“Instead, it has the potential to take on the characteristics of a Mexican city.” says Sonny Singh, a skilled artist (CAL ARTS), architect (SCI ARC), and builder who has been residing in Goa for the past decade since relocating from Los Angeles. Singh speaks to SURFACES REPORTER (SR) on the pertinent challenges of being an architect and designer in India and Cube Art Gallery which he built.
What is your the idea of good design?
Good design is contextual; there will be a certain element of dynamism involved depending on the space for which it is designed for. It has to respond to the space favorably.
How does this idea get altered when it comes to designing an art studio?
In the context of designing an art studio, the focus shifts towards the conceptual aspect of design rather than merely functional considerations. One significant departure from conventional approaches is to move away from strict square footage calculations and rigid space allocation for various functions. Instead the emphasis lies on the manipulation of spatial volume. The basis of this theory is rooted in our belief that the perception of space is primarily a function of the eye and the mind, transcending the mere physical size of the area. So we are designing in terms of the volume and not just the rooms, rooms later intersect into each other creating a sense of mystery which inspires creativity and fosters a deeper appreciation for the studio environment.
What can you tell us about the materiality of the Cube Art Gallery?
When I built the Cube Art Gallery in Goa, for construction, I used fly ash bricks and concrete. The gallery uses a good deal of mezzanine too. If I had a chance to redesign it today, I would have used lighter materials which are cheaper. It would have given me the flexibility to align the spaces in diverse ways. With bricks and concrete, this is not possible, it makes the structure static to a good degree and you can’t redesign the interiors often. I would have used bamboo and concrete because it gels well with the topography of Goa
What is Cube Gallery set to host for its existing as well as new audiences?
Well, at Cube Gallery, we've been experimenting with different materials. Our previous show featured art done in concrete, moving away from the regular paintings and acrylics. For our next show, we're planning to feature a contemporary artist who uses a technique involving mixing cow dung and mud, adding glue to it, which is a tribal technique. That's the show we'll be opening in our next season. We're also considering another artist who paints tribal pop art, but she's from France. So we aim to showcase something that hasn't been seen much in Goa. What I want to do with the gallery is expand people's ideas about art, not just showcasing pretty pictures. That's not what inspires me. We'll see if we can continue in this direction, although keeping it open is a lot of work. I also plan to continue practicing in the field of architecture.
What are your thoughts on the Indian design sense?
The issue, in my opinion, doesn't lie with Indian design itself but rather with the feasibility of executing Indian designs using Indian labor. Designers often have visionary ideas that may not align with the realities of the construction industry in India. These designs might be practical in the West, but successfully implementing them in India presents an entirely different challenge. It involves addressing issues like inefficient material usage, wasteful construction practices, and the unjust treatment of construction workers who are often underpaid despite the soaring real estate prices in the country. To truly advance Indian design, we must first address these critical aspects and strive for significant improvements. Only then can we expect the Indian design industry to make substantial progress.
Where does the challenge lie?
In terms of training, the majority of our construction workers lack proper training. Roughly 80% to 90% of the workforce is untrained, and surprisingly, they often end up making crucial decisions on-site. This is a significant issue in India, and it's one of the reasons why buildings tend to deteriorate rapidly within just a few years of completion. The problem lies in the lack of attention to finishing touches, such as painting. In India, people tend to underestimate the importance of proper preparation before painting; they simply apply the paint without adequate groundwork. Despite using high-quality paint, the lack of expertise in application results in subpar execution. Many painters aren't aware that painting on a wet surface can cause the paint to peel off, and they follow their routine without understanding the underlying principles. Overall, we still have a long way to go before achieving consistent, well-executed construction in India. While there are residential projects executed by architects with great care, public projects often suffer from poor execution.
How can India enhance the connection between architectural design and execution while improving oversight and compliance with safety and engineering standards in construction?
You're absolutely right; it's a delicate balance between design and execution. Effective design takes into account the practicality of execution. Instead of forging ahead with a design without considering how it can be feasibly executed, it's crucial to design with a deep understanding of the execution process. As a student too, I felt there was a noticeable gap in our education. We were handed drawings with two lines indicating a wall, but we didn't grasp what lay beneath that wall. There should be a more comprehensive approach to architectural education, incorporating hands-on experience and site visits. Understanding the construction process is essential because architecture transcends the theoretical realm and comes to life in practical applications.
Furthermore, in India, there's a lack of rigorous inspection and oversight by state or building and safety departments regarding how buildings are constructed. In contrast, in the West, you can't proceed with foundations until you receive approval from inspectors. In India, it's common to complete construction and only then address any issues that arise, often in a less transparent or even corrupt manner. There needs to be a greater commitment to building safety and adherence to the architectural and engineering plans. Currently, there's a significant disconnect in this regard.
What steps can India take to revitalize its architectural scene and stay current with global trends?
In the 1960s, Indian architecture was significantly influenced by modern architects, notably Corbusier and Kahn. However, after that period, there has been a noticeable absence of major influences. Visionaries like Architect B.V. Doshi and Prime Minister Jawharlal Nehru in Ahmedabad made efforts to bring avant-garde architects to work in India, but such initiatives have been relatively scarce since then.
Doshi, will always be revered as a top Indian architect. However, it's worth noting that even he draws inspiration from Corbusier and Le Corbusier's teachings. This indicates that we tend to lag behind in keeping up with global architectural trends. Instead of delving into more sculptural aspects of architecture, there should be a concerted effort to address the fundamental challenges and future directions of architecture. The architectural community lacks a cohesive movement akin to the modernist movement, which lasted for around 30 years. Since then, there hasn't been a global architectural movement of similar scale. However, some Japanese architects are worth admiring for their inventive use of materials and innovative designs. They benefit from strong partnerships with construction companies and better access to resources.
There is a need for a significant architectural influence to emerge in India. The rapid pace of construction can be problematic because it often leads to a disregard for underlying issues. It's essential to strike a balance between speed and thoughtful design to ensure the sustainability and quality of architectural projects.
How does rapid urbanization add to the problem?
Indeed, your point highlights a rather challenging aspect of our approach to development. It appears that instead of following a gradual and evolutionary path, we tend to leap into new ventures without adequate preparation or understanding. This can result in situations where we must address and fix problems after the fact, rather than having learned from a more incremental process. The concept of jumping ahead without proper planning can clutter the urban landscape and create additional challenges. It's important for us to consider the long-term implications of our decisions and strive for a more balanced and sustainable approach to development.
In the case of Goa, there's a sentiment that it should be allowed to retain its natural beauty and the charm of its Portuguese architecture. Many people desire a balance between modernization and preserving the unique character of a place. However, there is a concern that the rapid pace of construction, driven by the desire for modernity, could erode Goa's distinctive character. The fear is that it might lose its character and charm in exchange for more accommodation options.
Do you believe an attempt is being made to turn Goa into another Vegas?
No, Goa is not on the path to becoming another Vegas. Instead, it has the potential to take on the characteristics of a Mexican city, although even this comparison may not fully capture its unique essence. Proper planning and design are essential to achieve this balance.
Since we are speaking about Goa, what made you come back to Goa?
Well, you know, I had an attachment to Goa because I spent my early childhood here in the 60s due to my father's Navy service. However, it was about 15 years ago when I returned, and I witnessed these magnificent Portuguese mansions crumbling. They were available for purchase at prices similar to what you might spend on a car. I couldn't believe it. Coming from Los Angeles, where there are strict architectural regulations, Goa felt like the Wild West, where architects had the freedom to explore and create without many constraints. I came in touch with a wonderful group of craftsmen, especially carpenters, here in Goa. I found a talented group that I put together, and that made me stay and continue working here. Now, with the rapid land speculation happening, I'm questioning whether that might change the landscape here.
What are your current engagements as an architect?
Well, for the past eight years, I've dedicated my time to the gallery, as it was a full-time job. Now, I'm getting back to architecture, starting with a house project. It's quite different this time because it's a house being built on a water body, and I want to use materials that are not commonly used here, such as corrugated steel. We are currently in the design phase of that project. Typically, I handle projects from design to construction, and I don't pass them on to someone else to build. I've become a bit of a turnkey operator, which allows me to stay closely involved in the process. Drawings can be hard to interpret for contractors and construction workers, so being on-site and explaining the details is often more effective.