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The spread of architects trained in Bombay (at the Sir J.J. School of Art) all over the Dominion and the Princely States is highlighted in an obituary in the JIIA for Robert William Cable, who was the first head of the Department of Architecture at the school. This modern organic style house designed by Judith Balis Interiors along with Tradewinds General Contracting is warm and welcoming situated on the edge of a 3.5-acre pond in Eagle, Idaho. Warmth radiates through this 3,371 square foot, three bedrooms, and three-and-a-half bathroom abode thanks to the natural, calm palette but modern, contemporary architecture. Another 50s ranch-style house, this Brentwood property underwent a complete refurbishment a decade ago courtesy of Montalba Architects. The firm stripped the structure back its original features - some, typical of mid-century bungalows - such as the exposed bricks and the beam ceiling in the living spaces.
The Emergence of Indian Modernism: Santiniketan and The Bengal School
In Bombay, this architectural movement found fertile ground, with architects drawing inspiration from the city’s vibrant culture and diverse landscape. The result is a collection of homes that seamlessly blend modern design principles with the rich tapestry of Bombay’s heritage. In particular, buildings on the three stretches of South Bombay, the Cooperage, the Phirozeshah Mehta Road and the Marine Drive (having been leased over) were rapidly being constructed. Even such public buildings as the Reserve Bank of India and the Electric House at Colaba had begun construction. The Electric House was to be “a first-class building built on modern lines with up-to-date arrangement and air conditioned throughout.” (Kapadia, 1937, p. 258) (Figure 2). These new constructions were driven both by the predominance of new building materials- cement and its offshoot technologies, as well as by the designs of the educated professional architects who oversaw them.
ARCHITECTURAL FIRMS
While the New Architecture had its unabashed supporters, it had its fair share of detractors too, both from within the community of architects and beyond. The debate for what architecture was good, appropriate and ‘Indian’ was engaged in public fora in Bombay, and within the pages of the JIIA. Kanhaiyalal Vakil was a noted journalist and a long-term well wisher of the Institute who delivered several critical lectures at their behest. In a lecture delivered before the IIA on 7th November 1935, Vakil expressed his apprehensions both for the flamboyant ‘revivals’ as well as the style moderne, which he considered was ‘borrowed’.
Exploring the Allure of Modernist Houses in Bombay
Architectural writings from the 1990s onwards have underplayed the architecture of Bombay before national statehood as somehow inferior or copied (Chatterjee, 1985; Lang, Desai, & Desai, 1997). These writings imply a hesitant kind of Modernism waiting for the arrival in India of the foreign Modern masters for legitimacy. Yet, Bombay’s Indian firms were practicing a version of international modernism two decades before India gained freedom.
These were presented as loose sheets in order that different examples of details might be compared and selections readily and easily made. It was through the works of British architects like R F Chisolm, John Begg and George Wittet that this style found its way to Bombay. The urban development of Bombay as a capitalist port city, was a result of the distinct location of the western Indian Colony. Sociologically, the early Victorian Bombay emerged as a capitalist city with class differentiation determining the spatial pattern of the city. The colonial / indigenous spatial dualism was just an outcome of this urban sociological pattern.
Modernist houses hold significant importance in Bombay’s architectural landscape for several reasons. Firstly, they represent a departure from traditional architectural styles, reflecting a shift towards functionalism, simplicity, and innovation. In a city known for its rich cultural heritage and bustling urban environment, modernist houses provide a refreshing contrast with their clean lines, open spaces, and integration with nature. Additionally, these houses serve as a testament to the vision and creativity of the architects who designed them, showcasing their ability to adapt to the evolving needs of society while preserving the essence of Bombay’s architectural identity.
This 5000-square-foot Vastu home in Mumbai is fluent in modern minimalism - Architectural Digest India
This 5000-square-foot Vastu home in Mumbai is fluent in modern minimalism.
Posted: Mon, 05 Feb 2024 08:00:00 GMT [source]
Regal Cinema
Lambah restored the original chandeliers in the entrance foyer on the ground floor, which once belonged to David Sassoon and hung in his house, Sans Souci. Walls were covered with bevelled mirrors to increase the light inside, a distinct feature of the Opera House's old design, “Back in the day, this whole building was lit by gaslight, which had a very faint glow,” says Lambah. This was again keeping in mind the whole baroque architectural style of the Opera House.” Minton tiles were carefully restored in situ, and where missing, were replaced by similar tiles from Bharat Floorings. In a move that will warm the hearts of musicians, the size of the orchestra pit has been doubled. In response to the demolition, Docomomo US executive director Liz Waytkus told Dezeen that unprotected modernist houses in the US are at risk of demolition as the land they sit on often holds greater value than the building's architectural heritage.
The external frame allows the modestly scaled interior to be largely open plan, with high-tech details throughout. The brand’s name pays homage to the cult Italian designer Carla Venosta, who created modernist furniture and interiors in the 1970s and ’80s. Formafantasma also debuted a new series of utilitarian but delicate lights for Flos made from LED strips enclosed in thick glass panels. The year of Indian independence, 1947, also marked the formation of the Progressive Artists Group (PAG) in Bombay.
Embracing Elegance: The Modernist Houses of Bombay
“I didn’t want to hide the round pillar so I chose for it to be a centre point for the bar which is rounded around it,” she explains. Throughout this home, most of the furniture pieces have been made by Magnolia, keenly designed to reflect Gandhi’s love for transitional living. Like the living room’s ochre sofa or the daybed in a shade of tomato with quirky self-textured geometric fabric. The floor-to-ceiling windows offer charming views of the sea and skyline, practically bringing the sunset into the living room. The art, upholstery, the oakwood tones in design and even the blinds – all cherry-picked by Gandhi – make the living room her number one spot.
Gajanan B. Mhatre served as the chief architect for this firm during the early period of his career. Commissioned to build Sunshine, Oval Maidan with Mhatre, Firuz Ara, also in Oval Maidan, and Lentin Chambers, Fort. Elected as a member of the IIA in 1940, known for Kulsum Terrace and Elysium Mansion, Colaba.
It was named after the mother of a wealthy 19th-century stockbroker who funded its construction. The first of Mumbai's Art Deco style cinemas, the Regal Cinema was built during the cinema boom of the 1930s. Other cinemas that also came up during this time were Plaza Central, New Empire, Broadway, Eros, and Metro. The first film to be shown at the Regal Cinema was Laurel and Hardy's The Devil's Brother in 1933. Dhanraj Mahal is an Art Deco building, a design style that originated in Paris in the early 20th century.
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