Brick Architecture

Brick architecture has been synonymous with Vadodara for long. Insite retraces the history of this building material, from the time of Maharaja Sayajirao Gaekwad III, when it was put to use by renowned English architect R.F. Chisholm, to present times, when the inimitable Karan Grover has reinterpreted the material to create a viable methodology for a contemporary design process
Architecture starts when you carefully put two bricks together. There it begins. Ludwig Mies van der Roh, German-born architect (18861969) Brick architecture has a long and illustrious history in India, going right back to the Indus Valley Civilisation. Excavations in Harappan settlements in Gujarat, like Dholavira and Lothal, have shown that these early civilisations, with their sophisticated town planning around a communal courtyard, paved streets and advanced drainage systems, also used brick in the construction of their houses. The bricks, either sun dried or baked, followed a standardised system of proportion, based, as they are today, on the size of a mans hand the standard brick is approximately 230x115x 75 mm. About 50 per cent of all construction in India is of this most basic building material, which, due to its versatility, can be used structurally or as cladding for decorative effect, the pleasing colour variations depending on the exposure of the bricks to heat in the kiln. They also have the advantage of blending well with other building materials like wood, stone, concrete, glass and steel. It is not surprising that Gujarat, being a largely alluvial plain, supports a thriving brick manufacturing industry, as the sediment produces clay with all the right components for making good-quality kiln-fired bricks. Many of the brickworks are family owned some 30 of them alone operating near Bharuch, an hour or so from Vadodara. Here, the bricks are still handmade in the traditional way and are transported to the kiln by donkeys. The industry is carefully controlled. To avoid excessive environmental damage, clay pits are limited to a maximum depth of 5 feet and iron chimneys have been outlawed in favour of brick, cutting pollution considerably. The industry is cyclical, being conditioned by climate and the rhythm of nature as production is impossible during the monsoon months, the industry closes down in May and only reopens during Dussehra.
Text: Berenice Schreiner, FRSA

The Idiom of

Reinterpreting Ideas Renowned architect Karan Grover, whose architectural firm, Karan Grover & Associates is based in Vadodara, is a passionate believer in learning from the past and reinterpreting ideas to create a viable methodology for a contemporary design process. Grover is a member of some of the most respected art and cultural institutions in the country, such as the Indian National Trust for Art and Cultural Heritage (INTACH) and the Heritage Conservation Programme for buildings in Baroda. He is also well known internationally for being an exponent of green issues and how they should affect architecture. He was the first architect outside the United States to be awarded the Platinum LEED rating from the U.S. Green Building Council for his work on the Sohrabjii Godrej Green Business Centre in Hyderabad. With an appreciation for the past and the lessons to be learned from it and an understanding of the challenges of the present, Grovers architecture in Vadodara has become part of an evolving innovative

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Photos courtesy: Berenice Schreiner, Ar. Karan Grover

material insight
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tradition in brick construction. Early in his career, he came to the realisation that adopting Western norms, for the sake of modernity, was not entirely desirable in terms of the local Indian climate. The use of glass and steel, which defined the Modern Movement in the West, was not automatically the best way forward. Jalis or lattice walls, to prevent glare and encourage the venturi effect of air cooling and courtyards, creating wells of light, traditional to vernacular design, could be reinvented and reinterpreted to create a new contemporary architecture. His sensitivity, to the demands of site and climate and the integration of form with decorative motifs, has given him an undisputed creative freedom, within the idiom of brick architecture. Cultural Capital But what of the pre-existing heritage of brick architecture in the city? Vadodara, which came to be referred to as the Cultural Capital of the State of Baroda, is divided into east and west by the Vishwamitri River. The east bank is characterised by the old fortified citadel, which probably dates from the 18th century, when the Marathas overthrew the Mughals and gained power over the territory. It is a rabbit warren of crowded bazaars and pols, with tightly packed shanty houses built round a central chowk, their overhanging balconies or jharokhas, supported on carved wooden brackets. By contrast, the development of the west bank dates from the 19th century, taking shape during the important building programme initiated during the rule of Maharaja Sayajirao Gaekwad III (18751939). Being a man of rare vision, with a sincere wish to initiate change in every sphere for his subjects, the Maharaja commenced a building programme to provide essential civic structures for his administration. Seeing himself as a bridge between the East and West, between ancient tradition and modernity, he appointed noted English Architect, R.F . Chisholm, an advocate of Indian craftsmanship, and brilliant Scottish engineer, Major R.N. Mant, as his State Architects. The buildings, which they constructed from the 1870s onwards, were to give Baroda a distinctive architectural style known as IndoSaracenic a fusion of western spatial organisation, Indian materials and decorative motifs inspired by Gothic, Hindu, Islamic, Buddhist and Ottoman architecture a fitting expression of the multiculturalism of the Maharaja himself. The first commission for Mant was the Laxmi Vilas Palace (1878-1890). Built for the Maharaja and his family, the building was largely constructed of stone in IndoSaracenic style, set in grounds of 700 acres, and situated on the wide and spacious Raj Mahal Road. This was followed by the Maharani Jamnabai Hospital (1879), a brick construction in a mixture of styles, Buddhist and Islamic. At the same time, Chisholms first major commission was taking s h a p e i n Pr a t a p g a n j , n e a r t h e Railway Station the Baroda College of Science (1878-1882) (which became M. S. University in 1949). This imposing E-shaped, red brick structure, covering an area of 35,000 sq. ft, is dominated by the imposing dome over the convocation hall (it is the second largest dome in India after Gol Gumbaz, Bijapur). In all, there are three major and eight minor domes, defining the corners of this grand building. The faade of the entrance takes inspiration from Indian temple architecture, with decorative star-shaped windows and Ottoman domes. Bands of green ceramic tiles alternate with the brickwork and a frieze of decorative carved heads, along the base, articulates the elevation.

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Other buildings followed in quick succession. Across the road from t h e L a x m i Vi l a s Pa l a c e , M a n t designed a red brick Maratha-style palace, Indumati Mahal (1880). Named after Sayajiraos daughter, it had wooden framework and brick infill and now houses the Gaekwad offices. Set around a central courtyard, with overhanging balconies, it has a pleasantly domestic air. Another Maratha-type red brick structure, designed by Mant on a much grander scale as befitting its function, was the Museum and Picture Gallery (1894), whose cornice and frieze are based o n t h o s e o f t h e Pa r t h e n o n i n Greece. A formal flight of steps leads up to the south porch, with stone lions and low screen walls in a variety of geometric patterns.

Changing Profile At the same time, the profile of Sursagar Lake was changing, as a backdrop of brick structures began to define its perimeter. The structures include the Music College designed by Chisholm in 1886, it is now the Department of Performing Arts of M.S. University. In the same year, Mant designed the Lady Dufferin Hospital opposite Kirtimandir, which was followed by Chisholms Khanderao Market and Nyay Mandir, in 1896 (designed as a market; later became the High Court). The Kalabhavan Polytechnic, opposite the Laxmi Vilas Palace, was initially designed in Neo-Classical style but the new construction of 1922 by A.H. Coyle, followed the IndoSaracenic style of his predecessors, Mant and Chisholm. Over a 50-year period, the Indo-Saracenic style and brick architecture had become firmly entrenched in Vadodara, giving it a distinctive profile. The early 20th century saw some changes in the town, with the redbrick Kothi Building (1922) by A.H. Coyle, replacing the earlier structure of 1890. This magnificent building, the seat of power for the State of Baroda, was inspired by Balmoral Castle in Scotland (1852), an example of Scottish Baronial Architecture. Pale stone quoins and stringcourses, contrasting with red brick, create an overpowering and dominant rhythm, spread over 80,000 sq. ft. But there was a return to a blend of IndoSaracenic style and Renaissance arcades in Kirti Mandir (1930), the Gaekwad family mausoleum. The versatility of bricks with their multipurpose potential, defined the architectural development of Vadodara. W ith the invention of reinforced concrete in the 19th century and later steel, it became possible to separate the roles of

structure and cladding, by creating an independent framework to which brick could be attached, its loadbearing function becoming unnecessary. Buildings could be stronger, taller and more varied in design, freeing brick construction for other more important purposes such as insulation and moisture control. American architect Frank Lloyd Wright (18671959) boasted that in their hands the ordinary brick became worth its weight in gold. For Louis Kahn (19011974), brick and concrete could be used to shape space and light in a personal expression of metaphysics realised in the Indian Institute of Management in Ahmedabad in 1962, an icon in the history of brick architecture in the 20th century. The Modernist view eschewed applied decoration; brick with its linearity, texture and colour expressed the right aesthetic quality. Lively Atmosphere For Karan Grover, studying architecture at M.S. University in 1970s Vadodara was both an inspiration and a challenge. This was a vibrant time of artistic activity at

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material insight
the university and many well-known artists of today were fellow students in the Faculty of Fine Arts, contributing to a lively atmosphere of creativity and debate. One of Grovers first independent commissions came in 1989, when noted artists and educators, Rini and Purushottam Dhumal, whom he had known from college days, asked him to design a house for them. They wanted him to incorporate pieces of antique architecture that they had collected wooden balconies, arcades, brackets, doors and even a couple of staircases, removed from old havelis being demolished in the area. Preserving these elements of the past within the structure of a contemporary house was an interesting challenge. The house, at the end of a leafy lane in Baroda, is built of rich terracottacoloured local brick. The 14x14 feet proportions of the concrete roof slab of this 3,000 sq. ft. home, were determined by old recycled scaffolding. Other antique features like the teak front door, staircases and balcony are incorporated effortlessly into the design. The curve of the brick arch above the front door mimics its shape; the old wooden balcony and arcade became the focal point of the courtyard, which provides light and air to the living areas and a romantic space when lit at night. Brick acts throughout as a counterpoint as it frames, supports and interacts with the added architectural features from a bygone age. The cubic proportions of the house are softened by lively brick patterns within the cladding and the deeply recessed windows, with brick cornices and green wooden frames providing a vernacular, domestic effect. Anthropomorphic Design Grovers work at the Adivasi Academy at Tejgadh in Eastern Gujarat, (constructed over 15,000 sq. ft.) commissioned in the 90s by its founder, Dr G.N. Devy, gave him the opportunity to express many of his ideas for saving water and energy, while providing an architectural concept in keeping with the function of the centre. The aim of the academy is to provide tribal people with basic education, training in healthcare and a means of preserving their cultural heritage of language, craft, dance and music. The design is somewhat anthropomorphic, with a head and arms that embrace the dry and rocky terrain of the countryside. Channels outside collect rain water, which is fed into a dam, providing an extra supply of water. The centres cooking facilities use solar power and washingup water is filtered and turned into compost. Jalis and courtyards provide cool air and light to the interior. The double-height space of the library (20 feet) is supported on brick piers. Brick support arches, at the entrance, give access to two separate areas, that of the museum on the one side and on the other, the administrative and teaching rooms, leading on to the medical facilities. Local red brick from Ghodara is used throughout and playful geometric patterns are used to enliven the jalis in the museum and outdoor teaching area. Kotah stone from Rajasthan provides cool floor tiles and painted wooden chattai window frames, in tribal

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colours, enhance the overall vernacular effect of the centre. Where possible, windows are not glazed but are covered by bamboo and reed lattice work, reminiscent of window construction in tribal villages. In contrast to this tribal cultural centre, the Uttarayan Art Centre, masterminded by industrialist Rakesh Aggarwal, was inaugurated in 2008. Around 25km from Vadodara, it provides accommodation and working space for visiting international and Indian artists. Situated on the banks of the Mahi River, on an idyllic site extending over some 80 acres, Grovers use of brick throughout the complex is more sophisticated ceramic tiles add decorative detail to the cottages and studios, and a brick amphitheatre, provides an eloquent space for outdoor events. Since this is a working space for artists, studios are carefully angled towards the best source of light, and the communal areas face towards the river, lined with trees. Courtyard Concept Returning to the theme of domestic architecture, Grovers design for the Saraiya home in 2006 was unusual and a departure from his previous work. Just as the incorporation of antique architectural features defined the Dhumal house, Grovers grandiose design for the Saraiya home was built around the concept of a central circular courtyard. His client had particularly requested this

feature as a link between the new home and their earlier house. Saraiya, an engineering graduate of M.S. University in the 70s, began collecting the work of fellow students in the Fine Arts Department. Over the years, he and his wife, Hema, have acquired a large collection, ranging from pichwais to graphite sketches, from sculptures and ceramics, to paintings by Rini Dhumal, K.G. Subramaniam, Jatin Das, Rekha Rodwittiya, Ramkinkar Vaij. Jamini Roy, S.H. Raza, Anjolie Ela Menon, to name but a few. Grovers brief was twofold to provide a gallery space as well as a family home. The interior of the house comes as a surprise, with its circular central courtyard, or atrium, 18 feet in diameter. Once open to the elements, it was covered with a brick dome, supported by six elegant 24feet-high slim columns. Concealed windows under the dome give diffused lighting to the spaces below, complemented by cool marble flooring. The different levels of the elevation are defined on the piers by Hyderabad-born ceramicist P.R. Darozs ceramic tiles in chevron patterns, repeating the colour scheme used on the exterior of the building and integrating interior and exterior thematically. Daroz specialised at M.S. University in the 70s under Jyotsana Bhatt and is well known for his architectural installations. Cubic in its proportions, this threestorey home uses exposed brick

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detailing to define its architectural form. The bricks are vertically laid in horizontal bands at the upperstorey level and repeated in decorative detailing on the ground floor and entrance. The bricks, specially cut and of a particular dimension, create a dynamic pattern which contrasts with Darozs green and yellow tiles. These decorative tiles also indicate the internal division of space and offer a slight historical reference to Chisholms bricks and tiles at M.S. University! Significant Scale In an ever-evolving progression, Grovers latest brick construction, the Shroff House (2011), is on an even larger scale, with monumental proportions. Almost devoid of decoration, apart from a cornice that ties the design together, it allows the form itself t o e x p r e s s i t s o w n i n t e g r i t y. Elements that are constant in all his domestic architecture, h o w e v e r, a r e t h e u s e o f t h e courtyard for light and the jali screen for shade and cool air. Talking about his latest project completed last year, Grover related how the family came to talk to him about their ideas for a new house. Shruti Shroff started off by describing her ideal space, built around her interest in textiles and bead work. (The Shroff family founded Shrujan, a non-profit organisation that supports and nurtures the craft industry in Ku t c h ) . H e r h u s b a n d , A t o l , described his different ideas and Vishwa, their daughter, an artist, outlined her own requirements. As Grover listened, he was drawing a plan that would fulfil their individual needs. He came up with three different houses linked by internal spaces and an external courtyard! The house is situated about halfan-hour from Baroda, on the Mahapura Ampad Road. In contrast to his first house design for Rini Dhumal, this is a large complex, devoid of decoration, one where brick is used to create a stark and daring effect. Facing the entrance is a separate residential block for staff and this has been screened by a jali wall with decorative apertures, similar to some of the effects at Tejgadh. Imagine this at night, says Grover, lit by hundreds of diyas a wall of light at the entrance to the house. The ceilings inside are of the maximum 14-and-a-half feet (4.5m) height allowed by building regulations. This is important for ventilation, as hot air rises, cool air is drawn in. Walls are painted white and give ample space for the familys art collection, which spills out onto the corridors of the courtyard. The open-plan design allows for a free flow of space, broken up by intimate areas of sofas and chairs, imported from China. A long oval granite dining table is the focal point of the dining room, with

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sliding doors that open to the atrium on one side and a large open courtyard on the other. The large courtyard looks across to Vishwas unit, which is selfcontained, with a living room, studio and kitchen, as she is not only an artist, but also a cordon bleu pastry chef. Moulded concrete provides an interesting internal surface texture of boldly curving shapes, which look like tectonic plates framing the skylight, which provides daylight to the interior. The main bedroom of the house has an unusual rangoli design in marble laid out on the floor of the porch, giving access to a lily pond and stepping stones and leading to the swimming pool. Angled into the prevailing winds, air is cooled as it passes over the water, creating drafts for the main living space, across the courtyard. The stark lines of this house are transformed by the familys collection of art, tapestries and carpets. The light wooden furniture from China adds an Oriental touch and complements the very dark wood of the window frames and doors. The flooring of Kotah stone provides a light reflecting surface as a counterpoint to the expanse of red brick and dark-framing elements. In this structure, brick expresses its capabilities as pure monumental form, containing and defining space in large volumes and providing a dynamic setting for the familys collection of art works.

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material insight
Grovers use of brick is endlessly inventive. His concern for providing light and conserving energy and his ability to integrate these aspects into the design is fundamental to his work. Although not a believer in Vastu Shastra, Grover feels that if an architect is sensitive to site, context and climate, his design will fulfil all the criteria of this science. I strongly believe that if architects build with respect to the land and respect to the materials they use and with respect to the climate, then their buildings will by and large be Vastu-compliant, he says. Over a 30-year period, he has moved away from the decorativeness of the small scale towards a powerful expressiveness. Brick provides the means for this diversity and minimalism, stripping away artifice and giving pure form a unique language. The architectural history of Vadodara continues to be shaped in ever-changing patterns, reflecting the demographics of the times. Architecture, the mother of the arts, is a true expression of social history it requires patrons and architects who can give shape to their dreams, with integrity, inventiveness and imagination, creating the legacy of a living tradition.

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