India

Original

In 1982, Nari Gandhi designed the interiors for the Dawood Shoes office, located in Lohaar Chawl, Mumbai. As of February 2008, the office has three distinct workspaces: the owner's cabin, a smaller adjoining cubicle, and a larger work area for general staff. One enters the office through a hinged wooden door facing the staff area and the owner's cabin, with the secondary cubicle on the right. Entrance to the owner's cabin is through a partly glazed, centrally pivoted wooden door almost 1.7 meters wide. The floor plan is a five-sided polygon with a skewed angular junction behind the owner's seating area, while walls separating the cabin from the staff working area meet at a perpendicular junction. This irregular plan is resolved by placing shelves and drawers at the irregular junction and by aligning the owner's desk parallel to the wall separating the owner's cabin from the staff working space. This dividing wall has small rounded-rectangular openings that are evocative of those in a boat's steerage. They provide a partial visual connection between the staff and the owner. A door (.6 m wide) directly connects the owner's cabin to the staff workspace. Exterior windows that open to the street follow a design similiar to the small apertures in the dividing wall, and have rounded jambs, sills and lintels. The exterior windows pivot from the center, and when open at 90 degrees, rest on a projecting wooden arm on the jamb. The owner's cabin, like the staff workspace, has walls paneled in thin strips of recycled and Paduak wood, measuring around 25 mm wide with varying lengths, patterned vertically. The strips of wood are nailed to plywood boards from the back and then mounted onto the partition walls. As a result, no nails are visible on the finished face, creating a clean finish of continuous wood strips. The staff workspace was completed after the owner's cabin, and follows a similar design palette, with curved worktables and lofts finished in wood strips with rounded edges. The visitors' chairs in the owner's cabin are made from a variety of materials: wood for the seats, upholstered cylindrical leather backs, and external metal frames with small wheels on the legs. This 'industrial' look may have been inspired by the materials locally available in the precinct of Lohaar Chawl, which translates to 'Blacksmith's lane.' Sources: Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007.

Dawood Shoes Office

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The Moon Dust residence began as a landscaping and interior furniture project that later developed into a complete renovation of a concrete-framed house. The bungalow originally had a swimming pool, a garage, and six rooms: one living room, three bedrooms on the entry level, and two bedrooms on the upper level. Beginning as a traditional trabeated structure, plastered and painted, the bungalow was intrinsically altered in the renovation: intersecting arches of stone boulders and broken stone chips interfaced with the concrete frame, doors glazed with glass chips and colorful semi-precious stones replaced traditional doors, and a mural wall of mud brick in varying geometric patterns was built. The bungalow's site faces the sea, and on its sea-facing elevation one sees an inclined wall intersescting the sloping roof, which then meets the floor of the backyard garden. Wooden trusses and struts (rather than steel, given the salt in the air) are used; the deep roof overhangs are supported by these wooden struts as they radiate from flowerbeds in the garden. The upper roof is, in turn, supported by wooden struts that rest upon the first story. The roof is clad in terracotta tiles, and terracotta pots also appear among the sculptures in the garden. A mother-of-pearl canopy covers the garden. One of the most striking interior features of the bungalow is the staircase to the upper floor, which is built on an arch matching the intersecting structural arches of the house. The staircase has no handrail. There are likewise no closets in the upper-level bedrooms, but rather glass-chipped screens to partition the space. Closets were later added by the client. The renovation of the Moon Dust bungalow lasted approximately ten years, during which time the architect would periodically return to the site and make design changes. As of February, 2008, the Moon Dust residence was renamed "Kino's Cottage," and serves as a venue for corporate parties. Sources: Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007.

Moon Dust Residence

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The Revdanda house was a remodelling project located in a coastal village near Mumbai. As late as the 1980s, the village of Revdanda was easier to reach by water than by road. Vernacular structures in the village employed deep roof overhangs, spacious verandas, and clerestory windows for ventilation. Building materials were typically mud and brick. The Revdanda house is located in the heart of a dense betel nut and coconut plantation, and this vegetation was retained on the site. Based upon the local vernacular architecture and the local flora, the architect remodelled the house using brick and tree trunks as the main building elements. Local materials and local labor were used, as the original house walls facing the betel nut plantation were removed and replaced by large arched fenestrations that provided an unobstructed view of the landscape. The process of this renovation was similar to that undertaken in the Moon Dust residence, another renovation project carried out by the same architect for the same client. Similar elements, such as the profiles of circles and vertical tree shafts, appear in both projects. During the renovation, a mezzanine serving as a sleeping area/deck was added. The older, multicolored windowpanes were retained, while clay murals were added to the walls. A new story in exposed brick was built above the original, plastered walls on the lower level, and the entire house was given a new external finish of the local geru paint. As of January, 2008, the house retains these elements. It is speculated that the inspiration for the arches comes from the nearby Revdanda Fort (the Revdanda area is a former Portuguese colony). Sources: Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007.

Revdanda House

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This residential project blends a triangular geometry with organic, animal-like structural forms. The site for this bungalow is a very steep slope, and the architect chose to have the slope terraced and allow some vegetation to grow prior to beginning construction. Following this stage, three large arches (500 mm thick, spanning 9 meters) were erected on the site, as was a tortoise-shaped wind catcher with the toilet below. Construction of these three arches began with brick formwork at the base, with a triangular edge running across it. Stones of varying sizes were placed into the triangular section of the arch, and a slurry mix poured over it. The slurry was allowed to cure until the stones were set in place, resulting in an arch with a triangular section. The thrust of the arches is held by radiating struts, which in turn support steel trusses and the fiber-reinforced plastic roof. This entire system, from the roof to the arch, acts together to support loads. Visually, the large, sloping roof relates the mountainous landscape to the house itself. Large stones were utilized in the walls and in the surrounding landscaping. The interior of the house was designed to bring the outside in, reducing the border between the exterior and interior. Thus, the massive roof is translucent, allowing much light into the interiors below. Large dormers in the roof further open to views of the hilly terrain. Interior details include partition screens made of Kota stone and railings of Mandana stone. Sources: Gore, Rahul. 1996. The Works of Nari Gandhi. Graduate Thesis, Centre for Environmental Planning and Technology, Ahmedabad. Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007.

Tungarli Bungalow

The Gobhai mountain lodge was the first project by the architect Nari Gandhi, and was arguably the first time Frank Lloyd Wright's Taliesin West "desert masonry" method was utilized in India. Sited on a cliff in a very remote location near an elevated dam reservoir, the lodge remains difficult to access even with a heavy vehicle. The architect made use of locally quarried stone and semi-skilled labor within a modest budget, carried out for an architect friend. The walls of the house were built with Wright's method: large stones are placed within wooden formwork, with the more flat/finished sides of the stones facing outwards. Concrete is poured from the top, and after setting, the form work is removed, leaving a rough finish. A large roof with deep overhangs above verandas (including long projections at the gable ends) and eaves which touch the ground was built in sheets of asbestos cement. Its trusses are wood. The flooring for the lodge is simple concrete, with grooves that follow the triangular geometry of the roof. The most striking design element in the building is its plan: the architect used the east-west meridian as a central divisor of the site, and then used a 30/60 triangle as the form generator for the house along this meridian. The contours of the site played a minor role, but this triangular layout was intended to maximize the heat and light of the sun along the site. Within the lodge, the main living areas were exposed to maximum sunlight, and the deep roof overhangs protected the house from the regional heavy rains. Within the angles of the triangular plan, openings were aligned to views of the nearby reservoir and valley, and the distant Rajmachi fort. As of February, 2008, the basic superstructure of the lodge still exists, although its roof has since been dismantled. Sources: Gore, Rahul. 1996. The Works of Nari Gandhi. Graduate Thesis, Centre for Environmental Planning and Technology, Ahmedabad. Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007.

Gobhai Mountain Lodge

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For the Korlai (a small coastal village just south of Revdanda) bungalow, architect Nari Gandhi selected the waterfront lot and designed an elevated open arched pavilion facing the sea. Two parallel arches form the structural frame of the pavilion and support the large pitched roof. Constructed first, these arches are also braced with flying buttresses and are loaded with walls on either side to bear the thrust of the arch. These brick (wire-cut hollow brick) walls have punctures that were later filled with stained glass. The lower levels of the pavilion contained service spaces, bedrooms, and kitchen areas, whereas the upper level dining and living areas have spectacular views of the sea. The house originally had a thatched roof, since replaced with a Mangalore tiled roof with wooden battens on the inner side. The architect also designed specific furniture for the bungalow, including chairs with differing leg lengths for the sunken-level dining area. Trees jut out from the house as if rooted in it, juxtaposed against the brick walls. The lower-level bedrooms have vaulted (apparently based on a triangular geometry) ceilings. As of February, 2008, the house is in very good condition, although seldom used. Sources: Bhagat, C. 1994. "Remembering Nari Gandhi." Indian Architect and Builder. Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007.

Korlai Bungalow

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Located on a sloping site, this house is designed to blend with the terraced gardens that begin above the entry level and slope downwards, following the stepped sectional profile of the house itself. These terraces are planted with numerous varieties of local plants and trees. A single large roof plane, dotted with dormer windows and covered with Mangalore tiles, has deep overhangs and creates a stepped profile that is accentuated by the mountainous backdrop. Radiating struts shoot up from the ground level to support these deep roof overhangs; other metal trusses emerge from the masonry walls to support the massive roof. The Jain bungalow has a total of 9 rooms: a prayer room, a living room, a card room, a kitchen, a dining area, and four bedrooms. Situated at a lower elevation than the site boundary, the entry level houses a double-height living room, a kitchen and an arcuated prayer hall. One can enter the other areas of the house using the 600 mm wide straight-flight staircase that originates in the living room and runs centrally through the house, dividing it in two parts with rooms flanking each side on different levels. The staggered spatial arrangement of the bungalow was partially dictated by the existing trees on site. Internal courts on different levels are covered in transparent corrugated roofing sheets; these courts bind the stepped and disconnected arrangement of independent rooms together. Dormer windows overlooking the landscape around the bungalow also serve to visually unify these rooms. The structure consists of stone masonry walls of varying sizes and colours, composed of igneous rocks from the Western Ghats of Maharashtra. The masonry walls are integrated with steel struts and trusses which then support the sloping roof. Walls of the internal courtyards are embellished with small chips of stones, similar to those of another Nari Gandhi work, the Moon Dust house in Versova. These courts also have planter beds built into the masonry walls that are covered with foliage during monsoon season. Openings throughout the house follow a semi-circular profile (for windows) and inclined parallelograms (for doors). The house not only attempts to blend with nature through its apertures, but also imitates natural forms in its structure through deep overhangs, radiating steel struts and the massive boulder walls. Work progressed on the Jain bungalow very slowly due to its labor-intensive method of construction. Built without any working drawings or civil engineers to supervise the site's progress, Nari Gandhi maintained an ad hoc construction method even in the more experienced years of his practice. As of Febuary, 2008, the Jain bungalow stands with some minor modifications made after its completion in 1992. Sources: Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007.

Jain Bungalow

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The site of this bungalow was selected by the architect, whose design called for the creation of three vaults on the site. The extrados of the vaults were then filled with earth, converting the roof into a continuous, traversable garden of roughly the same size as the house. Punctures throughout the garden/roof were sometimes capped by glass-chip domes that brought light in the living areas below. Although the structure would have been camouflaged by the site's dense palms, the architect increased this density by planting new species. This house has rustic surface treatments and almost primitive, cave-like interiors. The sandstone slabs used for cladding the intrados of the vault are 3 meters in length and 50mm thick. Work on the 10-foot tall central vault was started at both sprin points and culminated as it progressed towards the center. Two smaller vaults flank it on either side, containing the service functions of the servant's quarters and the kitchen area. The extrados of these vaults were later filled with earth for the roof garden; in spite of the heavy structural frame of the building, these three vaults stand (2008) with no sign of failure. The flooring of the main living area is clad in the same sandstone as the intrados, and has earth-filled strips planted with vegetation. Unusual materials and design touches appear throughout the building: the garden's glass skylight domes were made from broken glass chips, marbles, stained glass, and broken beer bottles. Throughout the house, stone is found in the form of broken chips, glued to cement-coated surfaces. On the same surfaces, small ceramic facial portraits appear along the stone. The terrace has a vaulted canopy made from thin nylon strings and mother-of-pearl shells; the current canopy was a later addition. (The original design also called for a mother-of-pearl canopy, but one suspended in tension over the roof garden). Another unusual feature is a swing in the main living area, suspended through an elliptical opening in the roof. The house also contains several terracotta sculptures and pots, as well as art works in media ranging from earthenware to metalwork. The history of the bungalow's design is also unusual: its construction was delayed when the architect disappeared without notice, reappearing four years later. Ultimately, it remains unfinished, as work on the house ceased at the time of the architect's death in 1993. Sources: Gore, Rahul. 1996. The Works of Nari Gandhi. Graduate Thesis, Centre for Environmental Planning and Technology, Ahmedabad. Hawker, Michael. 2007. "Celebrating the Works of Nari Gandhi." Friends of Kebyar: November 2007. Merchant, P. 1992. "Art and Architecture By the Sea." Inside/Outside: No. 87, April 1992.

Madh Island House

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<h2>ARCHNET FAQ</h2>1. Will ARCHNET work on my device?Archnet works well on the most recent version of any major browser (Chrome, Firefox, Safari, Edge), either on a mobile device or computer. It may work on older or less common browsers as well. If Archnet fails to work properly on your machine, please let us know about your experience by clicking the blue feedback button at bottom right!2. Will my URLs from earlier versions of Archnet still work?Yes, if they are from the version launched in January 2013. As of October 12, 2021, all URLs from the old Archnet have been redirected to ARCHNET.&nbsp;&nbsp;3. How do I download a/n:&nbsp;<ul><li>image - Select the image you want to download from search results, a site or an authority. The image will open in your browser.&nbsp;Right click to download.&nbsp;For larger, high-resolution copies, see contact us using archnet@mit.edu.&nbsp;</li><li>publication - Open the page for the publication in your browser and click the download button. Reprinting Archnet publications is permissible only for personal use.&nbsp;Please contact us for any other requests.&nbsp;</li><li>site descriptions and metadata - Site descriptions and metadata can be used for any nonprofit or educational organization with appropriate attribution to the authors and Archnet.&nbsp;</li><li>video - Currently video downloads are not possible. If you'd like to use an Archnet video, please contact <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</li></ul>See our <a href="https://www.archnet.org/pages/terms" rel="noopener noreferrer" target="_blank">Terms of Use</a> for information on how you can use Archnnet material.4. Can I contribute material to Archnet?&nbsp;Yes!&nbsp;See our <a href="https://www.archnet.org/pages/contribute" rel="noopener noreferrer" target="_blank">Contribute</a> page for more information.&nbsp;Calls for specific contributions are also also shared in our social media and on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">web site of the Aga Khan Documentation Center at MIT</a>.&nbsp;&nbsp;5. What happened to the Archnet Timeline?&nbsp;Timeline has migrated into the ARCHNET NEXT Collections page&nbsp;<a href="https://www.archnet.org/collections/collection_type/3/1" rel="noopener noreferrer" target="_blank">as a category</a>. These collections provide short introductions for each period, often offering lists of additional resources at the end of the entry. Only the timeline graphic listing the periods along a chronological axis has not migrated.6. My question isn't here.&nbsp;How can I get help?&nbsp;If your issue is with using Archnet, use the blue Feedback button to alert us to your issue. This will allow you to include a screenshot or recording. Please, also, feel free to contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>We are currently developing the help section of ARCHNET NEXT. In the meantime, please use the blue Feedback button in ARCHNET NEXT to send us feedback or other questions. Contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;

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Welcome to ARCHNET, an open access, interdisciplinary, intellectual resource focused on the built environment of Muslim societies.Focused on the built environment of Islamic civilizations past and present, we seek to:<ul><li>Facilitate excellence in scholarship and professional work by&nbsp;providing reliable information and ready access&nbsp;to vetted, high-quality textual and multimedia resources&nbsp;focused on architecture, urbanism, environmental and landscape design,&nbsp;heritage&nbsp;conservation, economic and environmental sustainability, community development and resilience in the face of rapid change, and related topics.</li><li>Enable teaching and learning in these domains by providing educators with reliable, effective pedagogical material and teaching aids.&nbsp;</li><li>Serve as a platform through which scholars, practitioners, and institutions can bring their work to new global audiences.&nbsp;</li><li>Promote intercultural understanding and dialogue through reliable, high-quality, peer-reviewed material on the diversity of and pluralism within Muslim societies and the interaction between Islamic and other religious, cultural, and philosophical traditions as it relates to architecture and urbanism.</li><li>Enable easy access to a wide variety of resources via a custom-built, web-based, mobile-friendly platform optimized to minimize financial, infrastructural, linguistic, and other barriers to access.&nbsp;&nbsp;</li></ul>Launched in 2002 after several years of development, ARCHNET is a pioneering digital resource that has proven a reliable authority on the built environment of Muslim societies, past and present.&nbsp;ARCHNET is a partnership between the <a href="https://www.archnet.org/collections/1342" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center, MIT Libraries</a> (AKDC@MIT) and the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture</a> (AKTC), with support from the <a href="https://www.archnet.org/collections/50" rel="noopener noreferrer" target="_blank">Aga Khan Program for Islamic Architecture</a> at Harvard and MIT.&nbsp;ARCHNET is developed and maintained by <a href="https://www.performantsoftware.com/" rel="noopener noreferrer" target="_blank">Performant Software Solutions</a>.

Nari Gandhi
India

Associated Sites

Nari Gandhi

Associated Sites