Showing posts with label Architecture. Show all posts


Text: Mishaal Rozina Merchant
 Visuals: Courtesy AKPBS,P

Living in the flood plains of river Indus on the southern side, are many small clusters of settlements of fishermen and agrarian communities. The monsoons bringing water downstream the river are sometimes a source of joy and misery at others. When bringing fresh water fish and alluvial soils it provides people with sustenance and when striking with its full fury it sweeps away their homes. Such was a disaster in August 2010; over 17 million people were directly affected by the floods having to go through the trauma of leaving their homes, land and belongings behind and relocating to unknown places for indeterminate time periods. Thatta being the confluence of River Indus and the Arabian sea, is prone to double disaster from the flooding of the river and the sea level rise.
“I am enthusiastic over humanity’s extraordinary and sometimes very timely ingenuity. If you are in a shipwreck and all the boats are gone, a piano top buoyant enough to keep you afloat that comes along makes a fortuitous life preserver. But this is not to say that the best way to design a life preserver is in the form of a piano top. I think that we are clinging to a great many piano tops in accepting yesterday’s fortuitous contrivings as constituting the only means for solving a given problem.”
Richard Buckminister Fuller

Aga Khan Planning and Building Service, Pakistan (AKPBS,P) – an agency of the Aga Khan Development Network (AKDN) - partnered with The Office of U.S. Foreign Disaster Assistance (organizational unit within USAID)  to take  on the challenge of post disaster reconstruction in rural Sindh.  With the unique methodology of using locally available materials to endure the local weather conditions, research, documentation, rigorous monitoring and evaluation, and encouraging continuous feedback from the local communities led to design enhancement as a continuous evolutionary process. This approach made the 2,800 shelters more durable and responsive to the traditional housing needs of the communities, and changed the lives of almost 14,000 Internally Displaced Persons in 120 villages. These communities now have access to clean drinking water and sanitation facilities through the 148 toilet blocks and 234 hand pumps installed in the region.
Deprived of toilet facilities and rain proof shelters, for many, the intervention was a life changing enhancement - clean drinking water, proper toilets with privacy and soak pits are a luxury for many in this region. For the first time, these women in Sindh have access to private toilets giving them privacy and dignity.


Text and Photography: Ayesha Ali

 Here’s an unusual question – do architects realize the role they play in defining their country’s place in history?

Odd question? ….  But an interesting as well as an important question to ponder

Architects are perceived to be artistic technocrats who design buildings with the future in mind. The role of historian has not been associated with an architect. And yet, when an architect puts up a building, not only is he or she building a future habitat, the architect is simultaneously writing history in 3D.

For when we consider history, the most enduring testament to a nation’s past is its buildings: its architectural remains that tell the tale of days gone by. When there are no history books, no people left to tell what took place centuries ago, it is the buildings of that times, architects that recreate the civilizations of the past for us.

If a civilization flourished, it was reflected in its buildings, which were grand and ornate. They reflected the power that civilization wielded and they were representative of its economic stability.  The designs and layouts told stories of what took place in them. The materials, with which the buildings were constructed, spoke of the country’s technology and indicated its trade link with various parts of the world from where these materials were sourced.  This in turn illustrated the land or sea supremacy of the country and provided valuable clues regarding its technological status. The landscaping remains, fountains and statues revealed of how enhanced the residents’ comprehension of beauty was, and about their craftsmen, and consequently their culture. The street layouts showed their level of civic development, and drainage systems indicated the residents’ awareness of science and sanitation. The play and use of natural light and climate control employed within their buildings made evident the scientific thought process of the architects and scholars of their time.

Every country had its unique methods of decorating its buildings, and the art, color schemes, and style of different regions and cultures were reflected distinctly in its decorative art. The frescos and murals adorning the buildings in Italy depicting European figures and sceneries were very different from the strictly non-figurative geometric designs and color palates of Arabia; which again were very different from the miniature paintings and floral designs of the Mughals in the Indo-Pak region. The Far East too had its own unique decorative style that was immediately identifiable.

Text: Ayeza Qureshi
Photography: Sayem Ghayur

Designing the interiors for a Head Office at an organisation at the scale of Engro is a project of sufficient substance, that realised, extends influence and relevance to architectural and interior design interventions in corporate spaces in Pakistan.

Engro engaged Anwar Quettawalla and Farhana Abdullah, to design the interior of their Head Office at Harbour Front in Karachi. Anwar and Farhana have been in practice for over eleven years. Both architects started at ArshadShahid Abdullah (ASA) before forming a partnership in 2001that resulted in setting up their own studio space, Surround Design Studio. Described as ‘drawn by their mutual passion for creating innovative designs that were visually appealing but also grounded in practicality.’SurroundDesign Studio has an extensive portfolio architecture and interiors including the United Bank Limited and Habib Bank Limited Training Centre. Their style distinctly follows modern straight and uncluttered lines, but importantly, addresses the layered complexity of eastern cities and culture. Their projects express an architecture that is responsive to form and function at every design consideration, and that explores regionalism in the modern and contemporary.

The Head Offices at Harbour Front have a floor dedicated to Engro Foods, Engro Power Gen, Engro Fertilisers and a shared cafeteria and praying space for employees. Occupying a total of 42,000 square feet; the Engro Head Office benefits from incredible views out to sea, the city and, most excitingly, the demonstrated transition of the city as it meets the sea front: beach and then water.

The Harbour Front building is designed by ASA, as part of Dolmen City.The building plan is triangular in shape and the façade has been finished in cladding as well as concrete finish. It defines the skyline of Karachi and is a monument to progressive building technology and scale in Pakistan.

The client brief was generous in that it did not define the project stylistically or aesthetically, but that it demonstrated a commitment to quality of experience and the comfort and safety of the users. Anwar and Farhana have been conscientious in the internal planning with the intention of ‘maximizing views out, efficiently utilising floor area and incorporating functionality into the selection of architectural materials and elements’. -Farhana Abdullah

The offices are a product of the successful relationship between the client and designer in the making of a project. Engro entrusted the designers with their vision and translation. ‘When clients have this much faith in designers it is truly inspiring. We have enjoyed working on this project immensely.’  -Anwar Quettawala.

Text: Maria A
Photography: Project: The Oriental Restaurant
Architect: Ayesha Aziz
Design team: Umar, Jasim, Sidra
Area: 5000 sq ft
Location: Faisalabad

The restaurant and bar industry is one of the largest profit centers of all service operations and not surprisingly it is a sector in which there is a lot of jostling going on between small and large scale businesses to get more customers. Decor and ambiance play a huge role in getting people through the door and the food is what keeps them returning- or not. With that said, we tend to see the most instrumental and over-the-top investments put into creatively designing the interiors of some of the top metropolitan trendy restaurant spaces or eatery joints. And these efforts almost never go in vain because most of us love and will always pay for great design and an even grander experience, won’t we!

Perhaps there is nothing more therapeutic than a fine dining experience. Culinary sophistication and high standards make for a memorable time for anyone in a restaurant. But we design freaks seek more and often end up lusting over great interiors at places like these. Challenges in design, is big adrenalin; to let all the creative juices flow. Restaurants are no big deal designing in the design world considering the number of eatery outlets that keep popping in the major cities of Pakistan. But a Restaurant in Faisalabad and designed on a theme, and this is not all, a restaurant in a basement sharing the space with a fast food eatery outlet is a definitely a challenge.

The name Kamran sheikh from Lahore is much acclaimed in hospitality design right from the north to the south of the country. KS has many known brands of restaurants to his credit where from the décor/ theme, cutlery, kitchen and the menu have been designed by the maestro to the minutest of details. Seems like a lot of time and money has gone into making these spaces perfect for food and conversations; not only do they manage to lure a large number of food junkies, their interiors serve as good inspiration for home dining spaces too.

Text: Ayeza R Qureshi
Photography:

The Big Issue
As the impact of development emerges from science fiction into our daily lives, designing for sustainability has become an important discourse in research, design & production.

An understood and widely accepted definition of sustainable development was circulated in 1986 through the Brutland Report.

‘Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.' There are a number of scales and standards established in the world to measure whether or not a particular structure is sustainable. The basis is to protect and preserve the resources, trade and culture of any particular place.

Sustainable architecture meets with much scrutiny and bias due to how it has been traditionally presented and promoted. Although there is no dearth of sustainable buildings that nurture cultural practice, address economic situation and conserve resources, there remain some pervasive misconceptions about the process and outcome.

Sustainable by Example

Tariq Qaiser’s, Ghori Infectious Diseases Clinic is a building that dispels a lot of misunderstanding about the design and making of sustainable structures.

The GhoriClinic, is a TB and infectious diseases outpatient facility commissioned by the Indus Hospital Trust. The single storey Clinic supports operations for the Indus Hospital TB Program. To walk one through the plan, the patient arrives at the registration office and is then directed to the patient waiting area. The patient’s weight, height and blood pressure is recorded in a semi private and outdoor niche. Next the patient waits in the designated waiting area, for each clinic, to be seen by a doctor. The building contains the clinics, a research office, medicine store, ration distribution store and public toilets. Removed from the building and waiting areas, the sputum collection booth is tucked away in a private corner of the site.

Sensible by Design

The master plan for Indus Hospital in Korangi Town has been designed and executed by Tariq Qaiser. The key principle in designing for the hospital facility is to provide quality healthcare while protecting and preserving the patients’ sense of self respect and dignity.

Each building constructed is scrutinized by a conscientious board that is scrupulous in the allocation of funding and resources. The cost of making and maintaining buildings, in the course of their life, must be minimal without compromising on the quality of design, execution, functionality and patient experience.

‘We wanted the users to feel special, protected and well catered to.’ Tariq Alexander Qaiser

One of the most important features and challenges in the making of this facility is to control airborne infection in patient waiting areas and clinics. Typically achieved by the installation of HVAC services, Tariq Qaiser has designed in infection control through naturally ventilated technology. This intervention has significantly reduced the running cost for the facility without compromising on functionality and experience. A value resonated by the architects and the hospital board.

‘The initial design principles of economy, sustainability and human dignity have been followed though into this component of the hospital.’ Tariq Alexander Qaiser

In addition to this, by careful consideration of the program of the facility, built form has been inserted and reinforced only where necessary. The natural landscape has thus been creatively engaged to provide enclosed and comfortable spaces; another design decision that has allowed the architects to allocate funding appropriately to the programmatic requirements from the built environment.

Kirtee Shah
Practicing Architect
Hon. Director, Ahmedabad Study Action Group (ASAG)
President, Habitat Forum (INHAF)

This article is not for the Indian architect alone. We all share the same problems. Issues are the same whether it is India or Pakistan or Bangladesh or Srilanka. In the context of the peculiarities of our societies, ecological crisis and globalization, the rethink that the article talks about is inescapable. The professional may survive but will be under perpetual threat of extinction and till it happens will operate in the fringes and margins.
In Trichy recently on work, the local chapter of the Institute of Architects invited me to address the group and meet with its members. The town, approaching a million people mark, has over hundred practicing architects. While discussing state of the architectural practice in a small town in general and Trichy in particular, a senior local architect’s comments on the architect’s role generated a passionate debate. He observed that he felt a fringe player, a marginal actor, in his own building projects, as his contribution remained confined mainly to a non-tangible area of `aesthetics’ and ‘beauty’, while other specialists offered hard core services– such as structural engineering, plumbing, electrification, air-conditioning, costing, etc—that the clients valued more. He added that the architects had become ‘light weight’ having handed over everything except the ‘aesthetics’ to others, and consequently did not enjoy as much confidence and respect of the client.

The introspective architect was probably a bit too honest, a bit too harsh in his judgment on himself and a bit too critical of his professional contribution. He did not account for the space planning, co-ordination and other services an architect provides in a building project, as also the architect’s leader- of – the team – status. No architect ever thinks that he or she is light weight and hardly anyone carries the burden of ‘content’ inadequacy or ‘substance’ lightness. It is also true that unlike the small town client mindset that the architect friend referred to, majority clients in the metro cities have a much charitable view on the role and contribution of their architects. However, with the unprecedented real estate boom and increasingly prominent role that the architects are called upon to play in the changing skyline of the globalizing Indian cities, there is a real need to look at the profession and the professional practice somewhat objectively. In order to get the balance correct, it is also necessary to see the architectural practice in the context of fast deteriorating quality of built environment and deplorable housing and living conditions of the less fortunate ones in these same cities. Though the architects never consider villages to be a part of their ‘work constituency’, to put the matter in perspective, it is helpful to see the architects and their work in the context of rural habitat, the built environment in the villages, where a majority of the country’s thousand million plus people still live and work and , believe it or not, would stand to benefit if some of the architects’ skills, know-how and technology are available in preserving and improving quality of physical environment.
In analyzing the profession the first set of questions is on the clients: for whom the architects are working—or not working. For whose benefit, to meet whose needs, are they using their skills, knowledge and expertise? Which segment of the Indian society they are reaching their services? Certainly not the villagers, as hardly any architect practices in a village. That eliminates 75 percent of the people and their building needs from the work sphere of the architects. How many and who are practicing in small and medium sized towns which, despite a growth momentum, are growing chaotically and haphazardly and where the “clients” and the “projects’ exist, with capacity and willingness to pay, but are not getting the professional’s services? Very few. Architects are concentrated in big cities. And who are their clients there? Not the lower middle class, also not many in the middle-middle class. Their clients are the rich, businessmen, industrialists and public and private institution builders: mostly the upper crust of the society. And in today’s times the builders, the real-estate developers as well. As a class, the upper echelon are about one or two percent of the society; what about others? Aren’t they building? Aren’t they investing? Don’t they need services of an architect, a designer? Wouldn’t an architect’s skill and expertise, if available to them, make a difference to what they are building on their own or using para-professionals? Why aren’t they seeking a professional architect’s services? Why aren’t the professionals reaching their skills and services to them? Leave aside the ‘social good’ or addressing their unmet needs, don’t they constitute a ‘market’? Aren’t they potential clients and a business opportunity? Isn’t meeting their needs, within limited space and resources; can architects/ designers not delve into a professional and a design challenge, a creative opportunity? With the over-crowding of architects that big cities are witnessing, subsequent competition for jobs and projects and resultant survival struggle, why aren’t they seeking new pastures? Why are they not exploring un-chartered territories? What is preventing this from happening? Why are they not entrepreneurial in that sense? If that happens, more architects will have more work, newer challenges and better, bigger opportunities. Equally important, smaller people, less affluent and resourced people, would get the services they need and deserve. It will be a win-win situation for all.

Why is that not happening? Has it something to do with the mindset of the architects, definition of what constitutes ‘architecture’, his/her perceived role as an architect, their education and training? What is that prevents a professional architect from engaging in and contributing to the larger, ‘popular’ world of built environment? Is it selectivity, exclusivity, a misplaced notion of ‘professionalism’, professional ego, stats concerns, or elitism’ of which the architects are often criticized? The main questions are: why are there no architects for not so rich? Why are there no village architects, architects for rural India? Why don’t we have architects specializing in repair, upgrading, retrofitting, rural habitat and disaster reconstruction? Aren’t these services required, isn’t there a market for it? Equally important, why are those few, exceptional ones, who work in villages, in slums and for the poor, looked down upon? Why are they seen as an inferior race, a lesser god’s children? If this is reflected on, the chance is that an unexplored world could open up.
The second set of observations and questions relate to an extremely narrow client base the architect’s service and the limited work universe they operate in. It would be a revelation, if not a shock, to many that out of all ‘formal’ buildings that get built in India not more than six to seven percent are designed by the trained, professional architects. They need to ask why, rather than canvassing for legislation that only the ‘qualified’ that only a ‘member’ of the professional association should be permitted to practice as an architect. How does the remaining construct their buildings? Why are they not using their services? Is that the architects are not available, not accessible? Is that their services are expensive and buildings costly? Is that their services, skills and whatever else they can offer are not relevant for them, don’t fit into their plans and budgets? Or is that the other set of service providers–the non-architects, non-qualified, non-members of the practicing architects’ association- more accessible, more client friendly and more relevant? Is health care service without doctors, legal service without lawyers, accounting service without accountants and primary education without teachers conceivable, proper? The marginalized role of the professional architect in the on-going construction activity deserves some thought and reflection. In a larger societal context, the quality of overall built environment, not only an isolated building design should be the concern of the architect. And in a narrow business sense, a less equipped and qualified competitor taking away a large volume of potential business, should be their business concern too.

That brings the third point. And that is: is that a major issue that a professional architect’s operational universe is so highly restricted and that his/her services reach to only a select few? In India, architecture without architects is a glaring, an undeniable reality. The figure quoted earlier, the 94 to 6 division of work, is a reality. Take housing for instance. Roughly speaking, in big cities, out of ten houses that get constructed, just one is by the public sector, two are by the private sector and the remaining seven are by the slum-dwellers and/or by other non-formal builders/suppliers. In rural India, the entire existing housing stock and a substantial part of the newly built housing is by the people– by ordinary, common people. By a thumb rule, out of the housing stock of some 180 million units in the country, more than 70 percent is through the “people process”, what the Latin Americans call “social production of housing”—no architects, no engineers, no real estate developers, no HUDCO, no HDFC and no building bye-laws.

Can this trend be changed? Can this equation be altered? This ‘people’s movement’ in settlements development; do they not deserve greater recognition, facilitation and more creative response? Should we not take a more constructive, accommodative and positive view of this people process? Should we not recognize these bare-foot architects? Should we not see them as different kind of professionals? Would it not be proper to recognize their role and give them a space to operate? And would that not be a service to the community to organize skill upgrading for them, their capacity building? HUDCO’s Building Center initiative, though proper in conception, is only a limited and feeble response to that need. Diverting a portion of the public investment that goes into training formal architects- and civil engineers – in skill upgrading of these `bare-foot `architects’ will go a long way in improving their performance and thereby quality of the built environment they create .

Let me now turn inwards, from a wider societal– and somewhat nebulous– concern of meeting unmet needs of the non-clients to how architects service their chosen clients, the clients they already have, to the working of the professional practice on the ground. Here too, a good way to dig in, without hurting feelings and disturbing sensitivities, is to ask questions. Isn’t it true that the practicing architects understand little– and care even less– for the external environmental factors, such as climate, energy, water, etc., while designing buildings? Aren’t they victims of external– mostly western–influences and practitioners of unsuited, inappropriate ‘stylization’? Isn’t a ‘curtain wall’ and full glass façade in a blazing sun and an over-working air-conditioning system to cool it, an insult to the local climate and the energy crisis? Isn’t it true that most architects are not cost conscious in their design solutions; that, generally speaking, cost consciousness is looked down upon as a concern of the inferior, the struggler among the architects? In some ways, aren’t the architects alien in their own environment, in their own place and in understanding and responding to the demands of climate, energy and resource crisis, social complexities, life style choices and rich traditional practices in building construction? Aren’t the architects’ stylistic preferences, their `isms’ over-riding functional needs of their clients? An established and renowned architect once told me that the clients were ‘incidental’. Put crudely- and fellow architects may kindly excuse my saying this– aren’t architects taking their clients for a ride— partly through ignorance, partly through arrogance, partly through alienation, partly through design and partly through default?

While examining the profession and the professionals it is essential to recognize the influences that make and shape them. Does not the architectural education we impart and learn, carry a hangover of the colonial past? Aren’t our systems and institutions still burdened and influenced by the British systems and institutions? Isn’t our planning education and practice under big influence of the past? How much has really changed? How much has been indigenization? Earlier, a ‘foreign’ tag had premium, the foreigner and the foreign trained architect carried weight, called the shots. Has that weight lessened or reduced? Has that mindset, mentality changed? How much is local, indigenous in our architectural and planning education incorporated? Aren’t architects still looking westwards for ideas, inspiration, examples and masters? In a globalizing world there is nothing wrong in looking westwards—or to Singapore, China and Malaysia– for inspiration or ideas or technology. What is crucial, however; is to be firmly rooted to ones own land and environment to avoid being swept away; having a reference frame to make correct judgment. It is also a well-appreciated wisdom that those solutions and ideas—the ‘foreign’ ones– are not the most relevant, not the most workable in solving our local problems and meeting our local needs.

Not much is said –and done- about another aspect of the operating environment, which is highly restrictive and constraining but for that to change; the architects are doing nothing or precious little. The reference is to the regulatory framework that includes building byelaws and regulations, building permit system and the compliance mechanisms, put in place and operated by the local bodies and/or the city development authorities. The way they are, they seem to have been designed to kill design, creativity and innovation. The stipulations and provisions are kept deliberately vague. Interpretation varies from officer to officer, desk to desk, time to time. Arbitrariness is the order of the day. And corruption is rampant. The system stinks. Yet, one sees little pubic articulation of concern and little joint action with other stakeholders, on part of the architects’ community, to protest, to fight wrong, to mobilize opinion, to present alternatives, and to work for and influence change. Subservience and accommodation to the system’s irrationality and tyranny, and acceptance of its creativity killing power, is simply amazing. And it is beyond doubt that the architects are the most qualified- and most equipped — to bring it to the notice of the bye-law framers and the administrators that making supportive, positive, facilitating and enabling by-laws and building regulations costs nothing in money terms–that it only demands some imagination and openness to learning– but they go a long way in making our cities beautiful, their sky-line exciting and the urban form richer—something the administrators admire so much in foreign cities, the western cities, but do nothing to promote and ensure here. The architects are the principal stakeholders in this matter. They and their associations need to take position on this issue and organize efforts to bring about the needed change. If this does not change, the architects and their creativity are the principal losers besides, of course, the cities and even towns.

The agenda for institutional reform is much wider- and deeper- than rationalizing and improving building byelaws and regulatory framework. The architects need to muster courage and stand with conviction against unethical practices and corruption. Shortly after the earthquake in Gujarat in 2001, the Home Minister of the State publicly confessed that a majority of the buildings built in Ahmedabad in the previous decade —a staggering 90 percent, according to him– were either illegal or unauthorized or violated building codes or norms in some form or the other. The reference was primarily to the builder promoted construction. The earthquake also exposed large scale irresponsible practices loaded against public safety. If architects raise their voice against such practices—public and private– chance is that they would be probably heard. Even if results do not materialize instantly, the process will build a new solidarity, a fresh togetherness, a new awareness on part of the authorities of their public accountability and a new identity for the architects among their present and potential clients.

Identifying systemic deficiencies and bringing about institutional change demand a committed leadership with a vision. What kind of leadership does the profession has? Who are the leaders and what are they doing? I have never understood this matter sufficiently but I am told that the star architects are the leaders of the profession. The professional associations also play the leadership role. Do they? What and who are they leading? What initiatives? What sharing? What mobilization? Which issues are championed? What remedies, options and strategies are suggested? A leader must lead, give, inspire, set example, even sacrifice. Whom are they inspiring? What are they giving? Is the word `sacrifice’ heard anywhere at that level? Is not the public good versus private interest the most obvious feature of the leadership issue?

This seemingly critical and what could so easily be seen as ‘negative’ portrayal of the profession is not out of negativity or frustration or anything of that sort. It is also not an outsider’s view based on ignorance, prejudice or ideological baggage. It is an ‘insider’s view, based on experience and born out of a concern that the architects, as a community, as professionals, as privileged citizens could do much more, serve many more and contribute so much more meaningfully. This stems from an understanding that given the attitudinal and orientational changes, they could be leaders in making our cities and settlements better places to live and work.

Architecture is a noble profession. In the hands of its conscientious practitioners it is a medium to serve the people and also the environment. It combines both art and science. Culture and technology are its pillars. It is a vehicle to translate ideas and dreams into reality. It embraces both: reality and vision, creativity and practicality. It has been there from the dawn of the civilization and will always be there. However, the way it is perceived and practiced, it needs to move from monuments to people, from magazine pages to practical life, from the elite to the common people and, in a way, from top to bottom, from a pedestal to the ground. That would take nothing from its halo, its mystique and its nobility. It will only be richer.

Architecture as a subject, as an art form, as Shashtra, is too big and ancient to be treated casually. But the architecture profession, as perceive and practiced now, certainly needs a rethink, a paradigm shift. The multiple crisis—energy, water, space, resources, ecology and governance—, new technologies, changing social equations and emerging realities in the globalizing cities make it imperative that the building professionals re-educate — both de-learning and re-learning are called for—and reequip themselves. And a degree of de-professionalization of the conventional professional, in terms of attitudinal shift, client choices and priorities, is a necessary part of the change.

In the haste of post independence development, accelerated by the 1960’s rise of nationalism where modern architecture became the byword for progress and change, the historic cities of Pakistan were often the victim of tabula rasa functionalist planning. This looking at hindsight has had catastrophically infrastructural implications such as the circular railways project in Karachi and the restoration of old town Lahore. Large scale monuments of the colonial era survived, but to a large degree entire residential and commercial districts vanished, when designations of historic and social significance pinned to a single building could not sustain the retention of general urban fabric. These were the precincts that suffered devastation and disappearance. Indeed today both the cities Lahore and Karachi are largely stories of condoned disappearance.

Inspite of this a wave of revival stuck strong with the heritage and conservation efforts realization and the retention of some of the areas of value. The intricacies of detail and scale required understanding, and a humble insertion or the grafting of the new onto old required skill equal to that of mammoth achievements. Cuco’s den is no such project studied or otherwise. It is a lone man story, his life and what he made of it, is now translated in his artwork and his domain which is called Cuco’s Den Lahore being a hub of cultural and historical capital of Pakistan has beautifully sustained balance of urban forms from earlier periods; from exquisite Lahore fort, Shalimar Gardens, Jehangir’s tomb, havelis to small scale traditional housing in walled city and gardens to public spaces. Walled city, from where the city grew, gives a significant picture of the social, historical and cultural values and its history can be traced back over a thousand years. The walled city is also thronged by a variety of eatery outlets big and small dishing out various delicacies of Mughal and Delhi cuisines being a significant act of this particular area in today’s time.

The walled city holds commercial, light industrial functions in relation to residential and religious quarters. Distinctive architectural style envelopes the private and public domains engulfing ones senses in the aura of earlier periods.

Access to walled city is still gained through thirteen gates, out of which only two are retained in its original form; few of them do not exist anymore. Walled city was founded by Mahmud of Ghazna in 1027-28. It is believed that the oldest settlement in walled city are the areas of Lahore Fort, Langa mandi (compounds of Tibbi Mohallah), Mohallah Maulian. Cuco’s Den is situated on the periphery of Tibbi Mohalla. Embracing the walls are courtyard houses ranging from monumental havelis to 3 marla houses, markets, food stalls, brothels and alleys. Buried within are shrines, mosques and dilapidated palaces. Only a few structures have been restored by enthusiasts, such as the exotic Cuco’s Den restaurant by the fort. Residential buildings have not undergone so drastic a change in terms of size, but vivid shifts in cultural values, functions and ways of living have changed their interior spaces.

Situated in the vicinity of old Lahore’s Heera Mandi, and lying opposite to the Badshahi Masjid is the famous Coco’s Den, an old structure, converted into a restaurant; a threshold between the scared and the profane. It was originally a brothel and family home of one of Lahore’s finest painters, Iqbal Hussain.

Iqbal Hussain is particularly renowned for painting courtesans of this area (Heera Mandi), dancers, musicians and the landscapes around River Ravi. The walls of Coco’s Den & Café are adorned with Hussain’s intense portraits of the district’s prostitutes —from teenage damsels to age old madams. The paintings depict the life of these women, their highs and low’s and their silent lives. Hussain, who himself is a son and grandson of sex workers, was born and raised in this house.

Cuco’s den is an amalgamation of various functions; residential, dining place and art gallery. Ground-floor and the rooftop have been converted into a seating area. One has to climb a narrow staircase, almost 3 stories up, till you reach the terrace, where food is served. The top terraces being used as dining areas looks onto the vast sandstone courtyard of the 17th century Badshahi mosque. Badshahi mosque and Lahore Fort together present an astounding view at night when both are lit up with lights taking the diners to another realm. From one side of the terrace, you can watch the lit up mosque’s which is indeed a breathtaking view under the tranquil sky and the other side, you can catch glimpses of the windows of the Heera Mandi, gleaming with lamplight as the women take up their positions in the district’s doorways. And in the midst of all this is Coco’s Den & Café, hovering between the desecrated and the divine. Coco’s Den is not just a restaurant with excellent food, but an experience of historic proportions.

In Coco’s Den, you can find a table in pretty much every setting. Indoors, patio, terrace, and rooftop; the menu starts from traditional appetizers to a variety of mouth watering Lahori delights, and topping it off is the great tasting delicacies of Mughal cuisine. The traditional way of using rope hung baskets are used from the rooftop to enable cooks at the street level to send food up without the staff having to physically carry it upstairs. This method is again an old time tradition, oft used by housewives to purchase groceries, vegetables, or just get some food hauled up to the top floors of the house

The Cuco’s façade is an amalgamation of various elements of Mughal, Hindu and colonial features. As one’s eye maneuvers on the longitudinal façade bi partite, a symmetrical elevation appears, seems as if two buildings have been joined together with the help of red lime plaster and walnut polish on wooden elements embracing the façade. Also visible is the non alignment of lintels marking floor levels. The main entrance adorned by a wooden door is marked with dehleez, (a marker defining entrance to a private quarter from a semi public one). The right side of the façade is adorned with bukharchis (long projected wooden balcony, often with a series of rooms from the same façade opening into it), it being a Mughal feature, yet it seems the golden painted wrought iron jailis has a dancing figure in it. This part of the façade seems to be from a later period as a protruded balcony reminiscent of a jharoka juts out of the façade on the third storey.

There is kitsch of different elements; the left section of the elevation has three different storeys marked with various features. A jharoka on first level (a projected oriel or other window, one with an enclosing structure supported by projected masonry work and often supporting such masonry above), basta windows(wooden collapsible or slotted shutters), pointed arched window openings marking the two end of the façade. It appears that the third level which a covered sitting had been added later.

The indoors are no less appealing than the astounding outdoors. The interior spaces of the building are also embellished with original marble tiles. Details have been looked upon; the staircase railing has wooden embracing. In the patio walls are adorned with tiles (a bad example of kashi-kari), the grills supporting the terraces are a colonial feature, where wrought iron pattern was made without the use of welding. Interesting furniture pieces most likely dating back to the early 1900s are stored away in nooks and corners giving it an age-old ambience.

A beautiful statue of Virgin Mary graces the main patio. The bell above it is not only a part of the sculpture but is also used to summon orders from the lower floors. Various sculptures, reliefs and elements have been implanted at various places, making it a busy façade. Because of the immense information given about the eras which crossed the walled city therefore the exact period of the house cannot be identified.

It seems the owner is more focused about using the place as an information giver rather then conserving the place, its period in true sense. This is another approach which conservation agencies might seem interested to study.

Visiting Cuco’s den gives only a glimpse of the lives that lived in this area, in this house, sometimes it’s eerie, feels like a ghost just slithered away or that one heard the excerpts of a conversation which took eons of years ago. It is a world, outside of this world if only one can let the imagination go wild.

Text: Sara Jami
Photography: Khaula Jamil and Farzad Bagheri
They say that if you want to know what an institution is really all about, take a look at the students who have graduated and pursuing their careers in professional life. The Indus Valley School of Art and Architecture was set up as a dream venture between like-minded friends some 20 odd years ago; forward thinking individuals who felt a city like Karachi needed a place that would breed creativity, expansion of ideas, responsibility to life and simply, a spirit of positive change. They took the proverbial leap of faith and an art school was born.

The School’s journey has been eventful- filled with struggles and victories and as the number of artists, designer and architects graduating grew, the need to have a community of alumni also became stronger; a platform on which they could regroup, connect, network, collaborate or simply share their memories. And finally, in November 2001, as the 8th graduating batch of IVS stepped forward to receive their degrees, the IVS Alumni Association was born.

The IVS Alumni Association’s main mission in the last seven years has been to bring together all IVS Alumni- now far flung into the different corners of the world, and create a database of all the change-makers and opinion-leaders, who exist and flourish in the challenges of a constantly evolving socio-political environment the world over. Graduates from the IVS have gone on to become well known artists, pioneering designers, award winning TV anchors, great architects, ceramists, interior designers and leading fashion designers and entrepreneurs. It was indeed time to bring them together under one roof. Keeping this in mind, earlier this year the IVS Alumni Show Subcommittee, comprising mainly of Alumni Ramiz Baig (Architecture 2001), Mariam Hussain (Communication Design 1999), Maria Ansari (Architecture 1999) and Sara Jamil (Communication Design 1999), was formed, with the main intent of showcasing the alumni in their very first group exhibition.

Featuring 41 alumni from the last 15 years, the concept behind the show was simple- to put forward a representation of personal work and projects as a sort of testament to the world for all that the IVS people stand for and have achieved both individually and collectively on both a commercial and non commercial basis. Held at the Zahoor-ul-Ikhlaque Gallery on the IVS Campus, the Alumni Collective, aptly called 15, opened to an avid crowd in the beautifully lit Nusserwanji Courtyard, on the evening of December 3rd, 2008 with a world music performance and video projection by the Chand Tara Orchestra- the idea of which was put forward by Babar Shaikh, Communication Design Alumni 1999, now a filmmaker and musician. Welcome speeches by Ramiz Baig (Alumni Association President 2006-2008) and Samina Khan (Executive Director, IVS) started the evening off on a note of high energy and excitement, also tinged with nostalgia as faculty and students mingled with the alumni of many years and several of the Schools Founder members took time out to come and support their Alumni Association’s flagship Show.

Works of art included a great variety of pieces, ranging from digital art posters by Farzad Bagheri (Communication Design 2003) and Uzair Akram (communication Design 2001) to social comment making sculptures by Adeela Suleman (Fine Art 1999). Amongst the well known names were a series of experimental photographs by Amean J, photographer du jour and a painting by Bilal Maqsood (Communication Design 1995), Pakistan’s musician par excellence. Architects Sayem Ghayur (Architecture 2000), with his innovative Stitches project and travel photographs and Maria Ansari (Architecture 1999), with her company’s TATA House Project, and Fawad Suhail (Architecture 2001) and Naveed Salam (Architecture 2000) with their collage of projects were amongst the several architects who also presented their work. One architect Maria Aslam (Architecture 1998) who stood out with her year old venture ADA, Architecture Design Art; a premier magazine which translates the works in the various design field of Pakistan and presents it to the world in an enlightening manner. Whereas while the fashion side of things was represented by much in vogue embroidered works of Nida Azwer (Textile Design 2004) and a huge funky leather bag with dabka motif from Mahin Hussain Accessories (Textile Design 2002).

It is always a wonderful surprise to find a passionate artist’s soul lurking beneath the technical expertise of an architect or a textile designer who has an eye for water colours or simply to find someone with a graphic design degree having found their creative style and mojo as a teacher hand-crafting and experimenting with children’s art techniques. In many of the works, the breaking away from the norm of what is expected of “professional” in today’s society of artists came through as one stood to admire the violent colours on a portrait with Punjabi song lyrics splashed across the face or understand the feeling behind a series of type-illustrative poster/postcards on bottled Karachi moments.

From the large, arresting portraits by Khaula Jamil (Communication Design 2005) and Zeeshan Haider (communication Design 2007) to the very thought provoking photographs on the pace of cultural change by seasoned artist Huma Mulji (Fine Art 1994). Stretching the variety of the exhibition even further were the reusable plastic bag project Asiah Seemad- (Textile Design 1999), the ceramic piece collection by Sadia Salim (Fine Art 1994), the decorative henna plate Humna Mustafa- (Textile Design 1999), the music video highlighting the commercial success filmmaking can be Umer Adil- (Communication Design 2002), the satirical commentary on TV today Mithra and Rakhsahanda- (Fine Art and Communication Design 2001) and sculptural pieces exploring ideas and media of wood Ayesha Khalid, (Fine Art 2006) and leather Seema Nusrat, (Fine Art 2004)

As a visitor to the exhibition later remarked, “One felt like wandering about for hours taking it all in. I really wish there was a permanent gallery of this sort where these works could be enjoyed all year round.” The purpose behind this exhibition, the first of what is hoped will be a regular annual event, is not only to showcase the commercial success that may follow the IVS graduate, but also encourage and display a more horizontal all-encompassing definition of what art and creativity actually can be for different individuals with the same education. The planning and presenting, by the IVS Alumni Association and the Gallery Committee, was done with thought and consideration, and the whole area came out alive, portraying each piece individually and professionally.

Text by: Mahrukh Sayem
Photography by: Ar. M Sayem Ghayur
To witness a unique sense of familiarity amongst strangers in an unknown place, new to experience and discover, one can conjure up the image of the Italian city of Turin as the host city of the International Union of Architects, UIA World Congress. A place where a remarkable fraternity of architects was successfully created by the event, as it brought them together and bonded them with their common aspirations and challenges.

With the colorful name tags and Turin maps, to the UIA paper handbags being carried by participants filling every street and every corner of the city, it was remarkable to actually live the sense of belongingness so aptly developed. It was the 23rd session of the UIA World Congress that every three years, provides a platform for architects across the globe to discuss their profession and concerned issues, irrespective of their representative nation, ideology or race.

The UIA was actually a phenomenon of Architect Pierre Vago, who in 1946 conceptualized his idea that architectural profession should be united while breaking all ideological barriers. He hoped to achieve a balanced approach, bearing in mind a body representing the “architects’ associations” rather than “nation states”. The UIA was then, formally found with its first ever session in Lausanne, Switzerland, on 28th June 1948, supported and attended by over 500 architects. It focused on targeting the architects’ role in dimensions such as town planning, society, state and industrialization.

To support the UIA in its aim to help architects contribute to the environment in a constructive manner, 27 countries initially signed an agreement with the organization. Today, the UIA has almost 120 member countries that form an extensive network of architects and associations, coming together to develop the profession further; Pakistan being one of them.

Italy, with its rich architectural and cultural heritage, would seem as an obvious choice for an architectural conference of a scale as massive as the UIA. On the contrary though, bids from Venice and Florence to host the Congress had been previously rejected in the past.

This time however, in the course of preparations to hold the 2006 Winter Olympics, Turin had undergone a complete relaunch. With this added advantage in mind, the city’s Council of Architects proposed to bid for the 2008 UIA Congress. In the face of strong competition from cities such as Tokyo, Seville and Bussan, Turin needed a sound marketing strategy to achieve the said honour.

With the backing of a hefty budget, and multiple state councils, Turin was represented with an emphasis on its urban regeneration program. Finally, the theme of the Congress, “Transmitting Architecture” stirred the ultimate excitement that brought the whole globe flocking to the passionate city of Torino. 

Held at the Lingoto Fiere and the Palavela, and scheduled from June 29th till July 3rd, the Congress was an insightful collection of lectures, exhibits, speeches, with a tinge of entertainment provided by the opening ceremony, and finally the closing. For that matter it was actively attended by not only practicing architects and intellectuals, but also students, faculty members, press and they too were accompanied by people from nearly all walks of life, simply interested in the event.

The opening ceremony was the highlight of the first day, from the choice of its location to the experience more or less every participant went through. It also marked the celebration of the 60th anniversary of the foundation of the UIA. The grandiosity of the venue, the Royal palace of the La Venaria Reale, its beauty and magnitude was substantial to leave one overwhelmed and more than that, just plain stunned. The impact was greater perhaps because it gave the tourist participants the first exposure to what exactly the city beheld, out of the exhibition complex, the Lingotto.

Getting to the venue gave everyone a more-than-at-the-moment required tour of the city. The arranged transportation fell short for the excessively attended Congress. And the Venaria was too far to be comfortably reached independently by public transport, which remained otherwise highly convenient. It didn’t help much that the ceremony was scheduled for 7pm and it also ended up pouring with utmost intensity at the said hour, making the journey more of an uncalled adventure.

Once there the sight that greeted made it seem all worth the while. The Royal palace with its expansive piazza, the Corte d’Onore had been set up complete with a stage, food and drink stalls, and participants moved about admiring the palace within, the Reggia di Diana. The President of the UIA, Gaetan Siew, gave his official address, followed by welcoming speeches by other prominent officials. Celebration and festivity were the order of the day, marked by a spectacular play of water fountains amidst the piazza Corte d’Onore.
From June 30th began the series of lectures and exhibits enough to appease the architectural appetite of all. The main theme of the congress, “transmitting architecture” gave forth a dual meaning phenomenon. It represented architecture as a transmitting entity, an antenna which broadcasts the message of urban democracy and communicates its social and design action. Simultaneously it collects emerging trends expressed by the society and therefore is recognized for the values it ends up transmitting.

The lectures and sessions were broadly categorized under three prominent heads: culture, democracy and hope. While culturally sustainable architecture reminded the architects to realize the need to restore and promote traditional heritage passed on over time to the present, a democratic approach encouraged the production of architecture that would be communal, rather than creating an individualistic entity. The resultant architecture would then be conscious of its impact on the environment, and thus challenged to transform itself to bring about positive progressive changes in the future.

In this way, not only did the categorization define a course for the conference to follow, it also put forward the pillars of responsible and sustainable architecture, and thus the ethical obligations for all architects. Prominent participant speakers addressed the said issues and defined probable approaches to achieve the desired goals.

The Congress took off on its first day, highlighting topics that came under the cultural definition. Separate sessions and talks discussed the roots of architecture, the role of architectural language in impacting the environment, the creativity and professional requirements of architects to represent their ideas and the context they needed to work in. Further discussions addressed the ability of architecture to transmit industrial cities, landscapes, and its communication through newspapers and magazines.

A specialist session represented an East African city, Asmara as a case study to observe the impact of contemporary politics and culture on early modernist architecture. Interactive workshops and gatherings were held to stimulate debate on importance of sport and leisure, soft-stone origami and material encountered creativity.

The catch of the day was a specialist session titled Waterfront Architecture, due to be addressed by Jean Nouvel and Foster & Partners amongst other prominent presenters. The discussion was organized to be held in a hall with a limited capacity of 210 seats, leaving the students and participants struggling to find space on the floor, having crossed the volunteers guarding the hall doors. Sensibly enough the session was moved to a slightly bigger hall, offering 500 seats, which too was unfortunately full within seconds. In the end the two prominent architects remained absent while the extra eager listeners were sent out of the hall.

The second day took up the democratic approach, with sessions stressing the importance of public participation in territorial transformation processes, developing slums, and the complexities involved in architectural projects. Another session was set to question the role of architecture in urban and territorial crisis, while others highlighted the importance of libraries as prominent urban loci, and the relationship between architecture and real estate.

Further topics sought to promote social housing in the face of increasing poverty, sustainable development and town planning, world urbanization and the architect’s role as a mediator in the processes of urban and territorial transformations. The workshop of the day aimed to propose a general overview of the works of architects working with aluminium laminates, innovatively treated with color applications and used in contemporary construction.

The third day was scheduled to deliver special lectures by architects Peter Eisenman, Dominique Perrault and a key note speech by Nobel Peace Prize winner, Muhammad Yunus. The day’s sessions were addressed under the thematic concept of practicing environment friendly architecture with the hope to ensure a sustainable future. The concept of imagination was brought under discussion, actively assisted by technological advancements, to build for the future with greater opportunities and possibilities.

Innovative materials, systems and techniques contributing to a better environment, future concepts for landscapes, sustainable housing, buildings and cities and their concerned implications, strategies and plans were also part of the third day agenda.  Keeping in sync with the theme of the day, that being  hope for a sustainable future, further sessions were held on UIA’s action plan between 2008 and 2011, the architecture and art of the third millennium cities, transmitting updated architecture and creating universal and inclusive designs that frees architecture of mere monumentality.

A ceremony to award the best doctoral thesis in selected fields of architecture, town planning and restoration was also scheduled for the same day. A grand Gold Medals award ceremony was also organized, complete with cocktails and a special performance by the Orchestra Sinfonica Nazionale Della Rai, dedicated for the participants of the UIA Congress.

Besides delivering the prestigious UIA gold medal to Teodoro Gonzalez De Leon from Mexico, winners of the Info Point and Totem competitions for students were also awarded in the ceremony, amongst other UIA prizes.

As the Congress inched closer to its end, on the fourth and final day, the UIA corporate partners were to invite famous architects to illustrate through their work the process of integrating industrial solutions to their respective project’s design process. A plenary discussion was also planned to discuss the manifesto of Turin, followed by a round table meeting amongst architects and decision makers to join hands in committing themselves for responsible and sustainable architecture.

A handover ceremony was scheduled to bring the architectural extravaganza to an end. An event was organized to officially announce Tokyo as the host city for the next UIA World Congress for 2011. Executive members of the UIA and the Mayor of Turin were listed to hand over the honor to representatives of the Tokyo metropolitan government.

Apart from the daily planned talks and plenary sessions, institutional and cultural exhibitions had also been set up in the Lingotto exhibition halls. Parallel trade fairs, the Architex Textile Expo and Architektonica also remained scheduled throughout the Congress days. The extent to which the Congress had to offer became therefore, at times a bit too much for the participants to handle. Not only had they to choose from a long list of equally interesting sessions topics, often compromising on one to attend the other, they also had to assess the time on their hands and the multi room, multi floor exhibits to explore.

In addition to these activities, each of the Congress days had been assigned to offer press conference and interview opportunities for prominent architects and speakers, including Dominque Perrault, Muhammad Yunus and Peter Eisenman. In the face of the multi ethnic partciaption of the event, the communication barrier was pertinently overcome by interpretations available in multiple languages.

The UIA World Congress aimed to bring together people from different regions, cultures and disciplines, to contribute their ideas and hear from others, to learn and teach, explore and discover at the same time. It was hoped to create a milestone in the process of developing a conscience for architecture, to adhere to the principals of sustainability. It was an aspiration to create a moment for architecture, to create and transmit inspirations and to produce a comprehensive architectural experience.

   
Copyright © 2012 ADA: Architecture Design Art.