VOL 25 (7) MAR 2012 ` 200
THE CONTEMPORARY COOL Architecture | Sculpture | Urbanism | Idea
18 IA&B - MAR 2012
Through the Looking Glass Looking back at a lifetime of creative work, Padma Vibhushan Satish Gujral meanders on memorable work as an artist and an architect, in a conversation with IA&B. Image: courtesy Satish Gujral Data & Curation: courtesy Ar. Rajendra Kumar
Painter, Sculptor, Muralist, Architect and Writer Satish Gujral can be described as a living legend; one of the few who have consistently dominated the art scene in India for the entire post-independent era. He has won an equal acclaim, if not more, as an architect, too. His building of the Belgium Embassy in New Delhi has been selected by the International Forum of Architects as one of the one thousand best-built buildings in the 20 th century around the world. The Republic of India has also honoured him with the second-highest National Award, “Padma Vibhushan�.
let’s partner IA&B: Art and architecture - can you tell us about your beginnings? What instigated you to work in such diverse fields and mediums? SG: In my understanding, art and architecture are the same. In the past, many artist were architects. Le Corbuiser, who is the world’s most famous name in architecture, was also an artist by training. He also inspired other European architects. Gio Ponti, the great Italian architect, was also an artist. The inventor of Perspective was a painter. When I started working in India, many of my colleagues criticised - how can an artist work as an architect? But later on, it was well accepted. Talking about my beginning, I would like to discuss the story about the Chandigarh project, being very important for shaping my career. Frank Lloyd Wright was the first choice for Chandigarh, but he refused to take the assignment because of his age. When the project was awarded to Le Corbusier and Pierre Jeanneret, one young architect from Frank Llod Wright’s office, Ted Bown, joined Pierre, and that time, I was working in Shimla as an artist. Myself, Ted Bown and Pierre J Jeanneret became good friends and used to spend time walking from Shimla to Jakhu. I learnt a lot from Ted Bown, who was a very intelligent architect. I also learnt English while working with him. I remember, he used to write to Frank Lloyd Wright about his experience with myself and Pierre. When Chandigarh was about to start, I left for Mexico to work as an intern with the great Muralist Diego Rivera. IA&B: You were one of the persons closely associated with the modern, post-independent art and architecture moments. Can you tell us about those formative years? SG: Before independence, I was studying in an art school in Lahore. During the British period, every state used to have one art school and in those schools, most of teachings were influenced by European and English arts. In these schools, many arts were taught; painting, draughtsmanship, mural etc. In my school, most of the students were interested in draughtsmanship, but I was more interested in painting. l left for Mumbai to study at the J. J. School to enhance my interest in painting. After the partition, I came to Shimla. I starting working as a Graphic Artist in the Publicity Department. I did not like the job. I insisted the then Punjab Chief Minister, Dr Gopi Chand Bhalu, to open an art school in the Indian part of Punjab. Initially, the art school was opened as a camp school where I was the Principal. The great artist Mr Parashar was my professor. After the partition, when he came to India, he had no job and when the art school in Punjab was formally started, he became the Principal of the school and I was the Vice Principal. If I would have not taken the initiative, with the Punjab Government, it would have not been possible to open an art school there. Punjab School of Art was one of the first schools where we had Indian art and culture as part of the teaching. After few years in the art school, I left for Mexico. IA&B: How was your experience working as a young artist who was interested in architecture? SG: When I came back from Mexico after working with Frank Lloyd Wright and Diego Rivera, I was very excited and started doing small residential projects. Some of my early works are House for the Modi Family, Tyre Factory in Uttar Pradesh, Villa at the Golf Link etc. For one of my first projects, Villa at the Golf Link in Delhi, I was asked by the client to undertake a small renovation. The client was living in the USA. I did not like the existing design, so I demolished the whole villa and
designed an all-new villa. Later, when client returned back from the USA and saw the new villa (instead of renovation), he was very happy! IA&B: You have met and worked with many veteran architects and artists. Can you tell us about significant personalities who influenced your work or our life? SG: In Mexico, at Diego Rivera’s office, I was only one who could speak English. Diego Rivera and Frank Lloyd Wright were good friends and were working together on some project. Once, Diego Rivera told me that Frank Lloyd Wright would come to his office for a discussion on the mural project which I was working on. I waited eagerly for Frank Lloyd Wright and when I met him, I asked him one question, “You are a great architect and Diego Rivera is great muralist. How does this combination work?” Frank LloydWright answered, “When in an architect’s building, there is a dead wall, the artist brings life to it.” These words of Frank Lloyd Wright impressed me a lot and somehow, that experience of working in Diego Rivera’s office was the first seed of architecture in my mind and I decided to use my art skills in architecture. IA&B: How do you draw/imagine architecture? SG: In my initial practice period, I used to design and draw all architecture with my hands, without the support of any other tools or services. Later on, I started taking the support of my collaborators for developing drawings for my concepts. IA&B: Is there a common theme connecting all work in general; that of art, sculpture and architecture? SG: I don’t think much while designing. But my culture and traditions are always a part of my life and in all creations of my work, whether architecture, design or painting. I always find my cultural roots present in my work. IA&B: In your long and prolific life in creative pursuits, can you point out a landmark project or a piece of work that you consider to be your creative best? SG: It is very difficult to answer this. I designed a very beautiful project for a Hotel in Udaipur. It could not be built. The Royal Palace of Riyadh in Saudi Arabia is one of my most favourite projects. Few years back, I designed a large-scale project in Hyderabad which was a very contemporary design influenced by traditions. During the inauguration of my project of Mr. Daryani’s House in Delhi, I met the Ambassador of Belgium. And, when he got to know that house is designed by me, he was very impressed by the design and asked me to participate in a design completion for the Belgium Embassy project. Initially, I did not want to participate in the competition as embassies are generally designed by architects of the respective country and are largely influenced by the country’s culture. In the competition, I gave my own sense to design and surprisingly, it was appreciated by all jury members. IA&B: Can you tell us about a building you love, other than the ones you designed? SG: The project of Sanchi Stupa in Bhopal is really a true example of creation of an artist’s works as the best example of an architectural landmark.
To read more about Satish Gujral’s work and thoughts, refer to the article titled ‘Of Memory’ on page 51.