Thursday, May 6, 2010
Event for May
Thursday, April 29, 2010
CITIES, real or imaginary, have always been integral to cinema, as the stage where its stories play out. The urban spaces are not just a backdrop to the narrative, but form an integral part of cinematic storytelling. Films understand and capture these spaces in a manner more intense and perceptible than architects and urban planners.
Through three evenings of feature film screenings, we will journey across diverse urban spaces and a progression of time periods. In this process we will be guided by film experts, who will engage with the audience, by raising critical questions and presenting new perspectives. CU is not just a film festival but an attempt to put architecture and cinema in dialogue.
THE FORMAT of the session will be a discussion or an open dialogue between the expert and the audience. Through various film clips, the experts will discuss a particular aspect of cities and architecture in cinema.
All three experts for the three evening have varying fields of study and interest. They include a film maker, a cinema studies scholar and an architect. Consequently, the audience will also be eclectic, ranging from architects to photographers, film makers, or simply film enthusiasts.
Program
Three sessions on Friday evenings (30 Apr, 7 May and 14 May) 7pm at Sidhartha Hall in Max Mueller Bhawan
Session ONE
Date: 30 April
Time: 7 p.m.
Speaker : Ms. Ranjani Mazumdar
Title : Cinematic City - An introduction to understanding cities in cinema
About the speaker
Associate Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University. She is also an independent film maker and author of the book "Bombay Cinema, An Archive of the City.
About the session
The session will focus on the particular ways in which cinema emerges as an archive of 20th century urban life. Journeying through iconic film clips of world cinema, the session will foreground the architectural, psychological and kinetic imagination of the cinematic city.
Session TWO
Date: 7 May
Time: 7 p.m.
Speaker : Mr. Aftab Jalia
Title : Nothing comes out of Nothing – Fantasy, Utopia and Dystopia
About the speaker
An alumnus of the Aga Khan Program for Islamic Architecture at the Massachusetts Institute of Technology. Beyond his interests in contemporary architecture, he is an ardent observer of parallel graphic expression – including comics, movies and architecture.
About the session
Film and architecture are similar in many ways. Both promise us the discovery of the unknown; both are products of intense design; both can be read and presented through multiple interpretations; they are both stories that visually unfold. The session will look at the camaraderie of these two formidable companions as they work together to create enchanting visual poetry.
Session THREE
Date: 14 May
Time: 7 p.m.
Speaker : Ms. Ein Lall
Title : Rural Virgin, Urban Whore - The Great Indian Divide
About the speaker
A film maker who uses video documentary to celebrate the unique strength and creativity of women. She has directed several films which have participated in various international film festivals.
About the session
The session will look at the dichotomy between the urban and the rural in the Indian context. Excerpts from various films will illustrate this great Indian divide, and its cinematic interpretation through time and places.
For more information contact :
Goethe-Institut : 011-23471292/112
arch i : 011-41060083, 9999321976
Wednesday, April 7, 2010

On Friday the 2nd of April 2010 “Friends of Garli” successfully launched the first ever map of Garli, the first heritage village of India.
Mapping Garli is an idea the arch i team has been working on for about 3 months now. It all started from a drawing room conversation with the Lal’s (one of the prominent families of Garli) about their native village, and a few snapshots of their ancestral home in their family album.
The sheer beauty of the place impressed at first glance. In the early 19th century, the hill Soods, an enterprising merchant community started settling in Garli. Along with their grand mansions, they built hospitals, schools, sarais and various infrastructures that still bear testimony to their vision over 100 years ago. It’s no wonder then that Garli continued to be the educational and medical hub of Kangra valley in the first half of the 20th century. The waterworks of the village were laid down in the early 1920’s by the timber merchant and lawyer Rai Bahadur Mohan Lal (patriarch of the above-mentioned Lal Family) for which copper pipes were brought from England, many of which still survive to this day.
It was because its beauty and wealth that up until the 1930’s Garli was called the “Switzerland of India”.
By the 1950’s, most of the Soods moved out into the cities for better prospects, leaving behind their grand mansions and havelis in disrepair. On the other hand this continued move also ensured that the village itself remained unspoilt, authentic and well preserved.
One would be tempted to don a conservationist’s hat, and start restoring the beautiful mansions that are falling apart. But one visit to the place turned our minds around. We discovered that a newly painted and repaired haveli may not actually make a difference to Garli and its people. We got down to designing a whole new development model for Garli, the key element of which was “slow but steady!” Take it step by step, and maintain continuity.
Garli was literally NOT on the map, with so many people just driving through without giving a second glance to some of its gems. The map launch was the first step in the effort to give the village its long overdue recognition, and stimulate some interest in an undiscovered gem of India.
Garli with its grand and colonial past has many myths and legends, facts and hearsay. There are stories of viceroys and Rai Bahadurs, of the bloody partition days, and of ghosts of the past. The society “Friends of Garli” and arch i will bring out some of these stories, through periodic story telling sessions later this year.
For those interested in visiting this place almost suspended in time, and unlocking its mysteries, more information can be found on Garli website www.garli.in.
Tuesday, March 30, 2010

Thursday, March 4, 2010
Event for March
COMING UP THIS MONTH! - Sneak Peak
http://rabindrabhavandelhi.blogspot.com/
http://ramrahmanstreetphotos.blogspot.com/
http://bioscoperamrahman.
Tuesday, February 2, 2010
Event for February
Jeffrey Chusid is a preservation architect who has worked in the US, China, Bosnia, Ukraine and Fiji on projects ranging from small-town museums to archaeological sites and historic towns. He also teaches in the historic preservation planning program at Cornell University in Ithaca, New York. Chusid is currently in India completing research for a book on Joseph Allen Stein as well as a chapter on Delhi's planning process and its transformations for the Commonwealth Games. His book on the restoration of Frank Lloyd Wright's Freeman House is currently in production at WW Norton.
Thursday, January 7, 2010
Event for January
Saturday, 16 Jan 2010,
Sunday, December 27, 2009
Architecture in Films
The Urban Uncanny
Long before the advent of films the human imagination invested both natural and built spaces with human feelings and emotions. In both literature and painting artists imbued landscapes and city scapes with emotions of hope and tranquility or despair and trauma.
With the industrial revolution and the age of mechanical reproduction came the new townships of the machine age as well as the new machine arts of photography and film.
Not only was the birth of film coincidental with the birth of the modern city – it was created in the city , by the city, and was of the city in every way. Together with newspapers and the radio film served as a means of interpreting the city to the thousands who flocked there daily, to become part of the new urban white collar or working class. But while newspapers and the radio were connected to the practical daily needs of city dwellers, film satisfied their newly awakened need for distraction, for mass entertainment….
The birth of film as an art form coincided with the theorizing of the modern industrial city as having the potential to produce a highly sophisticated urban environment. It was an environment which was the product of a new machine age architecture and new scientific systems of town planning. This was necessary. Between 1800 and 1910 the population in Berlin grew from 182,000 to 3,400,000. As new methods of industrial production came into being. factories dominating the city scape. Tenement housing mushroomed from city center to suburbia to house the growing population; The separation of people from their work spaces; the new work patterns based on exact time schedules, meant that roads and railways needed to crisscross the city providing unprecedented speed of travel. The newspapers, radio, telephone , telegraph made for instant communication. Scientific surveillance systems made new techniques of social regulation possible. All in all there was a complete overturning of regular patterns of living; and an undermining of enduring structures of perception .Established forms of perception were disordered and reconfigured.
Unending new sources of stimulation led to the saturation of sensory stimuli and distraction a continual crisis of attention became the accepted norm of modernity.
Insofar as it was a city centred art form, insofar as its primary role was to depict human beings in their daily interactions with the city; to depict the metropolis as fulfilling or betraying the hopes and fears of city dwellers; film makers used built forms, and the mise en scene of the city to project not only the reality of the city but also the imaginary of the city. From Eisenstein onwards the city in Cinema does not operate as a mere backdrop. Film rather, presents urban space as itself representational, as simultaneously sensory and symbolic.
How did film makers to meet the challenge of depicting the urban imaginary? The technique rested partly on the “double texturing” of the film. James Donald talks of the juxtaposition of panorama and myth. Of “the mis match between the transparent
abstraction of the concept city and its juxtaposition against the densely textured urban imaginary.”
Film theorists of the time believed that it was in the slippage between the familiar and the strange, that what they called “the urban uncanny” came into being. James Donald believes that “because of the fact that the strange was rooted in the familiar, individuals in the metropolis had to be made sense of not only in terms of identity, community, civic association; but also in terms of a dramaturgy of desire, fascination and terror.”
Wednesday, December 9, 2009
EVENT for December
Thursday, December 3, 2009
COMING UP THIS MONTH! - Sneak Peak
"[She] tackles the dynamic of cultural differences and commonalties in the politically divided subcontinent. [Her installations] and video projects draw on popular entertainment and advertising. (the Contours of New Art in Pakistan: Quddus Mirza)"
She was a participant in the Skowhegan Artist Residency, Maine in 2000 and the Khoj Artist Residency, Delhi in 2001. Her work has been shown in various exhibitions and film festivals internationally. Her short video piece "Mangoes" was awarded the Best Short Film award at the Karafilm Festival, Karachi, 2001.
Wednesday, November 18, 2009
I AM GURGAON
Photo courtesy Wordpress
Recently a movie with the same title by Marijke Meerman was screened at the camp. It got me thinking, So what is all this fuss about Gurgaon?
It is a glitzy new addition to an overflowing city where “glitzy” until now meant the wide roads and colonial bungalows of Lutyen’s Delhi. So why do we have such a love-hate relationship with it? (Loved mostly by the residents of apartments with fancy anglicized names, and hated by righteous architects.) For one thing, when built, Gurgaon had a never seen before glamour. Never seen before by the farmers of the “original” village of Gurgaon, not by the frequent fliers of Delhi who had already lived and experienced the “actual thing” on their visits to US, Singapore etc., and therefore felt and immediate kinship to it. And so the NRI’s, the multinationals companies, filled up the new city, while the locals stared in awe. Little islands of comforts cropped up, in the middle of a rural settlement.
Isn’t the story of how it all began the premise of all that is wrong with the place? A haven which is nothing but a reminder of what the residents left behind? A larger than life, overly expensive memento of the “western” way of life, translated better way of life
Everything else aside, how can a city built entirely on an aspiration to ape what exists a thousand miles away, live and survive on its own without an identity. . If we are all coming from diverse histories, why are we all heading towards a common future? Why can’t we aspire to create diverse futures?
Even if for a moment we put aside the most common concern voiced by the people, the constant humming of the generators in a city with no electricity, the shortage of water outside the islands of comfort, the complete absence of public transport, is it still the nightmare it is projected to be? After all, more than half of Delhi suffers from these planning concerns. Are the deplorable civic amenities all that are wrong with the city?
Maybe what is even more disparaging is the striking and absolute contrast we see in way of life, inside and outside the islands. While the islanders complain about power shortage and the hum of the generators, which keep the A/C’s working for them non-stop, the peripheral populace struggles to get their fans working a few hours a day. While water in taps is taken for granted at all times inside, the outsiders barely get enough to drink. The problem is that there is no in-between to level out the playing field. Both extremes stare at each in the face, and each breeds contempt for the other. The rich want to push away the poor, and demand exclusivity even in public spaces. And the poor in turn detest the rich even more.
This ground reality, is going to shape Gurgaon into a future that we cannot predict. But a hunch says, it will not be a healthy one.
Friday, November 13, 2009
Monthly Platform Discussion
150,Second Floor,
Kailash Hills
New Delhi-110065
Ph: +91-11-41060083
Interactive Exhibition : Architecture for Humanity



“Architecture for Humanity” is not just an event, but is also intended as a movement of sorts. Starting with three countries and three materials, the exhibition will include more such like minded architects in different countries, and different materials. The exhibition will then travel to these countries, generating more discussions and dialogues, across the globe.


The Opening
The event “Architecture for Humanity” was a largely successful even with overwhelming response from a variety of audiences. The event was opened on 26th October 2009 by The Deputy Ambassador for the Embassy of Netherlands in India and the Cultural counsel for the Embassy of Afghanistan in India. It was followed by the first panel discussion.
Panel Discussion One
Responsibility of an Architect
This discussion focused on the “Humanity part of “Architecture for Humanity”. We discussed people and their habits, regions and their cultures, architects and their ideologies. Are copy pasted western models valid? Or can we find inspiration in a place and its culture for our art, craft and architecture. How can we truly involve people, the communities, in the design process, of a building which is completely for them?
The most important point highlighted was the importance of maximum people participation in any design process. Whether it be Revathi Kamath’s effort to rehabilitate the slum at Shadipur depot or Inder Kochhar’s zero km. resort at Lakshmansagar.
The process of architecture needs to be slow and participatory. The architect needs to sit down with all the stakeholders and try to understand their needs. At Shadipur, the Kamath’s did not bulldozer out the slum to give rehabilitated dwellings to the people, but instead opted for an “evolving home”. They sat down with the 350 odd families, to understand individual needs to give them a first home on the ground. At the same time they equipped them with the skills to build and evolve their house as the family and resources grow in the future.
This participation need not be limited to buildings only. For example, SEWARA’s resort in Lakshmansagar uses only local labour and materials not only for the building, but also for the products inside the resort. The owner himself lived with local people and learnt their ways over a period of months, and then, only after gaining their confidence and understanding their crafts, did he begin the building process.
Moe Chiba, the heritage specialist from UNESCO, presented a very valid point when she brought to the audiences notice the plight of the dying arts and crafts. These crafts should not replicated and put in the bracket of heritage, but should be given a contemporary interpretation if we are to save them. Ms. Moe Chiba also pointed out the role of dying urban open spaces which directly lead to the demise of local crafts. It is her viewpoint that it is only in these urban open spaces, the leftover spaces between the buildings, the land which has no ownership, which is a breeding ground of culture.
In the end a short mention was also made of the role of the environment in building, by Mr. J.K.Dadoo, Ex Secretary, Environment, Delhi. He talked of a few simple things that we as architects or users can incorporate in our lifestyle, for healthier living, for example rainwater harvesting, switching to CFL’s, waste treatment, planting trees, etc.
The audience showed some concern over things like, what trees to plant? And cost of installing a rainwater harvesting sytem being too high. They were informed of the native tree varieties which are fast growing and need no maintainance, and govt. subsidy programmes for harvesting systems.


Panel discussion Two
Nature and Materials
This discussion focused on the “Architecture” part of “Architecture for Humanity”, and was a more technical discussion. We talked about building materials beyond cement, glass and steel. How can local materials be innovatively used for both sustainability and novelty? What are the lessons to be learnt from history and tradition of a place for sustainable building practices? How sustainable is a “green building” really?
Firstly building rating systems were deeply criticized for their shear detachment from the local conditions. An interesting point was raised when someone said that India one of the most diverse countries. Even Gandhiji once said that in India after every150 Kms. it seems like a different country. Even within such short distances, the language changes, the food, clothing, the rituals change. Then why do we have uniform building code, uniform rating systems, for the entire country? Why can’t the building laws change with every 150 Kms.?
Dr. Amit Rai from BMTPC argued that enough advancement has been made in alternative building materials. The problem is how to bring them to the masses? How can the progress be taken from labs into mainstream?
One answer is, education. If the youth is educated early enough about these materials and applications, it is more probable that they would put it into use rather than the established architect who already too comfortable in their own niche of convention.
The various materials which offer a lot of scope are mud (Revathi Kamath’s own house, which was also featured in the exhibition, is built entirely in mud), fly ash, bamboo etc. What is needed to create faith in these materials, to create sociological acceptance, which NGO’s should really focus on.
Kamath also mentioned that materials like steel should also not be completely shunned. Steel can also be sustainable if used in the right manner and the right amount (maybe as a composite also), since it has a lower embodied energy than other materials like aluminum, and is also extremely durable.
A large scope lies in disaster management and rehabilitation projects, Usually houses are quickly built on a large scale in materials like corrugated steel, and a few years later, are found unlivable. These houses could well serve as demonstration projects for alternative materials and techniques.
Another possibility is schools. There are thousands of government schools being built every year. Of these even if 5 are commission to be built on the lines of alternative techniques and materials, the trend will grow for sure.
Another point of view, which can be termed as somewhat cynical was that of Mr. Stephane Paumier, practicing architect in Delhi. He believes the root cause of all these problems are the roads. Wherever the roads go, differences crop up. People start using different materials, since they don’t have to use local materials anymore. Isolated islands on the other hand have to make do with whatever is available locally, and are hence sustainable.
Another problem is too many laws and codes. Excessive rules and regulations lead to in-efficient material use, due to over-dimensioning. For example, a steel and concrete building uses almost as much steel as a purely steel building. Why then can we still not build without concrete?
The government subsidies on materials like burnt bricks, cement etc. was questioned. A brick or cement is not always a local material, and needs to be transported over long distances. But the govt. subsidies prevent people from looking beyond them, to local options. Why can’t we subsidies the manufacturing of materials like mud bricks, fly-ash bricks, etc.?
An audience member pointed out a very practical point – Everything that sells, works. There id nothing in the media, which says mud or bamboo is “sexy”, unlike the glass buildings of Gurgaon. These materials need to be glamorized if they need to be brought into mainstream.
At the end of it all an aggravated architect Mr. Anil Laul, put the entire blame on the Indian bureaucracy by saying“ Man proposes God disposes but in this country Man proposes the CPWD disposes” and this is followed by “Behind every successful man is the hand of a lady but behind every unsuccessful project is the Hand of a Bureaucrat”. This is how things stand but few would want to take this head on.
To conclude, he said that this detachment with all that is local and this obsession with all that is western came with the British.
Lord Macaulay in his speech in the British parliament on February 2, 1835 on introducing English education in India said “I have travelled across the length and breadth of India and I have not seen one person who is a beggar, who is a thief. Such wealth I have seen in this country, such high moral values, people of such high calibre, that I do not think we would ever conquer this country, unless we break the very backbone of this nation, which is her cultural and spiritual heritage, and therefore I propose that we replace her old and ancient education system, her culture, for if the Indians think that all that is foreign and English is good and greater than their own, they will lose their self esteem, their native self culture, and they will become what we want them, a truly dominated nation”.
Thursday, November 12, 2009
About arch I

The Team
Anne Feenstra, a Master in Architecture from Delft University, The Netherlands has established a collective platform for architecture along with four young and ambitious architects, Apoorv Goyal, Himanshu Lal, Sneha Khullar, Tanvi Maheswari. Anne has been practicing architecture in the European continent and in London (William Alsop architects). In 2003 he established his own design group-AFIR. He has been lecturing/teaching in India, United Kingdom, Afghanistan, and Germany and –of course- The Netherlands.
Mission Statement
Architecture and urban design are a reflection of our contemporary cultural identity. In the search for the definition of this identity, eco-friendly architecture and sustainable design should play a more important role than it does in the present situation.
We think it is important to put the ever growing commercial pressure aside for a more tangible, humane, perceptible and sustainable architecture. More space for reflection, thinking and dreaming.
This design approach requires extensive research into the complex layers of history and culture, into the specifics of the environment, biodiversity, building materials and craftsmanship. Research will be an inclusive part of our working method; it will play a pivotal role in our search for a better architecture and urban design.
The people, the children, the different communities are the most important and valuable stakeholders in this search. We believe that architects, planners and designers should follow a more ‘open design process’ in which listening and sharing of ideas/concepts becomes the starting point. Through social, cultural and economical engagement, we believe a higher level of ownership can be achieved.
On a regular basis, we will be hosting vocal platforms in New Delhi, every second Saturday of the month, where all stakeholders will be invited.
