Foreign Architects in India

The profession and practise of architecture in India has undergone a complete transformation in this decade. The last eight years have been a boom time, not seen since the heady days of Post Indipendance India.

The booming economy and the burgeoning middle class has prompted developers to bring in foreign architects with foreign fees to design everything from airports to residential and office towers and bungalows and resorts.

Foreign architects bring in the tried and tested processes and function precision to bring about a complete turnaround in the way projects are designed and built. They pair up with Indian firms who have the expertise on the ground to get things done and built.

Foreign architects for the most part are bringing in foreign solutions and design principles which may not all work in India, but the public does not think a second before lapping it all up. We are literally bringing New York, Chicago, Tokyo or Shanghai to Bombay, Delhi, Calcutta, Madras and countless other towns and cities.

Only time will tell if this is successful in the long term. India is not the only place in the world where this is happening. China is way ahead of us in transplanting urban fabric from the West into their cities.

The TOI has an interesting article about the whole phenomenon of foreign architects coming to India.

" Time was when there was only the occasional eruption of concrete. Today, India’s skyline is a work in progress. But while the towering new skyscrapers, sprawling IT parks, glitzy airports and swanky townships reflect desi aspirations, the blueprint, more often than not, is foreign.

Be it a slum redevelopment project in congested Mumbai or Kolkata’s new museum of modern art, the global imprint on the country’s fast-changing urban landscape is evident. Made in India but designed by a clutch of foreign architects looking to cash in on the country’s real estate boom. For Edinburgh-based RMJM, the company behind the distinctive Scottish Parliament, a foray into India four years ago has translated into business of £1 billion. That, the company says, is unprecedented for a UK architecture firm doing business in India. “There’s a cue here for UK business — we need to be in India in a very big way,” says RMJM CEO Peter Morrison. RMJM, which currently has 38 projects under way in India, is now looking to establish a permanent base in Mumbai.

Many others have taken the cue. Celebrated British architect Lord Norman Foster, who shaped London’s skyline with buildings such as the Gherkin and designed the Reichstag in Berlin, has entered India in a tie-up with a Mumbai real estate firm, the Neptune group. Other big UK names in India are Laing O’Rourke, Davis Langdon and Mott MacDonald. Not just UK, firms from Canada (Arcop) to Australia (Omiros One) have designs on India.

But does India really need foreign architects or is it just about getting a brand on the brochure? Most builders agree it’s as much about star power as it is about international quality. After all, well-heeled buyers respond to designers with international reputations as much as they respond to a luxury label like Gucci or Prada. “When people purchase an expensive apartment, a famous architect is extra validation they’re making a good choice,” says Kunal Banerji of Ansal API which signed up US firm Chelsea West to design Manhattan-style condos at its Aquapolis project in Ghaziabad.

The Mahindra group’s real estate arm Mahindra Lifespaces, which has roped in US-based architect and design firm HOK (of Dubai marina fame), says their reasons go much beyond the brand. “The selection of an international architect or planner is driven by the unique needs of the project. For instance, the 325-acre Mahindra World City project is one of the largest such developments under implementation and to that extent the width and depth of on-ground implementation experience is currently available only with international firms who have conceived and implemented such projects in different parts of the world,” says Anita Arjundas, COO of Mahindra Lifespaces.

Size does matter and with Indian developers going beyond stand-alone commercial blocks and residences to converting huge swathes of land into townships and IT parks, a ‘foreign hand’ does come in handy. “Foreign firms can visualise and handle massive scale. Also, their designs are very innovative. They create landmarks and not just buildings,” says Shantanu Malik, DGM-Architect, Unitech Ltd.

It’s a win-win for Indian architects as well. “Working with foreign firms gives us exposure to international standards. There is a lot to learn from their use of detailing and modern materials,” adds Malik.

Unitech often hires multiple design firms for a single project. For instance, it has 10 global architecture and design consultants for the $3 billion Unitech Grande, a super-luxury residential complex spread over 347 acres along the Noida expressway. This project draws on the expertise of US-based mall designer Callison, landscape artists SWA and EDAW, Britain’s RMJM for architecture and interiors and HOK for floor plans, besides a course designed by Australian golfer Greg Norman.

With so much demand, it isn’t surprising that Mark Igou, director in the US architectural firm Skidmore, Owings and Merrill Llp (SOM), has been shuttling between New York and India over the last three years. “I spend more than three months a year in India, familiarising myself with the ground situation.” And ground reality is what SOM — the firm which has designed the Burj Dubai, which will be the world’s tallest skyscraper when it is finished in 2009 — is faced with in Mumbai where it is designing homes for slum dwellers in Mumbai’s Santa Cruz as part of a masterplan for Unitech. “It’s a unique design challenge — recreating the same sense of community that exists in their current housing so that people don’t want to return to the slums they left,” says Igou. SOM is also using the services of sociologists and cultural anthropologists to get a sense of the social and cultural aspects of the lives of those being rehabilitated.

Whether it’s slum housing or a swanky township, India is essential to the design inputs. “Education and social interaction are both important to Indians so our designs will reflect these needs. So residential units would have schools nearby and public spaces for people to interact,” he says. Besides projects like the Jet Airways headquarters in Mumbai, SOM is also working in Tier-II cities like Ahmedabad and Nagpur.

Be it the Indian ethos or the vagaries of its climate, Uruguayan architect Carlos Ott keeps it in mind when he is on the drawing board. Ott, who has designed a technopark for Tata Consultancy Services at Siruseri, Chennai, in association with countryman Carlos Ponce de Leon, says, “I am constantly studying the history and traditions of India, hoping to integrate some of its characteristics in my buildings. And though my work is definitely contemporary, the clues from the past are integrated in a modern vocabulary.”

Ott is building on the work that earlier foreign architects have done in India. Apart from Lutyens and Le Corbusier, several other international architects have showcased their designs in India. Ahmedabad’s Indian Institute of Management reflects Louis Kahn’s trademark style of veering towards monolithic masses resembling ancient ruins. Christopher Charles Benninger designed the Mahindra United World College of India, near Pune. British-born Laurie Baker planned the Fishermen’s Village in Poonthura in Kerala, while American Joseph Stein gave shape to Delhi’s India International Centre.

Now, a new generation of foreign architects has designs on India. And their glittering computer-generated images look set to redefine the country’s skyline. "

TOP CONSTRUCTION COMPANIES of the World:

Following is the List of Best & top Architectural Companies in the World.

• VINCI is No.1 Construction Company of FRANCE and the WORLD
• BECHTEL is No.1 Construction Company of the U.S.
• HOCHTIEF is No.1 Construction Company of GERMANY
• CCCC Ltd is No.1 Construction Company of PRC
• ACS is No.1 Construction Group of SPAIN
• SKANSKA is No.1 Construction Company of SWEDEN
• TAISEI is No.1 Construction Company of JAPAN
• SAIPEM is No.1 Construction Company of ITALY
• STRABAG is No.1 Construction Group of AUSTRIA
• BALFOUR BEATTY is No.1 Construction Company in the U.K.
• ROYAL BAM GROUP is No.1 Construction Group of NETHERLANDS
• LEIGHTON is No.1 Construction Group in AUSTRALIA
• AKER SOLUTIONS is No.1 Construction Company in NORWAY
• ENKA is No.1 Construction Company of TURKEY
• SNC-LAVALIN is No.1 Construction Company of CANADA
• HYUNDAI E&C is No.1 Construction Group in S.KOREA
• LARSEN&TOUBRO is No.1 Construction Group of INDIA
• YIT is No.1 Construction Company of FINLAND
• ODEBRECHT is No.1 Construction Company of BRAZIL
• CCC is No.1 Construction Company of the MIDDLE-EAST
• ORASCOM is No.1 Construction Group in EGYPT
• MURRAY&ROBERTS is No.1 of S.AFRICA
• ELLAKTOR is No.1 Construction Group of GREECE
• MTHOJGAARD is No.1 Construction Company of DENMARK
• SHIKUN & BINUI ARISON Group is No.1 in ISRAEL
• BUDIMEX is No.1 Construction Group in POLAND
• JULIUS BERGER is No.1 Construction Company in NIGERIA
• GRANIT is No.1 Construction Company of MACEDONIA

The list is not any order.

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Frank Lloyd Wright-A Man Far Ahead of His Time

Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer and educator, who designed more than 1,000 projects, which resulted in more than 500 completed works. Wright promoted organic architecture (exemplified by Fallingwater), was a leader of the Prairie School movement of architecture (exemplified by the Robie House, the Westcott House, and the Darwin D. Martin House), and developed the concept of the Usonian home (exemplified by the Rosenbaum House). His work includes original and innovative examples of many different building types, including offices, churches, schools, skyscrapers, hotels, and museums. Wright also often designed many of the interior elements of his buildings, such as the furniture and stained glass.



Wright authored 20 books and many articles, and was a popular lecturer in the United States and in Europe. His colorful personal life often made headlines, most notably for the 1914 fire and murders at his Taliesin studio.



Already well-known during his lifetime, Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time".



His work includes original and innovative examples of many different building types such as offices, churches, schools, hotels, and museums. He was the architect of the Imperial Hotel in Tokyo, Japan and spent almost three full years in Tokyo between 1917 and 1922 to design the hotel. During this time, he acquired thousands of woodblock prints for himself and other prominent American collectors. In his later years, he sold these woodblock prints to support himself financially.



Frank Lloyd Wright was born in the farming town of Richland Center, Wisconsin in 1867. He changed his name from Frank Lincoln Wright to Frank Lloyd Wright after his parents' divorce in 1881 when he was 14 years old, to honor his mother's Welsh family, the Lloyd Joneses. Prior to his parents' divorce, Anna, his mother, had been unhappy for some time with his father, William's inability to provide for his family. After the divorce, Frank assumed financial responsibility for his mother and two sisters as the only male left in the family.



Interest in Japanese Art
Wright attended a high school in Madison, Wisconsin but there is no evidence he ever graduated. He was admitted to the University of Wisconsin at Madison as a special student in 1886. He took classes part time and in 1887, he left the school without taking a degree, although he was granted an honorary Doctorate of Fine Arts from the University in 1955. He moved to Chicago and joined an architectural firm of Joseph Lyman Silsbee in 1887. While working for Silsbee, Wright meets Silsbee's cousin, Ernest Francisco Fenellosa, who happened to be America's foremost expert on Japanese art. Fenellosa stayed with Silsbee on his visits and at one meeting, Wright was shown the Japanese woodblock prints which Fenellosa had brought with him. Wright later recalls that "when I saw the fine prints, it was an intoxicating thing". Seeing these prints sparked an interest in Wright on Japanese art and architecture. What especially interested him was harmony with nature, simplification, honest use of materials and minimal decoration.



As background information, Japan had been closed to foreigners for more than two centuries beginning in the 1630s; this foreign policy remained in effect until the arrival of Commodore Matthew C. Perry in 1853. This led to the opening of Japanese ports to foreign trade and the artistic benefits which came from it were to be seen almost immediately in Europe. By the 1870s, there was a steady flow of Japanese art and artifacts to Europe, particularly France. The Japanese woodblock prints, or the "uki-yo-e" (meaning "pictures of the floating world") especially inspired the leading artists of the time, such as Manet, Degas, Gauguin, and Van Gogh. What was happening in Europe, particularly France, eventually made its way to America. In America, at this early stage, until the 1876 Philadelphia Centennial Exposition, interest in Japanese art was confined to a few artists and collectors in the major cities.

Wright's first direct experience of Japanese architecture came at the World's Colombian Exposition held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World. Carpenters from Japan were sent to reconstruct a replica of Ho-o-den, a residential temple complex which had been the private home of the imperial regent Yorimichi Fujiwara (990-1074). It was the merging of religious and domestic forms in the building that appears to have made a lasting impression on Wright.

Wright's architecture was influenced by the Japanese concept of architectural space where "space was one of total flexibility. The ceiling,columns, and floor were the only fixed structural members of a building: what little there was in the way of furniture was easily movable and rooms could be completely changed by addition or removal of screens and doors and the temporary placement of appropriate objects, as the occasion demanded". (from Margo Stipe, "Frank Lloyd Wright and the Inspiration of Japan",p.6)

Similarly, Wright's houses rejected the idea of the house as a large box which contains smaller boxes and introduced the idea of continuous space. He was one of the first architect to introduce this concept.

Visit to Japan
Wright visited Japan for the first time in 1905. By that time, Wright had undoubtedly become familiar with Fenellosa's ideas on Japanese art and how its aesthetic principles could be applied to architecture. Apparently, not much is known about his three month stay in Japan in 1905. He stayed in various cities, including Shikoku, Nagoya and Kyoto. When Wright sailed back to America, he took back a head full of architectural ideas and boxes of woodblock prints, several hundred by the artist Hiroshige alone. Hiroshige was one of the most famous woodblock print artist of his time.

Personal Life:

While Wright was still married to his first wife, he began an affair with Maymah Cheney, the wife of Edwin Cheney for whom Wright designed a house. In 1909, Wright abandoned his first wife and six children and left for Europe with Maymah. They stayed mainly in Italy and upon his return to the States a year later, Wright began constructing his home called "Taliesin" in Spring Green, Wisconsin. The term "Taliesin" in Welsh means "shining brow".

The Imperial Hotel

In 1913, Wright and Maymah Cheney, his mistress, visited Japan. Wright asserted that the trip was the invitation of the Emperor, but the real purpose of the trip was to purchase Japanese prints for re-sale to American collectors. During the course of the visit, Wright was contacted by the representatives of the Emperor who informed him of of the Court's wish to replace the old Imperial Hotel in Tokyo built in the 19th century by German investors with a new, deluxe building which would attract foreign visitors to the city. The commission was important to Wright because it gave him the opportunity to design on a grand scale, something which had been denied to him until then.

The following year in 1914, the fire at Taliesin devastated Wright's blossoming professional and personal life. While Wright was away in Chicago, one of the servants set fire to the house and killed Maymah and her two children. After this tragedy, he started a self destructive relationship with Miriam Noel, who took drugs and was emotionally unstable.What saved him was the commission to design the Imperial Hotel in Tokyo, which became official in 1916. Wright came to Tokyo in 1917 with Miriam. Until 1922, Wright basically lived in Tokyo with occasional trips home.

Wright's version of the Imperial Hotel was designed in the "Maya Revival Style" of architecture. It incorporates a tall, pyramid-like structure and also loosely copies Maya motifs in its decorations. The main building materials are poured concrete and concrete block, and it was completed in 1923.

In the same year, the Kanto Great Earthquake struck Tokyo and the surrounding area. The earthquake measured a magnitude of 7.9.

A telegram reported the following:

Hotel stands undamaged as monument to your genius. Congratulations.

In reality, the building had damage; the central section slumped, several floors bulged, and four pieces of stonework fell to the ground. The major damage was on the foundation. The foundation was an inadequate support and did nothing to prevent the building from sinking into the mud to such an extent that it had to be demolished decades later. But most importantly, despite the damage, the hotel remained standing.

In 1968, more than 40 years after it was built, the facade and pool were removed to the museum called Meiji Mura, a collection of buildings mostly from the Meiji Era located near Nagoya. The rest of the structure was demolished to make way for a new hotel on the site.



Later Years
Wright began collecting Japanese woodblock prints when he first visited Japan in 1905. He became an active dealer in these prints and frequently served as both architect and art dealer to the same clients after he returned to the U.S. For many years, Wright was a major presence in the Japanese art world, selling a great number of works to prominent collectors.







His last visit to Japan was in 1922, the year before the earthquake. He was unable to buy more prints during his visit so presumably, he bought prints off one collector and sold it to another when he returned to the U.S. Wright, however, had the tendency to live beyond his means and this led to great financial trouble for him. He was forced to sell off much of his art collection in 1927 to pay off outstanding debts. The Bank of Wisconsin claimed his Taliesin Home the following year. Wright continued to collect and deal in Japanese woodblock prints until his death in 1959. The sale of these prints saved him financially throughout his life. Wright's life work was architecture, but dealing in these prints paid Wright's bills. That aside, he is still regarded as one of the greatest architects of the 20th century.