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Category: Art and Architecture

  • Sense and Sensibility

    Sense and Sensibility

    KALYANI MAJUMDAR PRESENTS FIVE ARCHITECTURAL MASTERPIECES THAT

    SATISFY THE AESTHETE’S SEARCH FOR ARTISTIC INTEGRITY AND INGENUITY

    Published in India Today, Spice magazine | 2010

    Style before, after or alongside substance? While starchitect Louis Sullivan’s axiom ‘form follows function’ is the touchstone for many modern architects, Frank Lloyd Wright—who considered Sullivan his mentor—always believed that ‘form and function should be one, joined in a spiritual union’. Much like the Roman architect Vitruvius, Spice believes that a good building should satisfy the three principles of firmitatis utilitatis venustatis, i.e., durability, utility and beauty. Keeping that in mind, we traversed the globe to unearth some recent architectural gems that are in sync with Vitruvius’ principles and have become the landmarks of an urban landscape that is ever hungry for the nouveau. From reinvented old spaces to innovations in building materials, we found plenty to give us pause. Here are our top picks.

    Centre POMPIDOU, Metz, France

    Designed by architects Shigeru Ban and Jean de Gastines, the Centre Pompidou-Metz in France is a branch of the major French cultural institution—the Centre Pompidou in Paris. The roof structure was assembled by weaving six beams into a hexagon—an innovative benchmark concept in the construction world—covering a total surface area of 10,700 sq m, including 5,000 sq m of gallery space. The innovations do not end there; in order to protect the wooden frame from rain, sun and wind, the entire structure is covered by a textile membrane made of fibreglass and Teflon. The membrane is translucent, letting through 15 per cent of the light to reveal the hexagonal roof structure at night when the building is lit from the inside.

    Talk about a breathtaking view! The interior of the building opens up to vast, modular exhibition spaces whose mammoth dimensions can accommodate large installations and gigantic sculptures. Other areas such as the forum, the restaurant terrace and the garden provide additional arenas for exhibitions. The centre also has a studio for live performances, an auditorium, a resource centre, bookshop, a restaurant and a café. In time, the centre plans to become an art hub where visitors will be exposed to different forms of art, live shows, films and seminars along with the temporary exhibitions. At present, the Centre Pompidou-Metz is getting its finishing touches before it opens in May 2010 with a grand show. That done, Metz may just become the next Paris. Cheers à cette!

    Conga ROOM Los Angeles, US

    Designed by the award-winning Belzberg Architects and co-owned by a group of LA glitterati including Jennifer Lopez and Will. I. Am of the Black Eyed Peas, the Conga Room in Los Angeles is no ordinary nightclub. For over a decade, the club was a local cultural landmark and a centre for salsa and rumba. Then, in 2006, it closed down for two years before reopening in December 2008 in the new LA Live complex in downtown Los Angeles, with a grand show that reflected the vibrant energies of Barcelona and Mexico city. Clubbers entering the building at ground level and climbing up a staircase to reach the 1,500 sq m dance floor are greeted by a tornado-like cylindrical, acrylic structure that acts as both a spatial organiser and star attraction. In sync with the club’s Latin feel, the 20-foot tall  ‘tornado’ snakes its way up the floors to the club ceiling where it morphs into a diamond pattern that’s derived from the classic rumba dance step. The thousands of panels that come together to form the gorgeous ceiling work are not just for beautification but also to soundproof the room. To further intensify the experience, the room boasts an LED lighting system which changes the colour and atmosphere of the space at the push of the button.

    Hoto FUDO Mt Fuji, Japan

    Is it an igloo? Or is it an edifice from a sci-fi thriller? Neither, actually. It’s a noodle restaurant at the foot of Mount Fuji. Designed by Takeshi Hosaka Architects in 2009, Hoto Fudo serves quintessential Japanese cuisine alongwith food for the aesthetic soul. The curved organic shape of the one-storey building is formed by a steel rod frame reinforced with concrete. The free standing, cave-like structure is designed to stay open in all but the most extreme weather conditions, with rain falling at the edges of the interiors, fog entering through the large openings in the wall, and winds circulating through the concrete shell. Only on the coldest of days are the curved acrylic doors pulled shut. It’s not as bad as it sounds: 60-mm-thick urethane insulation on the outside of the reinforced concrete shell secures a stable temperature for the building. The lighting inside is simple and the interiors minimalist with fuss-free wooden furniture. The total built-up area runs to 734 sq m, with 530 sq m allocated for seating, 140 sq m for kitchens, and the rest given over to the restrooms. The USP of Hoto Fudo lies in its look and a location that flirts with the elements. Imagine the relish of a perfect bowl of noodles with the spectacular watercolour of Mt. Fuji in the background. There are some things that money can buy!

    Guangzhou OPERA HOUSE Guangzhou, China

    The high notes of Chinese opera will be reverberating across the Guangzhou night sky as the new opera house preps up to open before the Asian Games this November. The credit for the spectacular design of the opera house goes to Pritzker prize winning architect Zaha Hadid. Overlooking the Pearl river, the opera house lies at the heart of Guangzhou’s cultural site development. Its unique ‘twin boulder’ design seeks to enhance urban function by opening access to the riverside and dock areas and creating a new dialogue with the emerging new town. The total building area is 70,000 sq m, of which the opera house covers 42,000 sq m. The ‘larger boulder’ holds a theatre with 1,800 seating capacity and matching rooms for equipment, administration, recording studio and art exhibition hall while the ‘smaller gravel’ holds a 400-seat multifunctional hall. Not bad for a building which almost got destroyed in a fire in May last year.

    Fish MARKET Istanbul, Turkey

    Buying fish will never be the sameagain for the people of Besikta, in Istanbul, with the GAD (Global Architectural Development)designed, state-of-the-art fish market that has replaced the old market that was in a shambles. Completed in 2009, the structure is made of steel and concrete and is triangular in shape. The sea shell-like form covers the entire site of 320 sq m, with large openings at the street level. The sturdy concrete shell provides a column-free interior thus optimising the usage of space. Six stainless steel display stands of various sizes are illuminated by 150-watt Edison bulbs—commonly used in fish markets in Istanbul—suspended from the ceiling. The design of the market is such that both the underside and the top of the shell can be used for artistic interventions— some events are already being planned for this year. The Besikta fish market project is a community effort by the people of Besikta to revitalise and beautify their landscape. The timing couldn’t be better since Istanbul has been selected as the 2010 European Capital of Culture by the EU council. Kemal Pasha would have been pleased!

  • MANY HANDS, MANY FORMS – KUMARTULI

    MANY HANDS, MANY FORMS – KUMARTULI

    Photo essay by Kalyani Majumdar | Published in Domus India | Nov, 2013

    Ceaseless monsoon rain and scorching hot and humid weather cannot dampen the spirit of the kumors/kumars (potters) of Kumartuli as they continue shaping clay to create idols for more than two centuries.

    The courtyard of
    renowned Kabiraj (traditional medicine
    man) Gangaprasad Sen’s house in
    Kumartuli is used for moulding clay
    idols. His house has been organising
    one of the oldest Durgotsavs annually

    As autumn approaches, the narrow winding lanes of the potters’ locality called Kumartuli/Kumortuli turn into the busiest streets of Kolkata (formerly known as Calcutta). Rows of clay idols can be seen on both sides of the lanes as the Mahalaya (an auspicious occasion observed seven days before Durga Puja) approaches and the countdown begins for Durga Puja. It is that time when artisans work day and night to give forms to hundreds and thousands of idols as the city gears up for its biggest sarbojaninm utsav (community festival). Situated on the banks of Hooghly River and surrounded by Shovabazaar, Bagbazar, Shyaambazar and off Rabindra Sarani formerly known as Chitpur road, Kumartuli is located in North Kolkata. As one negotiates through the labyrinthine lanes of Kumartuli, it looks nothing less than an art and sculpture workshop.

    One can see idols arranged on the streets in the open to get dried up and some are still in their evolutionary stage with only the straw bases, waiting to be shaped into idols. These are moulded from Sal wood, straw, bamboo and clay. One can witness the genesis of Maa (mother) Durga and her childen —Saraswati, Lakshmi, Ganesh and Kartikeya along with the lion (her carriage) and Mahishasura. Some are moulded in the traditional single structure known as ek chala and some are fashioned in the more contemporary model of multi-framed idols of the entire family. The name Kumartuli or Kumortuli comes from the Bengali words “kumor” meaning potter and “tuli” meaning locality. The kumors usually come from a long lineage of craftsmen who have been sculpting Durga idol for generations.

    Traditionally, the eyes of the goddess known as the chokkhu daan (gifting of eyes) is always the last element to be sculpted and is believed to be done by the oldest member of the kumor family on the day of the Mahalaya; though now with the stress to meet deadlines and commercial nature of idol-making, many artisans have done away with many such traditions. Originally, the kumors came from Krishnanagar in Nadia district and settled in Gobindapur Village — one of the three villages which later were merged to form Kolkata, with the other two villages being Kalikata and Sutanuti. They would make clay toys, utensils and pots for livelihood decided to build Fort William at Gobindapur village, the inhabitants of that area migrated to Sutanati and it is believed that under the instruction of the Company, John Holwell was given orders to designate areas according to the nature of profession of the inhabitants; Kumartuli was one such area that was designated as a residential area for all the potters and craftsmen. In those days these kumors were invited by the old and nouveau rich Indian households —mostly the Zamindars who were also the first few patrons and organised Durga puja in their houses — to make clay images of Durga and other idols. These houses had thakurdalans/thakurbaris (separate building used for annual festivals).

    The thakurdalans were high-ceilinged flat-roofed buildings. Apart from the autumn festival, the artisans were called round the year to sculpt ornamental elements such as the fairies, foliages, other patterns and inlay works on brackets and columns of the houses as many modelled after the Western influence, thus giving rise to a fusion of Indo-Bengal form of ornamental art for residential built forms. With time, as Durgotsav shifted out of the thakurdalans and became a community festival, the common people became the new patrons of Kumartuli. Also, every year one can easily predict the current trends in vogue by looking at the idols; this time it was Mahishasurs’ six-pack abs and chiselled faces that were in popular demand — straight out of a Greek mythology.

    A potter at work in his
    workshop in Kumartuli
    The idols
    showcase the latest trends in fashion,
    as we can see a Mahishasur with sixpack
    abs and chiselled face

    From its humble beginning to post- Independence, Kumartuli has risen to become the exclusive exporter of idols of the goddess to the Bengalis settled in different parts of the world. Clearly, Kumartuli is more than just an urban space in Kolkata that produces clay idols for Durga Puja. It has been an active participant for more than two centuries in maintaining a continuity of cultural tradition and craftsmanship, and has witnessed the trajectory of the changing socioeconomic and political climate of the city — the transition from pre to Post- Independent India and from Calcutta to Kolkata.

    All photographs and text copyright with Kalyani Majumdar

  • Discussing Indian Cities

    Discussing Indian Cities

    Text and Photo by Kalyani Majumdar | Published in Domus India | 2013

    The rapid growth of cities has led to increasing demand for more residential, office, commercial and retail spaces and the core area of older town and mega cities are saturated, it is estimated that more than half to 95 per cent of the new buildings will come up in resource stressed suburbs and new townships, not to forget that the lack of sound infrastructure and planning coupled with ad-hoc construction in Indian cities have taken its toll. A workshop organised by Centre for Science and Environment (CSE) on Urbanscapes: How sustainable are our buildings and cities, stressed on issues of affordable housing and the notion of what is a sustainable building. According to the 2013 Union Ministry of Housing and Urban Poverty Alleviation (MoHUPA) the number of obsolescent dwelling units (excluding those that are less than 40 years old and those aged 80 years or more) was estimated to be 2.27 million in March 2012.

    Mega cities such as Mumbai, Delhi, Hyderabad, Kolkata, Bengaluru and Chennai have seen maximum urbanisation and that is effecting water, land and other natural resources. Creation of new towns in green areas have further accelerated the perils of striking a balance between demand and supply. With changing lifestyles, cities are and will use up more and more of precious water and energy and will generate massive amounts of waste. So what is the way forward? How do we provide a city that has sustainable housing which works on a two-pronged manner in serving the needs and comfort of the city dwellers on one hand, and not creating pressure on the environment? What are green buildings and are they really a solution? These are some of the questions that surfaced at the workshop. CSE executive director (Research and Advocacy) Anumita Roychowdhury, took the example of traditional Chettinad homes which have sufficient cross-ventilation with big verandahs and courtyards as common feature in most traditional homes in Chennai, as the climate there is hot and humid and hence, it does not require air-tight glass buildings. However, quite a few tight glass buildings in Chennai are being constructed.

    City planners and architect need to look back at traditional wisdom and techniques to find design solutions for modern Indian cities. She also added, “What is worrisome is that Indian cities use more of precious water and energy and generate massive amounts of waste. The construction boon can be a bane as unfettered growth can have a damaging impact. In India, buildings are responsible for 40 per cent of the energy use, 30 per cent of the raw material use, 20 per cent of water use and 20 per cent of land use. At the same time, they generate 40 per cent of carbon emissions, 30 per cent of solid waste generation and 20 per cent of water effluents. With almost 70 per cent of the building stock in India yet to come up, the country is looking ahead to a critical situation.” Sunita Narain, the director general of CSE, cited a very valid problem in terms of the certification of a building being green when she pointed out that there is no clarity on the parameters for a building to be a “green building” also, how do we retrofit modern innovations to an already existing building? These were some of the thoughts to ponder upon.

    Kalyani Majumdar

    www.cseindia.org

  • THE SPACE AROUND THE CORNER

    THE SPACE AROUND THE CORNER

    Text by Kalyani Majumdar | Published in Domus India | 2014 | Photos & Drawings by NilaA Architecture & Urban Design

    Understanding the immediacy of a built form and the need of the place and the area around is the idea behind KONA — a cohesive and dynamic space in the heart of Delhi — that demonstrates a design solution for urban spaces in cities where ambitions and aspirations can be merged.

    Is architecture limited to the built form? What is the fundamental task of architecture? Is it not connected with all the aspects of a human life; how we eat and live? Can architecture provide an inspiring experience for people inside and outside of it, and is it not responsible, at the very least, to its immediate context and inhabitants? These are some of the questions that are tenaciously revisited as the discussions continue globally on the concept of a ‘human city’ in relation to megacities.

    In the last decade Delhi has transformed into a megacity with endless construction of new buildings, shopping malls and offices. With new development ventures such as the ongoing metro project, Delhi is more connected now from all directions than ever before. But this extreme pace of urbanisation of Delhi has thrown open pressing questions and discussions revolving around the role of architects and urban designers to design spaces that are holistic; in other words, something that is sustainable and cohesive.

    With new structures coming up everywhere, what happens to the abandoned buildings that were built once, and now the city has forgotten about? And even as the city struggles to accommodate more people, there are buildings that lay abandoned in prime locations and otherwise; what is the fate of those modern ruins in the present context?

    The exterior view of the corner block that has been converted into KONA

    1, Jor Bagh Market in centralDelhi makes a plausible example in this context. ‘Kona’ in Hindi means corner, and that is precisely the location of this two-storeyed gallery space above a public corridor, in a prime central Delhi location with neighbourhoods such as Golf Links and Lodhi Garden surrounding this quiet and posh residential area. Designed by Delhi-based architect Nishant Lall of NilaA Architecture & Urban Design, KONA was an abandoned space in the corner block of Jor Bagh Market. And now it has been transformed into a community space for collaboration of design, art, architecture and organic farming, thus providing an informal space in the heart of the city that is accessible to all. While there are many examples in the city where abandoned properties have been transformed into commercial setups, those are strictly gentrified. But, not this space. KONA is supported by Inderpal Kochhar of Sewara Group, who is also the owner of the abandoned site that houses this space, and wanted the disused space to cater to creative pursuits of people from across India, and thus KONA came into being.

    For people who grew up in Delhi, Jor Bagh Market in central Delhi needs no introduction as it is known for its book shop, fashion boutiques and shops selling furniture, art ware, handicrafts and collectibles. Jor Bagh residential area was developed around the 1950s and the 60s and KONA is housed in a 1950s era local convenience centre built by the government. 1, Jor Bagh market is a two-storeyed corner block and had a famous restaurant called Mini Mughal and a halwai; both have shifted now to other localities. The ground floor had eight shops, of which only three are presently functioning, and the shopkeepers had living quarters on the first floor. But it has been around five years that the top floor and the terrace have been vacant and have been lying disused, in a dilapidated state. So, when Kona gallery was opened up on the first floor, it was a blank canvas ready to be rethought and revisualised. The structure was upgraded using micro concreting and carbon fibre strengthening of beams; the raw walls have been preserved in their natural state for aesthetic reasons for the pop-up art shows. In fact the ruggedness and raw-look works well for the space, as in an area like Jor Bagh, it stands out amongst the other built forms around. The abandoned shops on the ground floor have been turned into a gallery space along with the first floor. The six interconnected rooms on the first floor that were once living quarters have been connected and redeveloped into smaller gallery spaces. The toilet has been converted into a media room.



    Recycled wooden crates have been used as display props for an exhibition in the L-shape gallery space.

    Recycled wooden crates were used as props for display purposes during the exhibitions and later used as book stacks. The wall space is available to be used as a visual gallery and is open for experimental works in the future.

    The rear screen was made out of cement bags.
    Artists making graffittis on the terrace walls
    The once disused terrace space has been converted into an organic farm

    The space opened in January 2013 with an interdisciplinary pop-up art show. The events and talks are curated by one of the KONA members, Sonya Fatah. In April 2013, a multidisciplinary pop-up art exhibition titled Lateral was curated by Heidi Fichtner with site-specific artworks, painting, sculpture, video, photographs, drawing and a sound installation by artists across three generations. The corner space is largely a platform to promote dialogue amongst professionals from different fields and think, discuss and provide ideas that would act as catalyst in the near future for a new ways to live in urban India. Innovation in the form of juggad (making do) technology can be seen at every step as the exhibition space was refurbished with recycled materials such as the rear screen was made out of cement bags, and bubble wrap was used as screen wrap for uniform lighting for the galleryspace during the shows, and was later used to pack the artworks.

    The space on the first floor above the public corridor is an L-shaped gallery space. And the entrance to the gallery space was renovated with leftover building materials as stone slabs and crushed bricks gravel beds. The entry to the gallery on the first floor is from rear of the building and the entry court acts as visual connector between all the floors. The first floor also has an interactive open space. The terrace of the corner block has been converted into a space for organic farming. Every Sunday, KONA is turned into a space for organic farmers’ market and apart from selling organic fresh farm food, KONA is also aiming at helping horticulturalist from the city to convert their balconies or gardens into small-scale vegetable beds.

    Sketches by the architects.

    The corner block in Jor Bagh market is a perfect illustration of how a modern ruin need not be erased; rather, it can be remodeled and reused. The architect manages the challenging task of not overdoing and has exercised restraint throughout the design intervention, as there was an original context already existing and to rebuild upon it was more like recycling an architectural space to provide alternative experimental platform. KONA is indeed a unique participatory space and is housed in a posh area, yet from the outside it is unintimidating. However, the challenge for the sustainability of such projects is entwined with economics, as even the most innovative ways to display, design and organise an interactive and creative space would cost something, no matter how inexpensive it might seem at face value. But, for now, this space in Jor Bagh is a stepping ‘corner’ for a design and lifestyle revolution in the megacity, Delhi, and bringing it closer to the concept of a “human city”.

  • An anthology on women in Indian photography

    An anthology on women in Indian photography

    By Kalyani Majumdar; Published in Domus India magazine; News section; 2014

    Group Portrait, circa 1875

    The advent of photography brought many changes especially in terms of how we document the historical, social, gender and political aspects of a society in which the image stems from. Prior to photography, it was only painting of portraits that could capture an aspect of a person or place or culture that was closest to what reality was, but it was nowhere close to the accurateness of photographs. As it provided a real-time image, it was more objective than subjective, and many preferred the exactness of science.

    The British in India introduced many important technological/scientific innovations and photography was one of them. In fact, as early as the 1850s photography was available in India. In a recently held exhibition by Tasveer in collaboration with Saffron Art threw light on an absolutely rare aspect of Indian photographs — the women. Aptly titled Subjects & spaces, women in Indian photography showcases rare photographs taken from the 1850s to 1960s, of women from different backgrounds posing for the latest device of that time — the camera.

    The reclining lady, c 1870

    Initially photographs were mostly clicked by the British for archiving purposes, and some photographed as amateurs for their personal albums to take back to England as memories of India and its people. Mostly the portraitures were clicked inside studios with elaborate backgrounds of architectural elements and the postures were mostly a reflection of Western style and design. These images were meant for displaying at home or private spaces rather than for public display. The collection shows an interesting aspect of how these women interacted with the camera with a stranger behind the lens clicking those photographs, especially during the 18th and the 19th century Indian society, where women were mostly behind veils and were not accustomed to meet or talk to strangers, let alone pose for the camera. But, in the image titled Group portrait, c1875 showing a group of presumably Marathi women is quite interesting, as the subjects defy any form of femininity in their posture or even the way they look at the camera, rather they exude dominance and power. It takes a while to spot the little boy standing next to them. Also, one must remember that in the 19th century, it was extremely difficult to photograph large groups of people, getting them to stay still for the long exposure time. A photograph titled Palanquin with bearers; c1860 is an interesting one, as these were the carriages that women used to travel in, so that no one could see them in public spaces. Another image that draws attention is The Reclining lady; c1870 shows an Indian woman posing in a sensuous manner but her face holds a blank expression. Since it has been clicked in a studio, one can see in the background the column and the posture has a hint of Western influence in the photograph.

    Ladies in a bathing ghat, c 1870

    Other works such as a scene from the movie set Dahej, 1950 shows women performing their respective roles in the household; another scene from Boot Polish, 1954 portrays the woman as a mother. Also, a photograph worth mentioning is a demure image of Maharani Gayatri Devi, c 1945 that reflects the image of a woman that was acceptable to the Indian sensibility of the mid-20th century society in terms of her expression and attire. Looking at the group photos; Ladies in a bathing ghat, c1870, Group portrait, c1880 and First lady cyclist, 1920 describes the country and its people in real time and makes one wonder how life in those days was for the women of India. The images from this exhibition are for sale, and are sold as a limited edition boxed folio of Archival Pigment Prints. (www.tasveerarts.com)

  • Art of Living

    Art of Living

    WITH ORIGINAL ARTWORKS AND INTRIGUING HISTORIES TO MATCH, THESE ARE
    THE MOST UNIQUE ART HOTELS AROUND THE WORLD, SAYS KALYANI MAJUMDAR.

    First published in India Today Spice Trove

    PALAIS COBURG’S HISTORIC CASEMATE, NOW USED AS A VENUE FOR EVENTS

    There’s an interesting story about a £200,000 (Rs 1.5 crore) work by Turner-prize winning artist Douglas Gordon displayed on the wall of a restaurant in Glasgow. Attempting to show how real life mirrors cinema, the artist put a neon ‘Empire’ sign in the artwork with a light bulb that was deliberately poorly wired to keep the letter ‘P’ blinking, like the one at Empire Hotel in Alfred Hitchcock’s 1958 film Vertigo. Then, one day, real life intervened and a repairman fixed the flickering bulb, not realising its valuable contribution to art. Mercifully, such a travesty can never be committed in a hotel, where art is the only permanent resident. Welcome to their world.

    THE PALAIS COBURG, VIENNA

    Imagine standing on the same spot in The Palais Coburg hotel where, centuries ago, music composer Johann Strauss performed with his orchestra; such is the glorious history of this hotel that spans six centuries and stands witness to some major events in history. Art, culture and technology cohabit gloriously at The Palais Coburg Hotel Residenz in Vienna, which looks more like an art museum than a hotel with a gleaming neoclassical building and plenty of restored gilt and marble dating back to the mid-19th century. Each of the 35 suites is individually furnished and designed to look traditional but with a contemporary twist replete with antiques, oil paintings and crystal chandeliers. The structure was built in 1840-45 by Duke Ferdinand of Saxe-Coburg and Gotha (1785-1851) on the Brown Bastion—a part of the city’s defenses dating back to the 16th century. Owing largely to the superior construction, a large part of the Renaissance fortification, in particular the casemates, have been preserved for posterity. As you walk through the corridors, the canvases imbue colour to the grand architecture that has been superbly preserved. Where history stands guard, a date with the past is a present for the future.

    BYBLOS ART HOTEL

    SALVADOR DALI’S WINE RED BIG KISS SOFA BYBLOS ART HOTEL AT VILLA AMISTA, VERONA

    Nestled amid the luxuriant expanse of a 20,000 sq m park, the Byblos art hotel Villa Amistà is located just minutes away from the old town of Verona. Two distinctive architectural and decor styles reside at this property. If the classical building is a perfect example of 15th century baroque style; inside breathes the very modern design of architect Alessandro Mendini. Much like a museum, Villa Amista hosts works by brilliant artists from around the world, artists like Mimmo Rotella, Anish Kapoor, Peter Halley and David Tremlett, to name a few. The hotel offers 60 rooms, all piquantly filled with futuristic design furniture and antique-style headboards, accessorized with full-length mirrors with neon-orange and pop-art green insets. The central hall—the most monumental part of the villa–is traditional and dominated by a Venetian chandelier; other rooms beg to copy its elaborate ceiling decoration and murals. Below, however, sit pop art in the shape of poufes and tables. The spa is designed to evoke ancient Pompeii, while the wine cellar is furnished with classical furniture and coordinated with design components and works of contemporary art.

    HENRY JONES ART HOTEL

    A CORRIDOR OF THE HENRY JONES ART HOTEL EXPRESSES DISTINCTIVE AND AVANT GARDE ART WORKS

    Fancy waking up to the sound of clattering boat masts or listening to stories of early settlements as you sip your freshly- brewed Java? Try the Henry Jones art hotel in Tasmania—it’s jam-packed with history and littered with contemporary art. It stands in the very spot from where the town of Hobart began sprouting 200 years ago; a row of historic warehouses from the 1820s and a former jam factory have come together to be transformed into Australia’s first art hotel. An abundance of contemporary Tasmanian art relating to the settlement years in a setting of great historic value allow guests to linger in an era long past. The Oriental and Art installation suites, the restored machinery from the jam factory, the magnificent all-glass atrium get you tripping to another era altogether. The Peacock Terrace, the original home of jam factory founders George and Margaret Peacock, even houses Tasmania’s oldest spiral staircase. On your next visit to Australia, check out the Sydney harbour bridge and Opera House if you must, but don’t forget to check into the Henry Jones Art Hotel.

    ABBEY DE LA BUSSIÈRE, BURGUNDY

    THE HALLWAY AT THE ABBEY DE LA BUSSIÈRE WITH ITS ENDLESS ARCHES

    If the very Monet-like look of Abbey de la Bussière, with its 15-acre park around a pond, weren’t enough, the property also boasts an interesting history. Turns out that it was founded in 1131 by an Englishman named Stephen Harding, who was the third Abbot of Cîteaux, as a spiritual retreat for religious groups and pilgrims. Some 874 years later, another Englishman called Clive Cummings bought it and decided to turn it into a luxurious hotel. The first round of renovation inside the building revealed gorgeous frescoes that have since been meticulously cleaned and restored by experts. The old monks’ cells have been transformed into junior suites and luxury bedrooms, all appropriately named after the greatest Burgundian ecclesiastical monuments. Each room is packed with antique furniture, art and artefacts picked up from auctions. Occasionally, the old abbey also acts as a venue for art classes. Not surprising when you consider that it is situated in an art hub: bang in the heart of Burgundy with its abundant vineyards, chateaus and monasteries and at a half-hour’s drive from the historic towns of Beaune and Dijon, with their medieval cathedrals and art galleries.

    ARTE LUISE KUNSTHOTEL, BERLIN

    THE FACADE OF THE ARTE LUISE KUNSTHOTEL

    From the sculptures that greet you in the lobby to the imaginatively-designed rooms, Arte Luise Kunsthotel is a repository of surprises. Situated near Berlin’s historic Reichstag building, the Spree river and the Brandenburg Gate, this neo-classical residential palace (circa 1825) used to be an artists’ club during the GDR period. In 1994, it was converted into an art hotel. Today, each of the 50 rooms in the hotel—often referred to as a ‘gallery in which you can spend the night’—is an original work of art. That’s because over 50 artists have worked on these rooms, on the invitation of the hotel, creating scenarios that ‘reflect the time, place and situation of the traveller’. The artists receive approximately 5 per cent of the profit from ‘their’ room as payment as well as a number of free night stays. Each room is recommissioned every two to five years. The lobby has eye-popping sculptures by Hans van Meeuwen and a wall piece by Markus Linnenbrink. Profound graffiti in vivid colour illuminates the walls of the stairways. On the ground floor stands an art and events gallery where the hotel hosts readings as part of the International Literary Festival and fashion shows.

    (I wrote this article originally for India Today Spice Trove, special issue, published in 2010.)

  • The French connection in Bengal

    The French connection in Bengal

    Nestled along the Hooghly River is a tiny town just 35 kilometres from Kolkata that is steeped in history and is definitely worth exploring, writes KALYANI MAJUMDAR.

    Published in Free Press Journal; Date 21.05.2017

    Clock Tower; Image credit: Kalyani Majumdar

    A gentle breeze welcomes you as you step on the Strand. The beautiful promenade along the Hooghly River is a lovely stretch and across it stands a row of beautiful French colonial buildings.  Wait, French? Yes, you read it right! It is a general perception for most that in India the French existed only in Pondicherry. In fact this quaint place called Chandernagore was and still is, the La petit French—the little France—in West Bengal and is only 19 square kilometres in total area. Chandernagore might be a small town but its historical significance cannot be trifled with.

    A town with many names
    The name of the town itself has many derivatives. Some say that the bank of the river forms the shape of the moon—chandra—inBengali; others say it is named after the oldest temple of Goddess Chandi. According to some it was believed to be a centre for selling sandal (chandan). The best way to explore this lovely town is to walk it.

    The advent of the French
    Chandernagore became a French colony in 1673, wherein they established their trading banks, and it became a permanent French settlement by 1688. After the 1757 war with the British the town changed hands a couple of times between the British and the French. However, from 1816 it remained with France till 1950. Although Chandernagore was a French colony, it had a strong convergence of the French and Bengali cultures as many Bengali merchants flourished and played an important role in development of the town.

    Institute de Chandernagore – Dupleix Palace ; Photo credit: Kalyani Majumdar

    Institute de Chandernagore – Dupleix Palace
    In 1730, Joseph François Dupleix was appointed governor of Chandernagore. It was during his time that the town became the main center of commerce in Bengal. The Fort d’Orléans, was also built during his time. Today the reminiscence of Dupleix’s glorious years in Chandernagore is housed in the Institute de Chandernagore that stands in a grand manner located on the Strand commanding a view of the Hooghly River. It is a French colonial building with spacious verandahs enveloping the entire building supported by columns. A flight of steps take you to the entrance to the museum that showcases artefacts, old photographs and Dupleix’s personal belongings. You can spend a good few hours strolling in the garden or sit in the verandah and enjoy the scenic view.

    Every building has a story
    Built in 1904, the Patal Bari (underground house) on the Strand is worth a visit as its lowest floor is submerged in the river. Some very prominent personalities have resided in this house during their visit to the town including Rabindranath Tagore. A clock given by Joseph Daumain sits on the tower facing the promenade reminding everyone of the times that this town has seen. The other grand building on this stretch is the sub-divisional court of Chandernagore. However, it was not always a court. It was the Hotel de Paris. You could very well imagine the spacious verandahs and gardenslit up for the typical Parisian evening soirees. The road off the Strand takes you to Sacred Heart Church. This Roman Catholic Church was built around 1875 and has beautiful stained glass paintings. As you continue walking past the church you come across shops, and old houses competing with new buildings.

    Nandodulal temple ; Photo credit: Kalyani Majumdar

    The temple that withstood cannon fire
    This town played a pivotal role in the famous Battle of Plassey in 1757 when Robert Clive destroyed the Fort de Orleans along with houses and places of worship. There are few buildings that still stand as mute witnesses to Clive’s cannon balls. The temple that still exists from that time is the Nandodulal temple. Built in 1740, it is believed to be the largest dui chala (double-sloped roof) temple in Bengal. Located on a picturesque landscape with a little pond on the rear, the wall still carries theimprint of Clive’s cannon balls.

    Refuge for Indian freedom fighters
    As you peel one layer of history of this town you unravel another layer beneath.  Since Chandernagore was a French colony during the same time when Calcutta was under the British, many freedom fighters from British Bengaltook refuge in French Bengal. The most famous name is of Sri Aurobindo Ghosh. The house where Sri Aurobindo went into hiding and used the space to make bombs still stands. In fact many brave hearts such as Kanailala Dutt and Rajbihari Ghosh that fought for the Indian freedom against the British hailed from this town. You can visit the Prabartak Ashram that was established by Motilal Roy. It used to be a safe haven for freedom fighters.One should not miss the Laldighi on the Grand Trunk road, the cemetery across it, and the old library building not very far from there.

    Local flavour
    Although most of Chandernagore’s identity comes from its French association, but one that continues to have the local Bengali flavour is the Jagaddharti Puja. It is celebrated with much fervor. After a heavy duty history tour one should not miss the lovely evenings at Strand. It looks like the entire town is on the promenade. With shopping carts and ferries on either side of the Strand selling trinkets, street food, icecream carts. Music floating from the Rabindra Bhawan across the street and the sight of old people discussing politics and Tagore on the same breath is quiet a sight, not to be missed by anyone. Albeit, officially Chandernagore merged with West Bengal and became part of India in 1951, the vestiges of the Liberty gate on the south of the town acts as a reminder of the French connection with the inscription sayingLiberté, égalité, fraternité—Liberty, equality, fraternity—the three pillars of the French revolution. We tip the hat for those lovely words that continue to give us hope.

  • The French connection in Bengal

    The French connection in Bengal

    Nestled along the Hooghly River is a tiny town just 35 kilometres from Kolkata that is steeped in history and is definitely worth exploring, writes KALYANI MAJUMDAR.

    Published in Free Press Journal; Date 21.05.2017

    Clock Tower; Image credit: Kalyani Majumdar

    A gentle breeze welcomes you as you step on the Strand. The beautiful promenade along the Hooghly River is a lovely stretch and across it stands a row of beautiful French colonial buildings.  Wait, French? Yes, you read it right! It is a general perception for most that in India the French existed only in Pondicherry. In fact this quaint place called Chandernagore was and still is, the La petit French—the little France—in West Bengal and is only 19 square kilometres in total area. Chandernagore might be a small town but its historical significance cannot be trifled with.

    A town with many names
    The name of the town itself has many derivatives. Some say that the bank of the river forms the shape of the moon—chandra—inBengali; others say it is named after the oldest temple of Goddess Chandi. According to some it was believed to be a centre for selling sandal (chandan). The best way to explore this lovely town is to walk it.

    The advent of the French
    Chandernagore became a French colony in 1673, wherein they established their trading banks, and it became a permanent French settlement by 1688. After the 1757 war with the British the town changed hands a couple of times between the British and the French. However, from 1816 it remained with France till 1950. Although Chandernagore was a French colony, it had a strong convergence of the French and Bengali cultures as many Bengali merchants flourished and played an important role in development of the town.

    Institute de Chandernagore – Dupleix Palace ; Photo credit: Kalyani Majumdar

    Institute de Chandernagore – Dupleix Palace
    In 1730, Joseph François Dupleix was appointed governor of Chandernagore. It was during his time that the town became the main center of commerce in Bengal. The Fort d’Orléans, was also built during his time. Today the reminiscence of Dupleix’s glorious years in Chandernagore is housed in the Institute de Chandernagore that stands in a grand manner located on the Strand commanding a view of the Hooghly River. It is a French colonial building with spacious verandahs enveloping the entire building supported by columns. A flight of steps take you to the entrance to the museum that showcases artefacts, old photographs and Dupleix’s personal belongings. You can spend a good few hours strolling in the garden or sit in the verandah and enjoy the scenic view.

    Every building has a story
    Built in 1904, the Patal Bari (underground house) on the Strand is worth a visit as its lowest floor is submerged in the river. Some very prominent personalities have resided in this house during their visit to the town including Rabindranath Tagore. A clock given by Joseph Daumain sits on the tower facing the promenade reminding everyone of the times that this town has seen. The other grand building on this stretch is the sub-divisional court of Chandernagore. However, it was not always a court. It was the Hotel de Paris. You could very well imagine the spacious verandahs and gardenslit up for the typical Parisian evening soirees. The road off the Strand takes you to Sacred Heart Church. This Roman Catholic Church was built around 1875 and has beautiful stained glass paintings. As you continue walking past the church you come across shops, and old houses competing with new buildings.

    Nandodulal temple ; Photo credit: Kalyani Majumdar

    The temple that withstood cannon fire
    This town played a pivotal role in the famous Battle of Plassey in 1757 when Robert Clive destroyed the Fort de Orleans along with houses and places of worship. There are few buildings that still stand as mute witnesses to Clive’s cannon balls. The temple that still exists from that time is the Nandodulal temple. Built in 1740, it is believed to be the largest dui chala (double-sloped roof) temple in Bengal. Located on a picturesque landscape with a little pond on the rear, the wall still carries theimprint of Clive’s cannon balls.

    Refuge for Indian freedom fighters
    As you peel one layer of history of this town you unravel another layer beneath.  Since Chandernagore was a French colony during the same time when Calcutta was under the British, many freedom fighters from British Bengaltook refuge in French Bengal. The most famous name is of Sri Aurobindo Ghosh. The house where Sri Aurobindo went into hiding and used the space to make bombs still stands. In fact many brave hearts such as Kanailala Dutt and Rajbihari Ghosh that fought for the Indian freedom against the British hailed from this town. You can visit the Prabartak Ashram that was established by Motilal Roy. It used to be a safe haven for freedom fighters.One should not miss the Laldighi on the Grand Trunk road, the cemetery across it, and the old library building not very far from there.

    Local flavour
    Although most of Chandernagore’s identity comes from its French association, but one that continues to have the local Bengali flavour is the Jagaddharti Puja. It is celebrated with much fervor. After a heavy duty history tour one should not miss the lovely evenings at Strand. It looks like the entire town is on the promenade. With shopping carts and ferries on either side of the Strand selling trinkets, street food, icecream carts. Music floating from the Rabindra Bhawan across the street and the sight of old people discussing politics and Tagore on the same breath is quiet a sight, not to be missed by anyone. Albeit, officially Chandernagore merged with West Bengal and became part of India in 1951, the vestiges of the Liberty gate on the south of the town acts as a reminder of the French connection with the inscription sayingLiberté, égalité, fraternité—Liberty, equality, fraternity—the three pillars of the French revolution. We tip the hat for those lovely words that continue to give us hope.

  • Bangalore: Exploring the multi-layered history of the city

    Published in Free Press Journal; Date: 14.02.2018

    If the soul of a city is uncovered by walking the streets, then definitely it holds true for Bangalore as it reveals itself beyond its IT hub and impersonal glass buildings. Kalyani Majumdar explores the multi-layered history of the city.

    As you look past the traffic and catch sight of rows of pink and yellow flowers against the clear blue sky, for a second you forget the traffic, and savour the moment. Welcome to Bangalore/Bengaluru.

    Rise of a modern city

    Bangalore came into significance in 1537 AD, when Kempe Gowda I, a feudatory of Vijaynagar Empire laid the foundation of the city by building a mud Fort, wherein people of different vocation had their settlements. After him, it changed many hands from the Marathas to the Mughals, followed by Hyder Ali and then his son Tipu Sultan and finally, the British Empire. They have all left their imprints on Bangalore. However, Bangalore flourished as a city once the British took over. It started with the shifting of British Headquarters from Mysore to Bangalore in 1837. Gradually, the city witnessed a steady development of wider roads, boulevards, railway lines, improved post and telegraph facilities, and buildings.

    A royal experience

    A grand view of the Bangalore Palace; Photo credit: Kalyani Majumdar

    As you approach the Bangalore Palace, it is hard to miss the close resemblance of the exterior with the Windsor Palace in England. It is a magnificent Tudor-style structure facing a beautiful garden and has royalty written all over its façade. The plot was bought by King Chamaraja Wadiyar’s guardians in 1873. The palace was built in 1887. Once inside it is hard to miss the bright yellow-coloured ballroom with its decorated columns, ceiling and arches. After taking in the splendour of the ball room walk up a wooden staircase to the Durbar Hall. The huge room with its embellished interiors, huge chandeliers and a beautiful collection of art is indeed a rich experience. The corridors have exhibits from Maharajas hunting escapades. One of the courtyards has a beautiful coloured-tile bench gifted by an erstwhile Spanish royal. It is highly recommended that you walk the lane lined up with trees on your way to the exit.

    From South Parade to M.G Road

    It is not just now that M.G Road in Bangalore is famous for being the centre of social life. Even during the British era, it had a similar character and was known as South Parade. The building that now has the office of Deccan Herald was once where the popular Funnel’s Restaurant stood. Next to it, is the iconic Higginbotham book store. It has been there since 1905. Recently, it revamped its interiors and now it has reopened with a colourful interior and the façade looks bright as well. The book store has a fantastic collection. There is certainly a sentimental factor attached to this bookshop that has catered to generations of booklovers and still continues to do so. It is lovely to see how the old and the new has blended effectively on this particular stretch. Across the road, alongside the metro station there is a lovely boulevard. The walkway is almost half a kilometer and is lined up with white and pink bougainvillea. It is so refreshing even though it is right next to a busy road.

    The roads from the past 

    Book Society on St. Marks Road; Photo credit: Kalyani Majumdar

    At the intersection where M.G Road meets St. Marks Road, you can see a gothic building with etching in bold letters that say, ‘Book Society’. It was built in 1912. Part of the building is now the Hard Rock Café and apparently, sometime back it also had a HMV record store. As you continue further on St Mark Road the prestigious Bowring Institute is on view. From there you can easily negotiate through wide streets to reach the Museum Road, lest you are not wearing comfortable shoes. In 1865, part of the Cantonment Jail building on this road, now Good Shepherd Convent, served as the Government Museum, before it was shifted to its present location on a beautiful neoclassical structure in Kasturba Road, in 1878. Nevertheless, the road retained its name, thus keeping alive a part of history. Also, on the same road right next to the Post Office stands a 150-year-old tiled-roof building that serve as the office of the senior superintendent of post office.

    Cubbon Park 

    A statue of Queen Victoria stands at one corner of the Cubbon Park; Photo credit: Kalyani Majumdar

    If you approach Cubbon Park from Kasturba Road then you will come across a statue of Queen Victoria standing at the corner of the Park, facing the busy street, perhaps wondering how much the city has changed since 1906. The Cubbon Park was established in 1870 by John Meade and the landscaping was done by Richard Sankey. It is a lovely place to park yourself under a tree with a book.

    Imprints from the past 

    The Glass House at Lalbagh Botanical Garden; Photo credit: Kalyani Majumdar

    At the entrance of the Lalbagh Botanical Garden there is a peninsular gneissic rock, dated to about 3,000 million years, making it one of the oldest rock formations on the planet. And atop the rock is the Kempe Gowda tower. Hyder Ali laid its foundation in 1760. It was a pleasure garden till William New, a gardener from Kew in London came to Lalbagh in 1858 and turned the place into a scientific research centre and maintained a regular inventory of the trees. He lived in a small cottage inside Lalbagh which is now the Lalbagh library. In 1874, John Cameron took over as superintendent of Lalbagh. He too did many experimental cultivations within the garden. He proposed the idea of a Glass House. It was built in 1889 inspired by the famous Crystal Palace of London. It houses many flower shows and is a must-see.

    Outside the Lalbagh gate, there are stalls selling fresh fruit juice in the morning. One might wonder, if this was perhaps the spot where Cameron enthusiastically distributed seeds of new vegetables that he grew, to the passing farmers. We do owe him Chayote, a popular vegetable in Karnataka. Stories such as these crop up when one steps out on the streets of this city to listen to the echoes from the past and weave them into an urban narrative.

  • Of bodies, armour and cages

    Art installation by Shakuntala Kulkarni; Photo courtesy: Chemould Prescott Road

    What does physical protection mean and what are the solutions? These are some of the questions that Shakuntala Kulkarni explores in her recent project.

    Text: Kalyani Majumdar

    Published in Domus India; Date: October 2012

    If only we could walk around the city with a house-like structure around us then we would have protected ourselves from the assault that our physical form is subjected to every day. The constant invasion of personal space is unavoidable in the over-populated Indian cities and Shakuntala Kulkarni has been working on this idea and her recent exhibition at Chemould Prescott Road gallery titled, Of bodies, armour and cages showcased cane armours and costumes that could possibly be used as mediums for protection when walking around in the cities. She has brought historical armours in the modern context but has given them the format of elaborate period costumes and dresses from different times and cultures. Shakuntala is fascinated by the idea of armours made of cane as even though it is masculine, rigid and stiff yet the cane armour has a sense of fluidity and is linear, fragile and has a feminine quality about it.

    Interestingly, her project has conflicting theories as while the armour is protecting the physical self, at the same time it is also restricting the body from exploring and being flexible. The feeling of claustrophobia is clearly reflected in these cane structures. Shakuntala has worked with metals, wires, rubber and leather in her previous projects but somehow none of those mediums worked for her this time. She has always been fond of cane but she never thought of exploring it for her projects. She added, “When Dinesh Pardeshi, a cane worker from the city burnt the cane to give a particular shape to it, the yellow colour of the cane changed to a brownish-black, which I really liked. Initially it was just the visual liking, but then I really fell in love with this material because of the possibilities. And I went by how the cane spoke to me.”

    The cane armours look very delicate and yet they are very strong. Shakuntala worked on the mechanics of the costume. In this project, her work explores outside the realms of photographs and two-dimensional medium to another form of visual space. As part of her art performance she wore the cane costume and walked around the city and she could experience the feeling of being caged and it was difficult to move and the discomfort caused by the armour set limits to her movement, which again represented the limitations that the society imposes on women. When she narrates her experience of wearing the costume, she said that sometimes her hand or her fingers would come in the way while wearing the costume, and it translated to a feeling of binding oneself. The entire costume also involved accessories — bangles, rings — made of cane in order to protect the parts of her body that were exposed. Another interesting fact that Shakuntala observed was that when the cane armour was dismantled and lying on the floorit formed different shapes  crabs, flowers and lamp shades  and the same when assembled to form the costume imbibed a different aura. The project involved her walking around the city and standing amidst the unplanned urbanisation and re-development of the city and here her armour acts as a metaphor for the issues that are plaguing the city. The armour symbolises a medium for protection of the physical space at one level, and also represents the resistance of the physical form towards the ad hoc changes in the urban fabric at another, but this entire process of protection has trapped the form itself in a cage-like structure.