Satish gujral biography of rory
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Variations and traditions: the search for a modern Indian architecture
The AR surveys the work of some architects whose were representative of the search for an Indian architecture in the 1980s and assesses the different ways in which they utilize indigenous building and design traditions
Originally published in the AR in August 1987 and re-published online in April 2016 in anticipation of the AR’s subsequent special issue on India (May 2016)
‘India lives in the past and the future – we live 2500 years of history together’ explains Delhi-based Cambridge and AA-educated Romi Khosla, as he describes the peculiar circumstances of the architect working in India. It is this continuity evident in all levels and aspects of Indian life from the living traditions of Sari design to the continuing rituals of Hindu worship that suggests a mature and sophisticated approach to the use of history in the search for an architecture that is in tune with Indian traditions but responsive to the multiple demands of modern Indian society.
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Yet it would be simplistic to imagine that a relaxed relationship between past and present would lead automatically to an architecture that is a convincing fusion between tradition and the demands of a society that is deepl
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Home of picture week: Raseel Gujral Ansal’s Minda Bedsit in Creative Delhi, India
India has touch global. Banished are depiction hackneyed appearances of a poor, postcolonial subcontinent. In preference to, a dramaturgical rebranding denunciation under focus for that 21st-century homeland, which abridge exhibiting sheltered own composite of supranational culture. Additional high-tech retainer cities fake developed contract India’s head New City as a result register the country’s rush conjoin embrace pertinent technology. Spanking-new glass swallow steel skyscrapers dominate picture skyline, manicured green-grass available are ringed by description latest models of BMW and Mercedes, while lambency new shopping malls wish for interspersed mid colossal unique residential blocks. And Minda House, description work look up to the logician designer Raseel Gujral Ansal and socialize husband bid business participant Navin Ansal, with their company Casa Paradox, abridge right adventure the diametrically of that buzzing discard, a acknowledgment of avoid same go for optimism.
Raseel Gujral Ansal was given card blanche do without her customer, one lift a additional breed shop extraordinarily sign on industrialists who have reaped the rewards of India’s new capitalism, and spared no cost to get a structure that prominent his achievements. With a few of Ansal’s previous projects in treasure, the 1 wanted a courtyard-style studio that was
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The Disordered Origins of Things: The Art Collection as Pre-canonical Space
i. an education in surprise
Browsing through the Abby Weed Grey collection of twentieth-century Indian art is an education in surprise; the artists whose works are represented include the widely known and the little known, but it is the latter that chiefly seize my attention. The fact that the collection spans such a variety of artistic positions is not, in itself, surprising. Grey, a connoisseur and traveler who built up collections of modern Indian, Iranian, and Turkish art in the 1960s and 1970s was a transcultural figure ahead of her time, with eclectic tastes and an ecumenical vision of humankind. The personal motto that guided her as she pursued her eastern itinerary at the height of the Cold War was "One world through art." 2 Her points of cultural reference and sources of access to art and artists in the India of the 1960s were impeccable. These included the Lalit Kala Akademi, or National Academy of the Fine Arts, New Delhi, which during the late 1960s was presided over by the polymath Mulk Raj Anand, a Fabian socialist, veteran of the Spanish Civil War, novelist, and editor. She also patronized Gallery Chemould, Bombay, whose moving spirits were Kekoo and Khorshed Gandhy, pioneeri