Lalit Kala Academy, New Delhi led to Pandit Nehru endorsing Kanvinde’s view on modern architecture.  

This romance with geometrical architecture lasted all through his lifetime. Over the years, the geometrical shapes imbibed a certain fluidity, which made them almost speak. The structure using geometry simply fitted with the next like a huge lattice work piece or a maze to emerge as one holistic body. It is difficult to pinpoint a particular genre in which he was comfortable for he has covered the entire spectrum of buildings. Sanjay says, “the design would emerge from the site, topography of the land, the objectives in context of the area. It was a sum of everything.” Another feature which stands out is that Kanvinde Sahab had discerned the taste of the inhabitants of the space, then created the structure for them, so that they blended in well. Sanjay adds, “he would to great lengths to understand his clients. For the Balkrishna Harivallabhdas Residence 1962 in Ahmedabad, he often stayed with the family to understand them and their lifestyle so that the home would complement them. Similarly when he was asked to design the ISKCON temple, New Delhi, a pro bono project, he wanted to understand the philosophy of the organisation. They in turn presented him with 16 volumes of the Bhagwat Gita and he meticulously went through them,” Sanjay laughs saying, “For an architect who designed temples, he did not believe in Vaastu.”

Two other features which Sanjay points out is the emphasis on staircase in the buildings, it was given much preference. Similarly, the front or porch was designed such that it would add drama to the building. It also allowed for natural light to enter the buildings. Apart from staircases, covered verandahs & walk-ways connected various buildings allowing for light and ventilation. This is aptly reflected in the University of Agricultural Sciences, Bengaluru where the design allows for natural ventilation and light everywhere. The Darpana Academy of Performing Arts – Ahmedabad for dancer Mrinalini Sarabhai celebrates the dancer, her ethos and the arts of India. The building contemporary, intimately modern encompassing views of the Sabarmati river, with exposed concrete frame structure with exposed brick infill walls, fulfils the role to promote and preserve Indian art brilliantly without use of the ornate, carved architectural style.

Sanjay adds, “sustainability and environment friendly materials were a part of Kanvinde”s approach to buildings even before they became buzzwords. His own house – Akar built 1965-67  used local bricks and exposed concrete. The concept of using skylights, allowing for natural light to enter the building at all time of the day and using fly ash concrete was a part of the project.”

Another trait which can be seen when sees the spectrum of work was the deep friendship that he nourished with his clients who trusted him implicitly. Dr. Kurien of Amul was one such with whom he developed a keen friendship another was Balkrishna Doshi. Interactions with Dr. Homi Bhabha, Vikram Sarabhai, Corbusier, Louis Kahn enrichened the journey. The Mother Dairy booth that one sees omnipresent across the country was designed by him. The unique signature piece symbolic of India’s milk revolution. Ahmedabad as a city can be called his Karma Bhoomi as several of his projects find a place of pride.


As one takes a look at some of the prominent architects whose work enhanced the skyline of Delhi, one notices a link that they were all a close knit group of professionals. From Madan Mahatta who photographed the projects, Mahendra Raj who was the structural consultant for several of the projects to fellow architects…the group was not exclusive but inclusive to embrace young promising architects and sought to nurture talent and more importantly wanted good buildings and projects to dot the landscape of the country especially the capital.



Box 1
NDDB  Office at Safdarjung Enclave was built from 1978-83. It turns the idea of a conventional office building on its head. It is a very unusual office structure. Roof and terrace gardens which are a part of today’s sustainable world were incorporated four decades ago. The structure in itself with its stepped profile adds a very interesting visual drama. It also creates room for green patches and terraces along the way. A complex web of geometrical shapes has been incorporated into one cohesive building.


Box 2

CCRT – The Centre for Cultural Resources & Training, Dwarka, Delhi was built 1993-96 for Ministry of Culture. The purpose of the space was it to function as a training centre for teachers emphasising art and culture. It has been conceived as a school with additional space for workshops in different cultural fields, a 500 seater auditorium and 250 seater puppet theatre. The clever use of ramp capped by a steel trellis, terraces and stilted areas give the building an institutional yet intimate feel. The purpose of culture and art is accentuated without the environs being forbidding or intimidating. Dholpur stone jaalis bring in light to the corridor while Molela clay tiles add the indigenous element. The presence of greenery along the building and open terraces, gives the structure a very modern contemporary feel and not that of a stifled old fashioned building.


Box 3

ISKCON
Sanjay explains, “it seemed  coming a full circle that my father who studied temples for his thesis at J J went back to his roots when he designed the ISKCON temple.” Sanjay explains, here in a departure from traditional temples which have heavy load bearing walls, Kanvinde used frame RCC construction. This allowed the Shikhara to be a hollow skeletal transparent framework, so that it could be lit at night to create a magical environment. The site topography was utilised to design the space which incorporates several buildings and utilities. The buildings flow upwards with the Shikhara at the pinnacle. Several symbolic details of temple architecture have been incorporated.

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