Akshat Bhatt, the visionary founder of Architecture Discipline, never intended to establish his own studio. Yet, driven by a plethora of innovative ideas that couldn’t be contained within the confines of conventional practice, he embarked on a journey to create spaces that are as much felt as they are seen. With a unique approach that emphasizes spacious working environments and a dedication to the material and physical history of each project, Bhatt’s studio has grown exponentially, reflecting his passion for creating environments that challenge and inspire. Verticaa Dvivedi, Editor-in-Chief, SURFACES REPORTER® (SR) delves into the mind who believes in the power of space to expand the mind, the importance of integrity in design, and the ongoing journey of making meaningful contributions to the urban fabric.
Tell us about your studio Architecture Discipline
I never wanted to start my own studio because I know it’s not easy. Initially, you look for a place where your ideas can fit in—a proving ground for your philosophy and theoretical framework as an architect. You practice based on someone else’s skills and matured learning. That’s how we started. I had a partner 25 years older than me, and we worked together for nearly five years. Eventually, I realized I had too many different ideas that the studio couldn’t accommodate, and it wasn’t the direction the studio would have grown in. Reluctantly, I started Architecture Discipline. Our space has great energy and a very optimistic vibe. It doesn’t feel like you’re in Delhi. It’s actually difficult to photograph, as are most of our projects. You sense something behind you even when looking forward, which is a conscious part of how we compose our projects. We feel the space more than we see it. Our studio continues to grow, not just with people but also through the projects we produce.
Each project has a material and physical history that requires space and study. Our material library and documentation library grow accordingly. I’ve always believed people should have a lot of space when they work. You should be able to open your arms and work on your drawing board instead of a small screen. In our studio, we work on the size of our sheets, not on tiny windows of drawings. As our team grows, we need more space, and our next space is three times the size. The one after that, already in progress, will be three times larger still. This space is for the mind, not the body, to think larger and clearer.
When are you shifting to your new studio?
The shift has been a work in progress for a couple of weeks now. We should be in the new space in the next couple of weeks.
That apart you have yet another studio coming up…
That’s about a year away. We’ve been fortunate since we started in 2007-2008. We’ve always been busy. Even when we’re not busy, we’re doing something. I haven’t had a time in the last 15 years where I didn’t have something to do. I said recently that it’s been 17 years since I got bored, and I really want to get bored again. Creating bigger studios is partly to find that time and opportunity to get bored.
How do you relax?
I don’t find work stressful; I enjoy what I do. Being on the drawing board is cathartic to me, as is playing the guitar. Sitting in the studio or at home alone is also cathartic. I’m only stressed when something goes wrong because I take personal responsibility. Otherwise, I’m never stressed.
Where are your collections of guitars?
Some used to be here, but now everything is consolidated into one space at home to give them the attention and care they deserve. Eventually, I might let others enjoy them. At the moment, they’re at home and with a few friends across the country.
When you were 29, that was a very significant year because you worked on some notable projects. Could you tell us about your first project and the Bangalore project?
It’s all about the approach. My approach was never about doing anything; it was about ensuring what we do is significant. There are certain projects that challenge you and test your mettle. The first project we did, about a year after establishing the studio, was the Mana project at Ranakpur, a hotel on about seven acres of land. It took us 30 months to build, from design to completion, and it covered nearly 200,000 square feet.
This project was more about resource optimization and site utilization rather than creating a typical palace or Haveli in Rajasthan. Around the same time, we were commissioned for three other projects of similar scale. We also participated in and won an invited competition against a few international firms. This led to the Discovery Center project, where we began by master planning a city and creating spaces that contribute to the urban fabric. The architectural expression of the Ranakpur project and the Discovery Center was rooted in British hightech principles, focusing on building physics and longevity.
Do you still do a mix of large and small projects?
Yes, always. We handle a mix of projects, including master plans, retail, adaptive reuse, regeneration, and new builds. Recently, we’ve started doing dwelling units in the city. We engage in projects where we believe we have a point of view. When we have nothing to contribute, we don’t force it. We continue to do hotels and small retail projects. The smallest project we did was a 100-square-foot bespoke stationery store called the Paper Store in 2015. These smaller projects are quick tests of physical existence and serve as important checkpoints for us, even though they are not our fundamental work.
Is there any project you’re currently working on that you would like to talk about?
We’re working on one of the first reforestation and rewilding projects in the country, which involves plants, animals, and a few people cohabitating. This project has been ongoing for nearly two years and will take another two years to reach a significant state of completion. Additionally, there’s a project next to a monument that received DUAC clearance a few months ago and is now in planning permission. This large build in the precinct of a monument has been a rewarding experience for the studio, especially going through the process of presenting to the DUAC and ASI.
What has been one of the most challenging projects for your studio, and how did you manage to complete it?
One of the biggest challenges was the Make in India project in 2015, where we did 20,000 square feet in nine days. This project based in Hannover, Messe had to comply with Indian, German, and Swiss regulations, and we managed to achieve it with a tight team and 22 sleepless nights.
That’s when we were commissioned, just 24 days before the inauguration of the pavilion. Sometimes in life, you just can’t say no. You don’t have an option, and it has to be done. That’s our attitude for most of our work—whatever it takes. We’re architects, but if needed, we’ll become stonemasons on-site.
You have nearly two decades of experience. What message would you like to give, especially to the young architects?I don’t think I can give a specific message to the young ones. People gather the messages they want on their own. It’s hard to believe we’ve been doing this for nearly 20 years. Recently, during a studio walkabout, I realized that some pieces we designed still work and look good today. The only advice I can give is to do whatever you have to do with absolute honesty, intensity, and integrity. Your contribution as a designer will be tested well after your time. The practice of architecture should not be overtaken by the business of architecture.
How do you think architects can contribute to the city and the world around them?
In India, we’ve been building prolifically for the last 25 years, yet our cities are in the state they are. If we don’t build consciously and for the right reasons, we’re staring down the barrel of a gun. This isn’t just about climate change; it’s about our built environment. A terrible built environment creates anxiety, frustration, and ill health. Of the hundred most polluted cities in the world, 83 are in this part of the world, and the top nine are from India. Delhi has terrible air and traffic, and we’re on the verge of a serious water crisis. Bangalore has a water crisis and terrible traffic, and this has happened over the last 20 years. Bombay has terrible traffic and drainage, leading to annual floods. We need to turn this around quickly because the pace at which humanity is moving towards cities will only worsen the problem.
What is your book “Emotion and Commotion” about?
It started as an activity with an artist working with us, creating vector diagrams derived from technical CAD files of our projects without ever seeing images of our work. These diagrams became posters, and after the pandemic, we used this content to create a series of posters superimposed with statements I often make in the studio. These hundred-odd documents eventually became this book, which you’re free to tear, burn, or do anything you want with. There are a number of quotes in the book, here’s one “I don’t believe the good old days were as good as they were made out to be. The future doesn’t promise to be that grand either. But we have no option but to try and improve the world by doing new things.” This is more akin to values which guide our studio: keep doing new things and improve upon what you’ve done before. Timelessness begins today, not what existed yesterday. Your contributions to the built environment must have longevity and relevance for a multitude of reasons over the next few decades.