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Kochi-Sketchbook - Renu Ramanath
Artists, Architects and an ‘Unprecedented’ Situation
I am not an architecture critic. Though I have written extensively on bricks and mortar (by virtue of being in the editorial team of The Hindu Property Plus for almost two years), I don’t deem architectural criticism as one of my avenues of creative expression. Not so far, at least.
But, some buildings do happen which force one to break the silence. Though I haven’t written much about buildings as such, it is also true that I can’t help gawking at an interesting building, especially if it belongs to this out-of-this-world class. I like to just gaze, may be I am a building voyeur, but hardly to write. But, as I already told, some buildings do make you want to wax eloquent about them. Especially if built by an artist.
Yes, I meant, if ‘built by’ an artist, not ‘belonging to an artist,’ and particularly NOT built by an architect. Now, all through my professional life, I’ve come across many architects, and many more artists. The one conclusion I’ve arrived at observing the two groups at somewhat close quarters is, both are never at ease with each other. Not all artists need agree with me in this, neither the architects. But, as a given generalised fact, this is my observation. The reasons may be many.
To begin with, both work on space. Architects and artists handle space, though on different scales and levels. Both believe that each of them have the sole authority over managing space. The architects, especially, by virtue of their professional qualification that endows them with the right to Construct, believes in their authority over space so much that they are campaigning hard for the sole right to obtain building permits. Being a civil engineer is not enough, you have to be a Registered Architect, with a B.Arch, to put your signature in the application for building permit, they argue.
Architects do have a way. I have spoken to many an architect about some projects I’ve heard attributed to them, only to be told politely that ‘I disown that building.’ Often, the reason is simple. The client insisted on messing up the project. The architect becomes the Victim, the Wronged Creative Person. One architect told me in the most martyred voice, “This is what happens when people who think themselves to be intellectuals want to interfere with the design.” Which means, the ‘clients,’ who believe themselves to be ‘intellectuals,’ had dared to express some opinions about what was going to be their living space for the rest of their lives. How dare they !
No wonder, Bose Krishnamachari chose to do away with the architect for designing his dream house in a quaint village of Kerala. He chose the wise way. And, decided to be his own architect.
The house he has built renovating his ancestral home, ‘Chempakasseri House,’ at Mangattukara, near Angamaly in Ernakulam district (and a stone throw away from the Cochin International Airport), stands tall amidst thick groves of shady nutmeg trees. It is almost invisible from the road, the narrow bylane that meanders amidst coconut groves and stretches of open space that used to be paddy fields. Once you enter the gate and proceed along the granite-paved driveway, the house suddenly looms ahead, in all majestic glory. For a moment, it steals away your breath. A palate of brilliant, tropical colours hit you straight.
From the granite-paved front-yard, the house looks unusually tall, as the floor-height is more than the average. A flight of granite steps, reminiscent of a temple’s ‘sopanam,’ lead to the verandah. A huge mural, belonging to the Kerala mural tradition, spreads across the entire wall space on your right side as you step onto the verandah. It gives the first shock. Ever expected to find a traditional Kerala mural in the house built by one of India’s cutting edge contemporary artists ? But, surprises are more to come.
Step into the interior. The space is a straight lift from the traditional Naalukettu, the house-pattern designated to the aristocracy of Kerala’s past, according to the ancient norms. Originally a combination of four lengthy buildings forming a square with an enclosed and open central courtyard (‘Nadumuttam) in the middle meant for the usage of women who were normally denied entry into the front of the house, the Naalukettu has been making a comeback in the recent days in Kerala’s architecture. Only that, the modern Naalukettu has its dimensions reduced considerably.
Here, in the Krishnamachari House, the ‘Nadumuttam,’ has been converted into a lotus pond, with low granite seating running around on all four sides. Bedrooms, a utility room and the kitchen open into the living space around the pond.
If the entry way is flanked by tradition, inside is the world of contemporary art. Pieces of contemporary art, ostensibly from Bose’s collection, are cleverly placed all over the open living space.
An array of photographs, framed and arranged in neat rows, brings to mind the old practice of adorning the walls of the front verandah with family portraits. A close inspection reveals that the photographs, portraits all of them, are in fact, are of the family. People, obviously members of the extended family, linger in front of the pictures, pointing out each familiar face.
There is a plethora of materials used all over the house, ranging from the time-honoured chunks of granite to the ultra sophistication of the Italian glass mosaic, from the classicity of wood to the plastic, molded curves of Corian.
In this house, pillars abound everywhere. The entrance steps are guarded by four of them. The lotus pond that replaces the traditional inner courtyard (‘Nadumuttam,’) is flanked by four more, two of them flanks the small steps leading into the pond. The inner hall is covered on two sides by wooden lattice work, flaunting that distinctive Bose Krishnamachari patterns.
On the upstairs, (the house is two-storeyed), is an entertainment room, with a state-of-the-art home theatre system. If the ground floor keeps to the tradition in its basic design, this space is the opposite, totally contemporary.
Well, this is a house to behold, and marvel. The details to admire are many. Only that, you will need to sit down, either on the granite slabs, or the custom-made seatings, and contemplate over each one. Just like you would like to do in a museum ! No wonder, since this structure is only a clue, for more things to come.
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Even as I am winding up this issue of the Kochi Sketchbook, the world seems to be a changed place. The battle is raging on in Mumbai. In Mumbai, in that city of dreams, and promises. I watch the flames of fire engulf the magnificent domes of the Taj. The building is also part of India’s history. Perhaps, more a part of it, than the neighbouring Gateway of India, built by the British to commemorate the visit of their king and queen !
Are we watching India’s history burning ? I don’t know. Because, this is a crisis that defies definitions, ‘unprecedented,’ as the clipped media language goes. Well, this is an unprecedented situation, and let’s hope, by the time this article appears online, peace will return to Mumbai. Though, things may never be the same for many.
