JOIN USArchitecture is more than just constructing buildings; it’s about creating a space through which sacredness of life can be achieved, architect Jaffer A A Khan shares with Pavithra T G .
Jaffer A A Khan is an acclaimed architect who founded Jaff Design Studio (JDS) in 1985 in Vellore, which later spread its wings in Bengaluru (1990), Chennai (2008) and recently in Auckland, New Zealand. He is a member of some of the world’s most prestigious professional bodies including The Royal Institute of British Architects (RIBA), UK, Fellow of the Royal Society of Arts (RSA), London and the Royal Australian Institute of Architects (RAIA), NSW, Australia.
In an interview with Deccan Herald, he talks about sustainability, signature styles and more. Excerpts:
How is architecture in New Zealand different from that in India?
The practice of architecture is quite different from that in India as the
responsibility of the architect is more defined and the clients are more protected and can sue the architects if there is deficiency in architectural services. Apart from health and safety considerations, professional indemnities become important for practices.
Organisations like the New Zealand Institute of Architects (NZIA) and the New Zealand Registered Architects Board (NZRAB) work towards better services by architects and see to it that the Continuing Professional Development (CPD) programmes are conducted regularly so that the architects are updated with the latest market information. The NZRAB reviews a registered architect every five years and the practice has to produce a dossier to prove that the work is at par with the expected quality and delivery as per the contractual terms.
Tell us about your signature style...
Our practice is based on the philosophy of ‘Sri Yantra’, meaning a balance
between the microcosm and macrocosm. It is interesting to see how life in this cosmos is explained through this brilliant geometry with ‘bindu’ as the starting point and the point of energy. It also talks about how the elements of nature like fire, water, earth and air
combine to form the central courtyard which is the ‘brahmasthana’, the seat of Brahma the creator. Most of my buildings reflect this philosophy developed and understood through decades. But what matters for most of my buildings is the essence of these elements combining to form a spiritual energy and bringing sacredness to the built space.
Where do you derive your inspiration from?
I derive my inspiration from the Indian cultural philosophy, which tells us that architecture is not just about buildings, but a space for spiritual awakening through which sacredness of life could be achieved. This could be achieved through simple understanding of the
elements through ‘bindu’ and ‘mandala’.
The one thing that has remained constant in architecture...
I have been taught under the tradition of Modernism, though it came late to us — not until we gained our independence. The design principles are based on the ‘bauhaus’, and some of the outstanding ‘brutalist’ architecture that had a great influence worldwide. The interface with culture and search for our own roots takes shape. This is how I combine
Modern principles with the elements of culture, but in a very simplistic way,
absolutely devoid of any ornamentation.
How do you integrate nature and space in architecture?
The idea of ‘evolution of life’ and ‘involution of life’, explains the cycle of nature, which is evident in the geometrical expression of the ‘Sri Yantra’. If you take the ‘Mandala’, all the elements of nature converge to the centre forming a courtyard, which is the energy centre. If you visit a traditional home, you could find how this space becomes vibrant where all these elements and the sense related to it come alive to make us understand how important it is to preserve these elements in order to survive. The best example, I think, is my own house in Bengaluru, which is a street house but a finest mix of these elements through simple spatial expression. The light through ‘kalyanakudam’ brings life while the stack effect sucks in fresh air to soothe the atmosphere, thereby creating a feeling of contentment and sacredness. The Vedas define space as ‘that which
accommodates space’.
Of sustainable designs...
The concept of sustainable design needs a proper definition as it has been misused for a long time. Man must understand that ‘prakriti’ is part of him. There must be a clear understanding and balance between the conscious and subconscious mind. This is the meaning of being sustainable for me. It can exist in all types of buildings.
In the year 2004, we did a huge project, ETA Gardens, in Bengaluru, about 2.1 million sq ft residential project. The site of 16 acres had 588 trees. We at JDS decided to protect and preserve nature and hence we saved nearly 95% of the trees though we built 937 apartments in the site. We are also working on Oasis International School in Bengaluru, which is based on ‘Kufic’ script, with courtyards integrating sports activity and at the same time bringing the elements of nature in a sustainable way. The idea of sustainability is important as we cannot burden the planet more than it can take. We all have responsibilities, but I think architects have a greater role to play because buildings cause the most damage to the environment, unless we make them part of the living organism.
In India, by 2030, nearly 50% of the population will be in major cities. This calls for concern. Architects need to look at the very purpose of their existence and realise that one wrong move could be a disaster. There are many challenges ahead and the architects as thinkers need to reflect upon these issues.
Your landmark project...
I believe the best is yet to come. I am looking to work on the architecture
centre in my home town Vellore soon, to house the collection of drawings, paintings, books and other manuscripts on architecture.
But, for now, I can think of my own house in Bengaluru, though small, as a landmark in its own. And then, there’s a speculative project based in the Mullaithivu region representing the Tamil struggle in Sri Lanka. The Tamil Peace Museum project is entirely based on the principles of ‘bindu’ and ‘mandala’. Here ‘mandala’ in its three dimensional form is a common sacred element between the Buddhist and Tamil Hindu cultures. The main ‘mandala’ floats almost a kilometre into the Bay of Bengal with a ritualistic pathway which leads to the museum. The museum itself is an inspiration from the stepped wells of Gujarat based on the idea of ‘bindu’ derived from the paintings of S H Raza, one of greatest living legends on the art of ‘bindu’. I believe that this museum and memorial will heal the wounds of war and loss of life and at the same time build bonds for the future of humanity. This project was shortlisted for the ‘Visionary Architecture Award 2015’ by the Auckland Architecture Association, New Zealand.