Latest news with #ArtDeco
The Hindu
21 hours ago
- General
- The Hindu
Rajasthan's forgotten geometry
The Art Deco movement brought with it a sense of glamour and opulence. It upheld geometric design and modern materials, and was inspired by the relics of Native American and Egyptian civilisations. It soon made its way from France to the shores of the United States. While New York went by the book, building incredible skyscrapers inspired by the original decorative phase, cities like Miami adapted the style as it saw fit, in keeping with the place. The intercontinental appeal of the movement fascinates me. As does its evolution. For instance, major events such as the Great Depression and World War II gave rise to an offshoot called Streamline Moderne — where designs were more subtle, and inspired by nautical and aerodynamic forms. With smooth flowing lines and creative typography, it acknowledged the era's progress in technology in its design. As it travelled to other parts of the world, Art Deco became an early symbol of ideals such as modernity and progress. India was no exception. Maharajas and merchants alike patronised the style. In fact, one of the first Art Deco buildings in the country was made in the sandy tracts of Rajasthan. So, why is its influence seldom discussed in the state? Could it be that amongst the multitude of forts and palaces, it was considered less relevant due to its relatively recent origin? Birth of Desert Deco Maharaja Umaid Singh was a royal patron of Art Deco. During a time of drought, the visionary ruler of Jodhpur-Marwar commissioned Chittar Mahal, a relief project to provide employment to his people. After his death, the monument was re-named Umaid Bhawan in his honour. While the inspiration behind the palace was the glamorous European movement, it blended architectural elements and motifs of Rajasthani palaces. Thus, Desert Deco was born. Many royals followed suit, patterning their ideas after the maharaja to build new palaces or remodel existing structures with added Deco elements. It was only after World War II and Independence that the movement spread beyond royal patronage in Rajasthan. While some people went for more affordable ways, superimposing Deco elements such as sunbursts onto existing facades, more affluent families built new structures. Merchants and businessmen, influenced by their exposure to Art Deco in the port towns and cities of Calcutta, Bombay and Surat, commissioned mansions in their hometowns. Thus, the second phase of Desert Deco was born, which merged local architectural design with Deco elements and motifs. Havelis and bhawans — such as Jaipur's Sawai Man Singh II's Rajmahal, an Art Deco remodel of the British Residency (formerly the garden retreat, Maji Ka Bagh, built in 1729) — were adorned with chevron patterns and sunbursts, which in turn interplayed with cultural and religious themes of the region. For instance, lattice screens or jaalis were carved, instead of perforated, with iconic Deco elements such as the frozen fountain motif with the sacred 'aum' or 'swastika' inscribed on it. Deco structures sprang up across the desert state, from cities such as Jodhpur, Jaipur and Bikaner, to smaller towns like Mandawa, Churu and Ladnun, and even in villages. The movement was not restricted to residential spaces, but included temples, public buildings, cinema halls, and at least one water station in Jaipur — with sharp geometric lines, zigzags, and stylised vents. I remember a friend telling me how many localities like Sardarpura, with their broad avenues and Deco houses built with local sandstone, along with the colours of Rajasthan, reminded him of a set in a Wes Anderson film. Overshadowed by palaces Today, despite advocacy and some success stories by a few organisations, Art Deco in Rajasthan continues to be overlooked. It is overshadowed by the bulk of beautiful forts, grand palaces and ancient temples that dot the landscape. Without formal recognition, the fate of these structures is bleak. Many lie in the path of developers, both private and public. Some lie forgotten, crumbling out of existence. But hope has no expiry date. It is why I started Jaipur Houses, a platform that works towards documenting and creating a digital archive of these fast vanishing structures. We will continue to advocate for its protection and preservation with the aim that one day these fabulous designs and structures will get recognised as a part of the state's architectural and artistic heritage. The writer is the founder of Jaipur Houses.
The Hindu
a day ago
- The Hindu
The Art Deco style book at 100
If you're on Marine Drive in Mumbai, you most certainly have seen Pizza by the Bay, the Italian restaurant on the ground floor of Soona Mahal, one of the most striking Art Deco buildings on the bustling seaface. The streamlined building, built in 1937, features cantilevered balconies, vertical accents topped with stepped ziggurat motifs, and a rooftop turret. The Queen's Necklace on Marine Drive houses beautiful examples of this architectural style that took root a century ago, marked by geometric patterns, porthole windows, nautical motifs and the iconic Deco signage. In fact, Mumbai has the second largest collection of Art Deco edifices across the world, second only to Miami Beach. The centenary of the movement in 2025 calls for celebration — and quiet reflection. One hundred years ago, on the banks of the Seine in France, the Exposition Internationale des Arts Décoratifs et Industriels Modernes, a landmark exhibition that ran for seven months in 1925, marked the birth of Art Deco, a design language that departed from the ostentation of Art Nouveau, the excesses of Victorian, and classical architecture. Emerging alongside the functional minimalism of German Bauhaus and the modernity of materials like glass, concrete, and steel, Art Deco embraced a bold aesthetic, featuring motifs such as frozen fountains, ziggurats (rectangular stepped tower), sunbursts, speed lines, and elements from Egyptian and Aztec cultures. In the years bookended by the two World Wars, migration and travel brought it to India. Affluent Indians, introduced to the aesthetic in Europe, asked architects back home to incorporate Deco elements into their new construction. Mumbai, Chennai, New Delhi, and Kolkata saw its strongest architectural expressions, while cities such as Pune, Hyderabad, and the Chettinad region developed more local interpretations. Today, not all of it has survived, and there is an urgent need for documentation and conservation. But, on the brighter side, contemporary movements in textile, typography and design have been incorporating Art Deco motifs into their visual vocabulary. But more on that later. Documenting Deco, one city at a time Atul Kumar, founder-trustee of the Art Deco Mumbai Trust, and his team have documented Mumbai's Art Deco heritage, identifying 1,324 buildings since 2017. From residential multi-storeys with geometric ventilators and chevron patterns to government edifices and cinemas, the Trust's interactive map shows those interested where they are located. In its sister city, Pune, the buildings have a strong vernacular influence. 'We see the incorporation of mythology, lotus motifs and the Devanagari script,' says Kumar. Sugandhi Building, a family owned three-storeyed residential structure in Budhwar Peth, is a favourite for its evocative lotus imagery, vibrant palette, and trademark Deco features such as circular portholes and a mandap-like deck — its moniker derived from a family that specialised in perfumery and fragrances, living in Pune for over 200 years. Hari Krupa or Mehendale Building, a two-storeyed mixed-use building with shops on the ground level, in Sadashiv Peth, is a prime example of how local craftsmen wove Art Deco influences into the local fabric, with religious iconography such as swastiks and omkars, sunbursts and chevrons. 'There is a unique melding of western and Indian styles — the designs are more intricate, and not as stylised as the Art Deco form,' he shares. As most of the 90 residential buildings in Pune now house families and commercial enterprises, documentation has been tough. 'We are focusing on outreach and sensitisation. Urban pressures [such as rapid plot development] are similar across cities, and there is no incentive to preserve or restore these homes. But the families we visited are keen to learn more about their heritage,' adds Kumar. This sentiment is echoed by Adhiraj Bose, who has been documenting Kolkata's Art Deco heritage since 2017. The city has one of India's earliest high-rise Deco buildings — the Tower House, built in 1928 — and a residential home, Jahaj Bari on Elgin Street, shaped like a ship, reflecting the city's love for maritime imagery. Bose leads heritage walks, photographing hundreds of residences in Lake Town and various government buildings. 'Demolition and redevelopment are more popular and economically viable than restoration. The Red Bari café opposite the Kalighat temple, Roastery Coffee House in Gariahat, with its deep ochre and white walls, and the Broadway Hotel are examples of 'repurpose and restore' initiatives,' explains Bose, who is currently striving to preserve the vestiges of single family Deco homes in his neighbourhood, Lake Town. Just a fashion statement 'I've never looked at Art Deco seriously,' says New Delhi-based architect Gautam Bhatia. 'I feel it is not an architectural style; it is more a decorative and ornamental one. It was a temporary, transitory phase going from the classicism of the late 19th and early 20th century into modernism. In India, what you see is a sort of exaggerated opulence in buildings — fancy lighting, stylised lettering, metallic ornamentation, all of which is two dimensional. It doesn't have the appeal of any kind of three dimensional spatial quality. It is what people would construe as a kind of fashion statement in architecture. You didn't need to worry too much about what is inside. In fact, in a lot of places, the spatial quality was completely neglected. Which is why Art Deco was perfect for cinemas. It drew people in from the outside into complete darkness. The only thing that is attractive about Art Deco is that it made people look at architecture. It is like a painting on a street. You can't ignore it. It made people look up and stare — whether it was Regal Cinema or some apartment block in South Bombay.' As told to Surya Praphulla Kumar Inclusion of local sensibilities Meanwhile, in the capital, where mostly Mughal and British Colonial styles dominate, Art Deco still manages to shine. Architect Geetanjali Sayal, founder of Deco in Delhi, a narrative website and Instagram page, began documenting the style around 2020 with researcher Prashansa Sachdeva. With 22 'pure deco' buildings, and a mix of four hybrid and 13 influenced structures, 'we took a cartographical approach, starting with hand-drawn maps of Chandni Chowk and Daryaganj, archiving individual houses and small neighbourhoods', says Sayal. 'The focus wasn't just on ornamentation, but design features like fireplaces, staircase structures, and flooring.' Smaller cities saw the rise of Indo-Deco, a blend of modern construction and local sensibilities. Heritage architecture enthusiast Smita Babar highlights Chettinad's façades with its egg-lime plaster and stencil drawings, tucked away in the bylanes of Karaikudi, Tamil Nadu. The mansions reflect a desire to straddle two worlds at the turn of the 20th century, when affluent Chettiar bankers built homes with traditional courtyards framed by imported glass, marble, and teak, adopting Art Deco elements for their façades. 'Bas-relief figures of goddess Lakshmi sit alongside running bands, concrete and metal grills, and chevrons, highlighting how Art Deco was adapted,' she explains. Abandoned by families who migrated to cities, many homes (estimated to be between 10,000 and 15,000, according to UNESCO) are maintained by caretakers or agents. 'Any restoration or conservation will require a material-based approach, picking singular elements for restoration.' And one of the people stepping up to help is New Delhi-based architect Aishwarya Tipnis, who has developed a material toolkit — a free, research-based, online resource — to aid practitioners with the restoration process as well as directions on where to find the materials and skills. 'A homeowner on Pusa Road in Delhi wanted to preserve their home and used it for terrazzo [material made with marble chips embedded in a cement or epoxy] conservation,' says Sayal, while Tipnis, whose goal is to aid informed renovation and restoration, adds, 'We have to train professionals to embrace change in ways that are aesthetically, economically, and environmentally appropriate for the future.' 'It is good to see a new appreciation of spaces such as Manik Bagh as early expressions of distinctly Indian modernism, going beyond the overly simplified view that they were simply copies of what was trendy in the West. The collective vision of Maharaja Yeshwantrao Holkar II of Indore and architect Ekhart Muthesius of Berlin, Manik Bagh brought modernist design principles into an Indian context and began to shape the early thinking around Indian Modernism and Deco.'Yeshwant Rao HolkarHotelier and heritage conservationist Letterforms meet legacy Art Deco has shaped not just Mumbai's shimmering skyline; its visual grammar has also permeated the city's typography. Tanya George, a Mumbai-based custom type designer, has been fascinated by its fonts. 'I started noticing letterforms on buildings — printed, flex, and with adaptations of Indian scripts. Art Deco's design captured the spirit of looking forward, so even their letterforms have longevity,' she explains. George created Dekko during the pandemic (2020-21), a Deco-inspired typeface featuring tall figures, narrow fonts, and exaggerated waistlines, as seen in Devanagari and Latin scripts. 'The project started with studying the letter forms, and the lockdown gave me more time to flesh out the design. Versions of the fonts have been used for identity across projects,' she says. Sketches helped with the genesis of the English font, and the Devanagiri script followed suit. In her project with the Art Deco Mumbai Trust, she recreated the sign for Empress Court, an Art Deco building constructed in 1936, using archival photographs and modern materials such as stainless steel and polyurethane. Behind the sparkle In May 2024, a vintage suite of Art Deco Platinum Jewellery was the highlight of online auction house AstaGuru's 'Jewellery, Silver and Timepieces'. Comprising a necklace, bracelet, ear clips, and a ring, the set sold for ₹1,86,91,200. 'Globally, vintage and period-specific pieces are increasingly seen as style statements,' says Mumbai-based jewellery expert Jay Sagar. 'Contemporary designers are drawing heavily from classic Art Deco motifs to create modern pieces that pay homage to the originals.' For instance, jewellery designer Hanut Singh, whose pieces have been showcased by celebrities across the globe, offers a modern take on Art Deco, experimenting with rock quartz in jewels, or the crescent moon shape paired with the linearity in pavè diamonds, offering a glimpse into the glamour of the era. Art Deco has also inspired restaurant interiors. 'The Bombay Canteen features vintage-inspired furnishing, terrazzo flooring, and intricate detailing,' says Sameer Seth, founder and CEO of Hunger Inc. Hospitality, adding that their Art Deco Cocktail Book features cocktails named after landmarks such as Liberty Cinema, Soona Mahal, and Sea Green Hotel. At the Bombay Sweet Shop's Byculla store, the interiors feature curved glass displays and hand-blown glass lights, reminiscent of Mumbai's iconic cinemas. And the signages of both 'have typefaces that are bold, streamlined, and with geometric forms', says Seth. According to designer and restorer Kunal Shah, Art Deco's timeless quality endears it to today's designers. 'There's interest in objects like home décor, jewellery, rugs, saris, sunglasses, and shoes,' says Shah, who in 2022, curated a paean to Mumbai's Deco movement with architectural photographs, art, collectibles, fashion, furniture, and typography at Gallery 47-A in Khotachiwadi. Juxtaposing Deco's standout features against the current city design aesthetic, he says, 'Art Deco sits uncomfortably with current aesthetic choices since today's interior design style is aspirational, while [the former] was restrained and self-assured.' Porbandar's gem In the last wave of palace building, and in the early half of the 20th century, several significant Art Deco royal palaces were built — most famously Umaid Bhawan in Jodhpur, Manik Bagh in Indore, New Palace in Morvi, and Huzoor Palace in Porbandar. 'Not many know about the last one. With its many wings and endless views of Porbandar's French Riviera-like azure ocean, the Huzoor Palace is an architectural wonder,' says Deepthi Sasidharan, founder-director of Eka Archiving Services. 'From its curving balconies and walls, ceramic and marble tiled geometric patterned walls and floors, to the pastel hued interiors and custom made thematic lights, fittings and carpets, it is an Art Deco masterclass.' As told to Surya Praphulla Kumar Woven into borders and pallas Elements of Art Deco are, however, finding a new expression in Indian textiles and jewellery. In its Azalea collection (2024-25), Jaipur Rugs has reimagined iconic motifs with a bold black-and-gold palette in hand-knotted rugs. 'The bold geometry, symmetry, and glamour have a quiet dialogue with India's textile traditions,' says Rutvi Chaudhary, the brand's director. 'By reimagining these motifs, we celebrate this cross-cultural legacy and present it in a contemporary manner.' Raw Mango's Art Deco sari collection creates shapes and forms characteristic of the movement, with streamlined woven ornamentation that is geometric and stylised, translating them into silk and brocade. Think arched scalloped pallas with gold zari and hand-embroidered borders of architectural motifs. 'The collection began as a questioning of possibilities,' says Sanjay Garg, founder and textile designer, adding, 'The challenge of any motif incorporation is to accurately capture the essence of textiles.' The research process spanned a minimum of two years or more in terms of design and sampling at the studio, whose flagship store in Chennai, Malligai, is housed in a stunning Art Deco two-storey house built in the 1960s on Cenotaph Road. A century ago, India embraced a modern design language, imbuing it with its own cultural tapestry, creating Indo-Deco. Today, Indian practitioners of the style remain optimistic that this timeless design syntax will endure in form and function, supported by greater awareness, informed restoration, and detailed documentation. 'In the classroom, Art Deco is still not discussed in the same breath as other architectural styles because of the vast array of architectural wealth across the country. Our effort to document, study and preserve it, is to give the movement its due recognition,' Sayal concludes. The freelance writer is based in Chennai.
The Hindu
a day ago
- Business
- The Hindu
A tale of two cities: Mumbai and Chennai
When Art Deco was introduced to the world in April 1925 at the Paris Exposition, it was in many ways a reaction to Art Nouveau, a style that was based on the premise of nature-abhorring straight lines and formal geometry. Art Deco brought geometric shapes into sharp focus once again and, interestingly, it did so with the same materials that Art Nouveau had espoused: iron, glass, concrete, and later aluminium, chromium, and mosaics. Worldwide, the arrival of the architecture and design style coincided with many technological advances. Machinery was playing a greater role in daily life, concrete was being used increasingly for construction, large ocean liners were in vogue, and flying was just beginning to come into its own. Art Deco would make use of all these. In America, where cinema was exploding, the new architectural form came to be closely associated with it. Studios, cinema theatres and even stars' houses came to be built in the Art Deco style. It was almost as though a new medium demanded a new architectural form. And it wasn't limited to just buildings; it extended to furniture, crockery, glassware, electric lights, even jewellery. It also influenced English typefaces. Banks lead the way In India, Art Deco arrived in Bombay in 1932. In many ways, it reflected the aspirations of Indians. At a time when British business houses dominated the economy, a few Indians dreamt of becoming entrepreneurs. And when it came to their offices, they chose Art Deco. The first was that of Syndicate Bank in Bombay. And soon Art Deco became the idiom of Indian-run banks, insurance companies and stockbroking firms — as though they were turning their backs on the colonial styles of Indo Saracenic and Bombay Gothic. Bombay was by then the financial capital of India. And its Art Deco icons were large edifices with extensive decorative motifs done in concrete. Even today, many of these survive in the Fort and surrounding areas, some maintained in splendid fashion. But it was undoubtedly the Marine Drive, with its curve dominated by Art Deco buildings, that gave the city its distinctive character. Mansions vs. flats Madras bungalows took to Art Deco but in Bombay, where space was always a constraint, it was flats that came to be in the new style. This is also why Madras lost much of its Art Deco, as pulling down a bungalow is far easier than getting tenants and owners to vacate a block of flats. Ironically, that led to Bombay preserving much of its Art Deco and making it the second largest agglomeration of that style in the world, after Miami. Madras was just a few years behind, its Art Deco beginning not with Dare House (1938), which houses the offices of the Murugappa Group, as is often believed, but with the Oriental Insurance Building on Armenian Street in 1936. To see the equivalent of Bombay's Marine Drive here, we need to visit NSC Bose Road. If the British business houses were just round the corner on First Line Beach, on NSC Bose Road came up Indian edifices in Art Deco: State Bank of Mysore, Bombay Mutual, and National Insurance, which together with Dare House present almost a uniform skyline. At right angles on the Esplanade are United India, Madras (now Chennai) House and the Tamil Isai Sangam. Deeper inside are other jewels such as Andhra and Prithvi Insurance buildings. The Art Deco design did away with the portico, a standard feature of Indo Saracenic design, the buildings opened onto the street, and also introduced plenty of windows, as opposed to the verandahs of earlier design. Cinema, the biggest ambassador But it was undoubtedly cinema that took Art Deco to the public. As Bombay and Madras were its capitals, the style came to flourish in theatres and studios as well. The first Art Deco cinema theatre in India is almost certainly Bombay's Regal, opening for business in 1933. It was designed by Charles Stevens, whose father F.W. Stevens had designed the Victoria (now Chhatrapati Shivaji) Terminus. In Madras, Casino, which opened in 1941, was perhaps the first in the new style, and its architect was a Parsi — one of the sons of the Irani owners. Parsi dominion Indian architects spearheaded Art Deco in Bombay and Madras. The establishment of the Indian Institute of Architects in Bombay in 1929 had much to do with the growth of this form. Almost all the proponents were Parsis — Mistry, Bhedwar, Divecha, and Dastur, to name a few — and some Maharashtrians such as Mhatre. Madras was introduced to Art Deco by a Maharashtrian, L.M. Chitale, whose legacy includes his eponymous firm, well into the third generation. The only difference: the Madras buildings were smaller and plainer. Perhaps it reflected the local psyche. Cinema remained faithful to the design long after it had faded elsewhere. In rural India, theatres continued to be built in the Art Deco style well into the 1960s, as it was felt that the movie-going populace associated it most closely with cinema. Worldwide, however, the style had faded by the late 1940s. World War II meant a huge disruption of shipping lines and a collapse of economy worldwide, and the Great Depression had just preceded it. When these ended, it was time for new designs reflective of socialist patterns of society. Sadly, not much of Art Deco survives in India. While the Raj edifices were considered heritage, Art Deco was not old enough to merit protection. It is in this context that Mumbai's success in getting UNESCO recognition for its Art Deco is significant. The writer and historian is based in Chennai.
Sydney Morning Herald
a day ago
- General
- Sydney Morning Herald
There was plenty of scope for things to go wrong for this home reno
When a Sydney-based architect took on a Melbourne couple's home reno, there was plenty of scope for things to go wrong. Surprisingly, given the variety and choice of architects in Melbourne, the owners' search ended beyond Victoria's border. Complicating things further was the client's architecture background. Would they be tempted to change, interfere and make the process more challenging? Luckily for Sydney's Pohio Adams Architects, the clients – a couple with two children – were open to pushing the envelope as much as running with ideas. And what started out as a tired old Edwardian house in St Kilda is now a light-filled family contemporary home that also creates touchstones to the past. The client, who only worked as an architect for a relatively short period, had been in the same year in the school of architecture at Auckland University as Bianca Pohio, a director of the practice. 'There were few constraints when it came to the design. Our client regularly travels the world looking at great architecture, including by architects Mies van der Rohe and Le Corbusier,' says Pohio, who worked closely with her life and business partner, architect Chris Adams. 'I've known this client for 30 years, so there's also that element of trust,' she adds. Loading Located in a leafy heritage streetscape, the Edwardian house set on a 475-square-metre site, was always going to be retained. However, the house – renovated over intervening years with a number of Arts & Crafts and Art Deco elements – 'fell away' at the back with a poorly added lean-to. 'We were also faced with a three-level apartment block to the rear of the property which meant that we had to address issues such as overlooking,' says Adams. Pohio Adams Architects retained the front four rooms of the period home but reworked them into two separate bedrooms for the children and a large main bedroom and an en suite – with the remainder of the space used as a separate bathroom. Beyond this more traditional arrangement with open fireplaces and decorative plaster ceilings, the house starts to express new forms and materials.
The Age
a day ago
- General
- The Age
There was plenty of scope for things to go wrong for this home reno
When a Sydney-based architect took on a Melbourne couple's home reno, there was plenty of scope for things to go wrong. Surprisingly, given the variety and choice of architects in Melbourne, the owners' search ended beyond Victoria's border. Complicating things further was the client's architecture background. Would they be tempted to change, interfere and make the process more challenging? Luckily for Sydney's Pohio Adams Architects, the clients – a couple with two children – were open to pushing the envelope as much as running with ideas. And what started out as a tired old Edwardian house in St Kilda is now a light-filled family contemporary home that also creates touchstones to the past. The client, who only worked as an architect for a relatively short period, had been in the same year in the school of architecture at Auckland University as Bianca Pohio, a director of the practice. 'There were few constraints when it came to the design. Our client regularly travels the world looking at great architecture, including by architects Mies van der Rohe and Le Corbusier,' says Pohio, who worked closely with her life and business partner, architect Chris Adams. 'I've known this client for 30 years, so there's also that element of trust,' she adds. Loading Located in a leafy heritage streetscape, the Edwardian house set on a 475-square-metre site, was always going to be retained. However, the house – renovated over intervening years with a number of Arts & Crafts and Art Deco elements – 'fell away' at the back with a poorly added lean-to. 'We were also faced with a three-level apartment block to the rear of the property which meant that we had to address issues such as overlooking,' says Adams. Pohio Adams Architects retained the front four rooms of the period home but reworked them into two separate bedrooms for the children and a large main bedroom and an en suite – with the remainder of the space used as a separate bathroom. Beyond this more traditional arrangement with open fireplaces and decorative plaster ceilings, the house starts to express new forms and materials.
