A saviour of the old & dilapidated

He is an artist but with a difference. He doesn’t create anything new. He breathes life into almost lifeless forms. He brings alive heritage. In his hands, old and dilapidated get back their sheen, vibrancy and a purpose to live again! He is Vikas Dilawari, a Mumbai-based conservation artist.

Smiling at the tag ‘artist’, Dilawari emphasises, “I am an architect who loves to restore and conserve the glory of past architectural wonders. Time, climate, erosion and destructiveness in people dull, destroy and hide the beauty of these centuries-old edifices. Conservation isn’t just beautification though.’’

From day one of his journey into the world of architecture, Dilawari has been in love with old buildings. “They have attracted me even when people, including politicians, called me a ‘conversation’ and not ‘conservation’ architect! They didn’t know the difference and thought that giving a building a fresh coat of paint would make it look good. In fact, due to this thinking, many heritage buildings have lost their old charm,” says the architect. For his love for the old, he is getting worldwide recognition. He is losing count of the awards he is winning for conservation and restoration from UNESCO Asia-Pacific Awards for Cultural Heritage Conservation (12 times to be precise) plus National Awards.

Mumbai, an abode of new-age glass facade, multi-storied towers, has several centuries-old heritage buildings designed in Victorian era architecture, many of which are dying of neglect. But in the last decade, many heritage buildings are coming alive, flaunting their age-old beauty, intricate designs, carvings and, of course, the sturdiness of the structures which were the signature buildings of that era.

Dilawari has worked on buildings like J N Petit Library, Rajabai Clock Tower, Royal Bombay Yacht Club, the fire-damaged hall of Brihanmumbai Municipal Corporation (BMC), Esplanade House, Craigieburn Bungalow (Matheran), ANZ Grindlay Bank building, Lal Chimney Complex, Cama Building, Sethna Building, YWCA Lady Wellington Hostel, Jaiji Mansion and several others in and outside Mumbai. At present, he is working to restore the iconic Flora Fountain to its original beauty and glory.

“It’s not good because it’s old. It’s old because it’s good,’’ says Dilawari, quoting an anonymous quote. Continuing explanations about his work, he says, “Conservation is not about making the structure look shiny and colourful. After the work is complete, the best compliment you can get is: ‘what have you done?’”

According to Dilawari, minimal intervention is the golden principle in conservation. For the building to resemble its original beauty, a lot of research and studies is done about the material, paints used and the style followed of that particular period. To understand the finer nuances of the structure before undertaking restoration work, many a time Dilawari had even travelled to the countries where the architecture of the era is maintained well and still very much visible.

“It’s true that it isn’t easy to find craftsmen to carry out the restoration. The old people are still present. We have to search, get them and train the younger generation of craftspeople. Only then the correct way of restoration is possible,” Dilawari says.

Just imagine what a gem the world of conservation would have lost if a young Vikas Dilawari had got his wish of pursuing medicine fulfilled. “I couldn’t get admission in the government medical sciences colleges, and we certainly didn’t have any intention to get a paid seat. And even while growing up in Amritsar, I was always interested in Humanities and the world of art. I would always wonder at the constructions of old traditional houses in the city, and how people built such well-ventilated, well-illuminated and aesthetically looking cost-effective buildings and environment-friendly dwellings,” he reveals. It was this love which made him seek admission in L.S.Raheja School of Architecture. After his college and then post-graduation, he got a chance to work and train under the famous architect Ved Segan, who is known for his construction of Prithvi Theatre in Mumbai. His first heritage conservation project with Segan was the Gaiety Theatre in Shimla.

Dilawari’s passion for history and old buildings took wings from this work. Later, he also joined academics and headed the Department of Conservation at Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies, Mumbai, from the day of its inception in 2007 till 2014. He gives many lectures all over the country on the importanceof conservation, restoration of heritage structures and construction of eco-friendly structures.

His one grouse against the ruling bodies is their apathy towards encouraging environment-friendly, long-lasting and cost-effective buildings. He says, “The old rental housing followed by the government was very good, which everyone benefited from. At present, the nexus between the builders and land sharks is playing havoc with the society. We have to think about conservation against insensitive development.”

Running his own Vikas Dilawari Architects firm for nearly three decades now, Dilawari admits that a conservation architect certainly doesn’t rake in the same amount of money as other contemporary architects or designers. “But your shirt pocket, which covers your heart, should give you the satisfaction of having done good work and not get filled with greed!” signs off Dilawari.