The Kochi Biennale Pavilion 2023 by Samira Rathod

Didi Contractor: A Charactersketch

 

दीदी दीदीला मी फक्त तीनदा भेटलो. पहिली भेट नम्रतामुळे शक्य झाली. तिचे हे ऋण फेडता येणे शक्य नाही. पहिल्याच भेटीत दिदीला दिलेला बांबू पाउच दीदी 20 मिनिटे न्याहाळत बसली. एकेक वीण कशी आहे हे डोळ्यांनी आणि स्पर्शाने अनुभवत होती. "This is beautiful"... प्रत्येक डिटेल पाहिल्यावर ती हे एकच वाक्य बोलत होती. मग मी, लक्ष्मी आणि दिदीने जेवताना येथेच्छ गप्पा मारल्या. शाश्वत वास्तुकलेचा भक्कम पाया रचणारी दीदी आम्हाला मात्र एखाद्या नवख्या विद्यार्थ्याप्रमाणे मातीच्या बांधकामाचे प्रश्न विचारत होती. मातीची बोटल टेस्ट कशी करतात हे तिने मला शिकवायला सांगितलं. मी बॉटल टेस्ट करत असताना दीदी बारकाईने पाहत होती, आणि मध्ये मध्ये लक्ष्मीला सांगायची-" हे बघ लक्ष्मी, आपण इथेच चुकलो". दिदींसारख्या ऋषितुल्य वास्तुविशारदाने स्वतःची चूक इतक्या सहज पणे मान्य करणे माझ्यासाठी अविश्वसनीय होते. लक्ष्मी मला नेहमी सांगायची-" दीदी जागी असली म्हणजे ती काहीतरी काम करत असणार, आराम करणं तिला जमायचेच नाही". मी दिदीला एकदा म्हंटल- दीदी, जरा विश्रांती घेत जा"- त्यावर ती हसून म्हणायची - प्रतीक, किती गोष्टी बाकी आहेत, किती घरे बांधायची आहेत, मातीच्या बांधकामाचा प्रसार करायचा आहे, सोलर चुलीची माहिती लोकांना द्यायची आहे, भारतीय स्वयंपाकावर पुस्तक लिहितेय.. कितीतरी deadline आहेत, आणि माझं वय बघता त्या खरोखरच deadline आहेत". ती असे बोलताच मी  आणि लक्ष्मीने एकमेकांकडे पाहिले. मृत्यूला दिदीने फार आधीच स्वीकारलं होत. मृत्यूबद्दल ती फार सहज बोलून जायची. आणि आपल्याकडे असलेला ज्ञानाचा वसा जास्तीजास्त लोकांना मिळावा म्हणून ती सतत आपल्या विचारांचे रेकॉर्डिंग करायची.  तिच्या बागेतील प्रत्येक झाडाला ती स्पर्श करायची. कोणत्या झाडाला किती पाणी द्यावे, किती खत द्यावं हे फार बारकाईने पहायची. तिची बाग नेहमीच अगदी तिला हवी तशी व्यवस्थित असायची. निसर्गावर दिदीचे इतके प्रेम होते की दिदीच्या बागेत निसर्गही दिदींच ऐकायचा... दीदी सांगेल तस वागायचा... दीदी बरोबर झालेल्या तीनही भेटीत आम्ही कधी वास्तुकलेबद्दल बोललो असू असं आठवतच नाही. दिदीसाठी वास्तुकला ही जगण्याचा भाग होती. दिदीने वास्तूला व्यक्तिरुप दिल होत. घर म्हणजे व्यक्तीच. घर निर्जीव नसतेच. ती घराच्या आणि घरातल्या व्यक्तींच्या नात्याला अनन्यसाधारण महत्व देते. तिच्या मते घरालासुद्धा स्वभाव असतो. घरातला प्रकाश , खोली, वारा ह्यावर तो स्वभाव अवलंबून असतो. अभिकल्प कागदावर रेखाटताना दिदीला पाहणे म्हणजे पर्वणीच. मायकलांजेलो मूर्ती बनवताना  किंवा तानसेन गाताना असाच मग्न होत असेल का ? दीदी घराची निर्मिती ह्याच तन्मयतेने करायची. मध्येच लक्ष्मीकडे पाहून बोलायची-" ह्या खिडकीतून सूर्य इथे जमिनीवर येईल आणि संध्याकाळ होई पर्यंत इथून तिथे लहान मुलासारखा घरात बागडेल". दिदीने वारा, प्रकाश ह्यांना घरात बागडायला भाग पाडले. अशी एखादी कल्पना तिच्या डोक्यातून कागदावर आली की तिला होणारा आनंद पाहण्यासारखा.  दीदीच्या घरात पहिल्यांदा प्रवेश केला तो स्वयंपाकाच्या वस्तूंनी आणि भांड्यांनी गजबजलेल्या स्वयंपाकघरातून. बंद कपाटे दिदीच्या घरात नाहीच. तरी प्रत्येक वस्तू जागच्याजागी. ह्यावर दीदी म्हणते- "आपण जेव्हा एखाद्या व्यक्तीला भेटतो, तेव्हा ती व्यक्ती संकोच न करता, मनात काहीही लपवून न ठेवता आपल्याशी बोलू लागली की आपण त्या व्यक्तीशी जोडले जातो. घराचेही तसेच आहे. माझ्या घरात जे आहे ते उघड आहे. त्यात काहीच लपवलेले नाही. ते पारदर्शी आहे". दीदी हे सारं काही इतकं सोप्प करून सांगते. घर बांधताना घर बांधणाऱ्याने मातीला स्पर्श करणे , मातीला समजून घेणे महत्वाचे हे ती आवर्जून सांगते. दीदी म्हणायची - " इथली लोक सिमेंटला मसाला बोलतात, त्यामुळे बांधकामात सिमेंट मसल्याप्रमाणेच वापरायचं, आपण जेवण फक्त मसाल्याने बनवत नाही ना. नुसता मसाला खाणे आरोग्याला चांगलं नाही.. आणि मसाला नाही वापरला तरी चालेल की, कधी कधी फळे, फळभाज्या आपण कच्च्या खतोच ना, आणि ते आरोग्याला सुद्धा चांगलं असत... मातीचसुद्धा तसंच आहे"... दीदी हे खोल ज्ञान इतकं सोपं करून सांगते की ऐकणाऱ्याला ते नुसतं समजत नाही तर ते त्यांच्यात खोलवर रुजत. दिदीच्या बोलण्यात एक आध्यात्मिकता होती. ज्यामुळे तिला ऐकणं हा एक सुखद अनुभव असायचा.  "प्रतीक, तुला माहीत आहे मला माती का आवडते ? ..ती सुकायला वेळ लागतो. मग ती सुकेपर्यंत तू त्यावर हात फिरवून त्याला आकार देऊ शकतो. तुझ्याकडे नेहमीच थोडा जास्त वेळ असतो. सिमेंटसारखी ती लगेच सुकून टणक होत नाही." दिदीचे हे मृदामय विचार मनाचा ठाव घेतात.  दिदीबरोबर शेवटची भेट 2019 च्या उन्हाळ्यात झाली. मी अचानक जायचे ठरवले. काही पूर्वकल्पना न देताच दिदीच्या घरी धडकलो. दीदी नेहमी प्रमाणे लक्ष्मीला एका घराचे डिटेल समाजावत होती. मला अचानक पाहून दीदी खूप खुश झाली. नुकत्याच झालेल्या निवडणुकीच्या निकालाने ती निराश होती. मी येताच ती म्हणाली- " बर झालं तू आलास प्रतीक, तुला पाहिलं की खूप हायस वाटत. तुम्हीच ह्या देशाला योग्य दिशा देऊ शकता. तुम्हाला असं काम करताना पाहिलं की वाटत आता मी कायमस्वरूपी विश्रांती घेऊ शकते". दीदी जेव्हापण असं बोलायची, तेव्हा हृदयाचा ठोका क्षणभर चुकायचा.  दिदीला प्लास्टिक जराही आवडत नाही, पण चॉकोलेट फार आवडायचे. चॉकोलेट प्लास्टिक च्या वेष्टनात येते म्हणून तिला खूप वाईट वाटायचे. एकदा कुडाच्या भिंतीचा विषय निघाल्यावर तिनेच मला सांगितलं- " प्रतीक, मला चॉकोलेट खूप आवडतं, त्याचे प्लास्टिक मी जमा करून ठेवते आणि कुडाच्या भिंतीमधील कॅव्हिटी मध्ये इन्सुलेशन म्हणून वापरते". हे सांगताना ती खट्याळ हसते. तिला माहीत आहे की प्लास्टिकच्या पुनर्वापराचा हा अगदी योग्य पर्याय नाही पण त्यातल्या त्यात तिने चॉकोलेट खाण्याचा पर्याय शोधलेला असतो त्याचा आनंद. दिदीच्या स्वभावातील बालपण कधी संपले नव्हतेच.  दीदीने एकदा चर्चा करता करता अचानक सांगितले-" प्रतीक, तुम्ही तुमच्या भागातल्या आदिवासी घराच्या कुडाच्या भिंतींचा अभ्यास करा, त्याचा प्रसार करा, कुडाच्या भिंती बांधण्याचे तंत्रज्ञान जिवंत राहायला हवे." दीदी हे सहज बोलून गेली. पण हा आयुष्यभराचा कानमंत्र आहे हे मला आणि शार्दूलला समजले.  दिदीच्या बागेत बसलो असताना, दिदीला समजले की मी माझ्या बासऱ्या घेऊन आलो आहे, तिने लागलीच मला बासरी वाजवण्याची विनंती केली. खरंतर मी शिकाऊ बासरी वादक, तरीही ती डोळे मिटून मी जे काही वाजवतोय ते ऐकत होती.  त्या दिवशी रात्री मला बसने दिल्लीला निघायचे होते. भुकेल्या पोटी जाऊ नकोस असं म्हणून दीदी स्वतः स्टूल घेऊन स्वयंपाक घरात बसली आणि चार पराठे माझ्यासाठी बनवले. फडताळावरची स्वतः बनवलेल्या प्लम जॅम ची बाटली काढून माझ्याकडे दिली. त्यावेळी निघताना माझी मनःस्थिती फार द्विधा झाली होती. जावेसे वाटत नव्हते. पराठ्यांची पिशवी हातात धरून मी दिदीच्या पाया पडून निघालो.  5 जुलै माझ्या आईचा वाढदिवस. दुपारी आईला ओवाळून शुभेच्छा देऊन मी ट्रेकसाठी शार्दूलच्या गावी निघालो. दुपारी डोंगरावर चढतानाच दीदी गेल्याची बातमी आली आणि सगळं सुन्न झाले.  दिदीच वय झालंय हे मान्य होत पण तरीही अशी बातमी पचवणं शक्य नव्हतं. दिदीला परत एकदा भेटायचं होत. तिच्याकडून जगण्याची कला शिकून घ्यायची होती.  दिदीच्या जाण्याने नक्की काय झाले?  लाखो पुस्तकांच्या ग्रंथालयाला आग लागून ते बेचिराख झालं तर काय होईल ? त्या ग्रंथालयाच्या ग्रंथातील ज्ञानाचे काय होईल ... दीदी असेच एक ग्रंथालय होती. दिदीच्या संपर्कात आलेल्या कित्येक व्यक्तींनी ह्या ग्रंथालयालतील काहीसे ग्रंथ वाचले असतील. त्यातूनही काहीश्या पानांचा बोध त्यांना झाला असेल.. पण तरीही ह्या ज्ञानाचे पावित्र्य इतके गहिरे आहे की त्यातून केवळ चांगल्याचीच निर्मिती होणार. तिच्या हाताखाली तयार झालेले वास्तुशिल्पी अनुज्ञा, लक्ष्मी आणि अमोल सारख्या वास्तूविषारदाचे काम पाहिले की ह्याची प्रचिती येते. दिदीच्या  जाण्याने समाजाचे, ह्या जगाचे काय नुकसान झाले आहे हे समजावणे कठीण आहे. निसर्गकेंद्रीत वास्तुकलेतून जीवनाचे मर्म सांगणारा ... आम्हा सारख्या नवोदितांना ह्या ज्ञानमार्गाची दिशा दाखवणारा एक ध्रुवतारा क्षणात नाहीसा व्हावा .. असे काहीसे झाले आहे ... ही पोकळी भरून निघणे केव्हाही शक्य नाही.  दीदी जिथे कुठे असेल, तिथेही स्वर्गाची निर्मिती करण्यात दंग असेल.....  प्रतीक धानमेर

Didi I met Didi only three times. The first meeting became possible because of Namrata. I shall remain indebted to her. In the first meeting itself, Didi kept gazing at the bamboo pouch I gave her for almost 20 minutes. She was experiencing each and every weave with her eyes and touch. On seeing every detail, she was just repeating one phrase: “This is beautiful…” Then Didi, Laxmi and I gossipped sumptuously over lunch. The woman who has laid the most promising foundations was asking us questions about mud construction like a fresh student. She asked me to teach her how to test terracotta bottles. She observed me carefully as I performed the test, and would keep telling Lakshmi, “See Lakshmi, this is where we went wrong.” A masterful architect to the likes of Didi acknowledging her mistake so graciously was unbelievable for me. Lakshmi would often tell me, “If Didi is awake, she must certainly be doing some work, resting is not her cup of tea.” Once, I told Didi, “Didi, you must rest a little.” To which, she would smilingly reply, “Prateek, so many things are yet to be completed, so many homes to be made, mud construction has to be popularized, people have to be told about solar cooker, I am writing on Indian kitchens…there are so many deadlines, and at my age these deadlines have implications. As she said this, Lakshmi and I looked at each other. Didi had accepted mortality long ago. She would speak of death with utter simplicity. And so that more and more people could take advantage of her knowledge, she would keep recording her thoughts. She would touch each tree in her garden. Which tree needs how much water, fertilizer - she would observe carefully. Her garden was always organized precisely in the manner she wanted. Didi loved nature to an extent that it was always generous on her garden. It would obey Didi’s instructions… In my three meetings with Didi, I don't remember talking specifically about architecture. Architecture was innate to her living. Didi had personified architecture. Building is a body. It is a living entity. (It isn’t a dead entity). She gives immense importance to the house and the relationships between those living in the house. According to her, a house also has behaviour. It depends on the light, rooms, wind within the house. To see Didi draw her designs on the paper was almost a blessing. Perhaps Michalengelo, while making his sculpture or Tansen while singing his tune might be equally immersed? Didi would construct the house with equal measure of dedication. Promptly, she would turn to Lakshmi and say, “The sun will come here from this window, and by the evening, hop into the house from here to here like a small child.” Didi has brought wind and light in a happy interplay within the house. Any such idea translating from her mind onto the paper would bring her joy that was worth watching. I first entered Didi’s house in the liveliness of her kitchen-wares and utensils. There are no closed cupboards in Didi’s house. Still everything is in its place. She says, “When we meet a person, if he/she is able to express to us what is in their mind without any hesitation, we feel connected to them. Houses are just like that. Whatever I have in my house, is all open. There is nothing to hide. It’s all transparent.” Didi is able to say all this in such a simplified manner. She emphasizes how important it is for the maker of the house to touch and learn the mud with which it will be built. She used to say, “People here call cement as ‘masala’ (mixture), therefore they use it in construction too as ‘masala’. We don’t make food only with ‘masala’, do we? Just eating masala is not good for health. And it is also okay to not use any masala; sometimes we eat fruits, vegetables raw, which are also good for our health. It’s just like that for mud!” Didi is able to share this deep knowledge in such simple words that it is not just comprehensible but also takes deep root in the listeners’ minds. There was a kind of spirituality in Didi’s words, which made listening too a pleasant experience. “Prateek, do you know why I like mud? It takes time to dry. Until then you can mould it. You always have a little more time at hand. It does not dry and harden immediately like cement.” Such fertile thoughts get seeded in the subconscious. My last meeting with Didi happened in the summer of 2019. I just decided to go suddenly. I reached Didi’s house without a warning. Like always, Didi was lovingly explaining the details for a house to Lakshmi. On seeing me suddenly, Didi felt very happy. She was disappointed with the recent elections. As soon as I arrived, she said, “I am glad you came, Pratik, seeing you brings me relief. It is you all who can give this country the right direction. When I see you all working like this, I can now rest permanently.” Whenever Didi used to speak like that, one’s heart used to skip a heartbeat for a moment. Didi disliked plastic to the core, but loved chocolates. She used to feel very guilty about the fact that chocolates are wrapped in plastic. Once while speaking of local wall building technique, she herself told me, “Pratik I really like chocolates; I collect its plastic wrappers and (will) use it as insulation within the cavities of these walls.” She naughtily chuckles while saying this. She knew that this is not the best way to recycle plastic, but having found an immediate solution to her guilt of having the chocolate (and thereby the wrapper) gives her satisfaction. The child in Didi’s behaviour was ineffable. Once while conversing, Didi suddenly said, “Pratik, you all must study the wall construction techniques of the adivasi houses in your region, disseminate the knowledge, the technology of karvi-wall construction must remain alive.” Didi spoke this away quite simply. But this is a life long secret, this Shardul and I understood. While sitting in Didi’s garden, as she understood that I have brought my seat, she asked me promptly to play the flute. Honestly, I am still a learner, still she would close her eyes and listen to whatever I was playing intently. That night I had to take a bus to Delhi. That I must not go hungry, she herself took the stool into the kitchen to make me four parathaas. She pulled out the bottle of plum jam made herself from the fruits and handed over to me. I was in a strange mood while leaving that time. I did not feel like going. I picked up the pouch of parathaas, touched Didi’s feet and left. Every 5th July is my mother’s birthday. After wishing my mother in the afternoon, I left for Shardul’s village for a trek. The news of Didi’s passing away came while we were still climbing the mountain and everything became numb. Although she had grown old, it was difficult to digest this news. I wanted to meet Didi once more. I wanted to learn the art of living from her. What precisely happened from the passing away of Didi? What will happen if you burn away a library filled with a lakh books? What will happen to the knowledge in the books of that library? Didi was one such archive. The many who came in contact with Didi must have read several of these books. From those too, they might have extracted only some amount of learning. But still, the purity of that knowledge is so deep that it will certainly give rise to good design. The architects who got trained under her - namely the works of the likes of Anugya, Lakshmi and Amol are no less than works of masters themselves. It is difficult to explain what loss the society and world will suffer at large on the passing away of Didi. It is something like the disappearance of a guiding star that demonstrates the meaning of life through environmentally oriented architecture… that which leads emerging practitioners like us in this very direction…this vacuum is impossible to fill up. Wherever Didi might be, she will gleefully immersed in the creation of paradise. By Prateek Dhanmer Translated by Anuj Daga Inputs by Milind Mahale

Daman Coastline

This is a Map of Daman coastline highlighting the fast transforming environmental features all the way from Bhilad to Nani Daman Fort, created by Vastavikta Bhagat during our field visit for the Environmental Design Studio during June 2022. 

The premise of the studio was to articulate environmental questions for the emerging consolidation of the 12km long coastline of the Union Territory of Daman along the coat of Arabian Sea that is primarily geared towards serving a middle and upper class tourism market; and thereby articulate architectural responses to soften the impacts due to such hardening of the edge. 

Artwork by Apurva Talpade

This is a piece of work by artist Apurva Talpade. Apurva has been toying with blocks for a long time. 

For this work, she collected a variety of figures from miniature paintings, and brought them together to create a world of their own. Each figure enjoys its own space while being self absorbed. None of them require the other necessarily. They exist in their own company, happy and joyous. The horse, the elephant, the peacock, the fist, or even the tree, flower cloud and umbrella - precisely know where they have to be. There is no expectation from any other creature to be anywhere else. In their gentle dispositions, they create and inhabit their own worlds. 

Block prints are more often than not conceived in a manner of repetition, and regularity. Apurva has pinned this work on her wall, which I kept gazing for a long time. What glued me to the work is the tension created between these figures through the white space left between them. The strategic distribution of empty space allows each object to be within their own world. To be sure, there is no larger world within Apruva's canvas. This clever balance of disparate figures co-existing within the same frame is the perhaps the success of the work. My note here is very underdeveloped, precisely because I am still trying to figure out why I am enjoying this work so much.

Until I find answers, please do look at Apurva Talpade's other works. 

Charles Correa Gold Medal, 2008

From left to right: Kamu Iyer, Charles Correa, Narendra Dengle, Sen Kapadia watching over the entry 'Cinema for the Blind', Academy of Architecture

Charles Correa Gold Medal, 2008

 

City Centre Mall, Kolkata

This writing is an excerpt from an old essay written in 2007. The writing has been amended for brevity here.

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The City Centre, Kolkata, one of the latter projects of the architect Charles Correa (completed in 2004), was conceived as a convergence of functionality and aesthetics. The architect has tried to bring in the organic nature in the shopping mall by an innovative re-interpretation of an Indian market. Instead of bringing up a large chunk of building on an otherwise large land, the City Centre has been broken up into smaller fragments of forms interlinked by small bridges, courtyards and semi open spaces. Such a strategy not only makes the mall environmentally friendly, but also develops a character which is so typical of any Indian bazaar.

The idea of mall being an introvert, closed environment has been deconstructed and the place has been developed as porous organization of simple forms. On entering, the architect decides to give multiple experiences to the user by placing a kund and taking the user upwards through a flight of steps to create a sense of ghat, which traditionally has been a meeting place for people in Kolkata. The culmination of the experience of the entrance is its dissolution into the numerous streets of the bazaar. The public spaces within the otherwise conditioned space of the mall have been brought out in the open, which users can occupy and make their own personal zones. During larger public events, these smaller zones accrue to become one large theatre.

While going across th bazaar-streets within the mall, one is introduced to the sudden arrival of courtyards, appropriately scaled down to relate to the human level. The eateries are allowed to spread onto these ‘streets‘ as would normally happen in a khau galli. The interesting patterns of routes that the people make from between all such activities can be seen from strategically created levels which connect the inside and outside.

The City Centre does not define itself by creating boundaries, but itself goes and meets its surroundings. Different parts of the complex are taken up for various activities during festivals, seasonal exhibitions or public awareness. The City Centre thus assumes a truly public character and almost becomes an icon, not visually, but notionally, through the multiple experiences its offers to visitors. It balances the public and private interests of the larger society and dissolves class boundaries through intelligent design. People from all walks of life visit the mall without hesitation, rather it has given a new identity to the once socially relegated area of Kolkata. 

Building Ruins

BUILDING RUINS
RISD India Alumni Exhibition 2020

The RISD India Alumni Club was founded in 2012, with a growing network of 70+ practising artists and designers across India.

Building on the legacy of the Rhode Island School of Design, which has produced some of the most notable names in contemporary art, film, architecture and design, the club’s mission is to support its Indian alumni and through its events and programming, enriching the landscape of art and design in India. Through a variety of programming that includes talks, exhibitions and mentorship sessions the alumni hope to build a strong creative community, facilitate collaborations and enable social impact.

In February 2017 the club organised the inaugural ‘RISD India Alumni Show’ in Mumbai to much critical acclaim. The opening night was inaugurated by Rosanne Somerson - President of RISD. The show featured art and design works of Indian alumni, including Durga Gawde, Anjali Modi, Ishrat Sahgal, Malvika Vaswani and Dhvani Behl amongst others.

Building Ruins marks the second edition of the RISD India Alumni Show. It puts together a curated display of contemporary art and design by India alumni of the Rhode Island School of Design. The show serves as a platform for Indian alumni to share the richness and diversity of their practices with the larger art and design communities and the general public. It highlights the relationship between art and design and the common foundations of both disciplines. The show is organised by volunteers from the RISD India Alumni Club in collaboration with curator, Anuj Daga.

19 artists participated in the exhibition, showcasing 18 works from about 10 different design disciplines. India-RISD ties run back to more than five decades. Over these decades, close to a hundred graduates have returned back from RISD to India and continued their practices in various forms. The curatorial ambition of the show has thus been to represent RISD alumni in India from across space, time and disciplines. At the same time, it was important to dissolve the illusory boundaries between art and design, and pose their dialogue with each other. While there is a concentration of the alumni in the cities of Mumbai and Delhi, the exhibition brings experiments from RISD practitioners in Kolkata, Pune and Indore too. Practitioners with different spans of experience share a common roof in this curation. In the pursuit of showcasing disciplinary diversity within the spatial constraints, the present selection comprises of creative practitioners, from painting, sculpture, illustration, industrial design, architecture, interior architecture, graphic design, photography, sculpture and lighting, who productively feed off each other’s processes. Several conversations with the artists and designers helped expand upon their original note and fine tune them towards creating fresh works. Each of the final 19 participants interpreted the curatorial provocation through their own practice which lends the overall show a unified, yet diverse character – one that must truly represent RISD.



Participants

Aahana Miller, Aditya Dutta, Akshat Raghava, Ananya Tantia, Aparajita Jain Mahajan, Ayushi Gupta, Cynthia Director, Dhvani Behl, Ishrat Sahgal, Malvika Vaswani, Mehr Chatterjee, Mekhala Bahl, Nishita Mehta, Raghvi Bhatia, Rahoul B Singh, Shonan Trehan, Srishti Srivastava, Tanvi Maloo Mehta, Vikramaditya Sharma

Read full Catalogue here

Link
https://issuu.com/risdindia/docs/building_ruins_catalogue_final_a5_web



Process:

Images of the final installation

Just Give Me Some Space: Panel Discussion

Transcript of the Panel Discussion organized at Kamla Raheja Vidyanidhi Institute of Architecture, on the inauguration of 'Just Give me Some Space' authored by architect Suha Khopatkar. The discussion opens up ways of building empathies in academic practice, specially between teachers and students in an architecture school. The discussants include Vandana Ranjitsinh, Rohan Shivkumar, Nisha Nair, Suha Khopatkar, and Anuj Daga (moderator).

published in Indian Architect & Builder, November 2019.

Read full article with illustrations here.