Daily Archives: August 27, 2015

Build it like Baker

“Uncommon Sense: The Life and Architecture of Laurie Baker”, a feature film on the architect that is being made by his grandson Vineet Radhakrishnan (in picture), captures the essence of Baker, the man and his outlook.
“Uncommon Sense: The Life and Architecture of Laurie Baker”, a feature film on the architect that is being made by his grandson Vineet Radhakrishnan (in picture), captures the essence of Baker, the man and his outlook.

The trailer of Vineet Radhakrishnan’s film on his grandfather Laurie Baker gives fascinating glimpses into the celebrated architect’s work and design philosophy.

Sunlight streams in through the window in Laurence (Laurie) Wilfred Baker’s home at Nalanchira in Thiruvananthapuram. The chiaroscuro catches your attention. Baker chuckles with childlike pleasure, explaining how the grill in the window is made of recycled metal parts such as a discarded bicycle wheel and a clutch plate.

That one frame from a six-minute preview (www.lauriebaker.net) of Uncommon Sense: The Life and Architecture of Laurie Baker, a feature film on Baker that is being made by his grandson Vineet Radhakrishnan, captures the essence of Baker, the man and his outlook.

“Although there have been several articles and a few short films on my grandfather, never has a feature film been made on him. I have always felt that the long movie format was most suited to explore and understand the layered and interlinked narratives of his architectural work, his remarkable personal story, and unique life philosophy,” says Vineet in an e-mail interview. Baker lived in Thiruvananthapuram from 1970 to 2007 and drew the blueprint for a school of architecture that derived its aesthetics and inspiration from local building material and vernacular building techniques.

The main block and library of the Centre for Development Studies, designed by Laurie Baker, in Thiruvananthapuram. Photo: Special Arrangement
The main block and library of the Centre for Development Studies, designed by Laurie Baker, in Thiruvananthapuram. Photo: Special Arrangement

Vineet, who has postgraduate degrees from IIT-Delhi and INSEAD, France, says that the greatest influence in his life has been his grandfather. Vineet is a fine art and fashion photographer. The trailer of the film, released online, gives glimpses of the film — interviews with leading architects and proud owners of Baker homes, poetic shots of Baker’s buildings and, best of all, vintage shots of Baker himself talking about his philosophy and his insistence on eco-friendly architecture. The film is likely to be released in October. Excerpts from an interview:

What is the story behind the movie on one of the most important architectural inspirations in the world?

In late 2013, after completing my MBA, I did some candid introspection, and realised that if I didn’t make the film then it probably would never happen, especially since I was going back to a comfortable corporate job. So I gave up the job, and started planning the film. I have been a professional photographer for several years, so many skills translated to film shooting and I ended up, partly out of necessity, becoming not just the director but also the cinematographer and shooting all of the footage, with a friend assisting at times. We spent the next year travelling across India, re-discovering and filming Baker buildings and interviewing a variety of people who knew him in one way or the other.

What is it that you plan to cover in the film — Baker the man or Baker the architect ?

Laurie Baker’s architecture exists because of Laurie Baker the man, and because of his rather particular ideals, motivations and approach to life, his environment and to his fellow human beings. So I don’t think it’s possible to separate the two. The movie will let the common man who appreciates Baker the man, understand the beauty of his architecture better and also let the architectural student or practitioner who understands the technical building aspects see why Baker built the way he did, what he built, and equally importantly why he chose to forgo the projects he did.

How best do you plan to capture his ‘small is beautiful’ philosophy and drive for sustainability?

I feel Baker’s life itself is the most powerful illustration of these ideas, because he put into practice all of these concepts, every time he designed or constructed a building whether it was his own house, a house for a fisherman, a relatively more affluent client or a large institutional building. If we have captured his life well in the film, the message should be quite apparent.

What is the most important thing you learned from your grandfather and what is the feature in his buildings that really captures Baker’s aesthetics best?

Never did I feel that it was a strain for him or my grandmother to live the life they did, or make the unconventional choices they did. Fame, money, and social conventions did not matter. I admire them most for the courage of their convictions. His sense of proportion and balance, always avoiding cluttered façades and over-design, reflects his attitude to life.

What is the best way to continue his legacy of sustainable architecture and how can his buildings be preserved for posterity?

Rather than preserving his buildings for posterity, I believe, the attempt (an approach he would have liked) should be to preserve his questioning conscience: to not accept ways of doing things just because everyone says that’s how it is done and to respect nature and stand up against wastefulness and deceit.

source: http://www.thehindu.com / The Hindu / Home> National / by Saraswathy Nagarajan / August 27th, 2015

Athachamayam, exquisite offspring of a rich culture

The myth of Mahabali might be as old and surreal as the God’s own country itself but the zeal and enthusiasm for celebrating Onam has remained the same over the years.

The Athachamayam can be regarded as a harbinger for the ten-day festival of Onam; an indicator of the visual treat that is in store for the Malayali. Athachamayam, a festival originating from the royal corridors of Thrippunithura, is the pride of Kochi, a true reflection of the bygone era of the King’s reign and the society’s receptiveness towards people of various backgrounds, irrespective of caste and creed.

What is Athachamayam…

The story behind Athachamayam reminds you of a fairytale. The glorious festival was officially conducted annually at Thrippunithura, setting the mood for the Onam celebrations. The subjects waited in awe to get a glimpse of their King who would arrive with pride and in full royal regalia on the day of Athachamayam. Onam being a festival of unity, the King’s procession brought the subjects together at one place, which resulted in a gala affair, embellished with colours and folk art forms. As was the custom, at the outset, the Maharaja of Kochi performed special poojas at the Thrikkakara Vamanamoorthy Temple on the day of Atham. The march was flagged off from Thrippunithura to the Vamana Temple at Thrikkakara.

Sasi Vellakkat, councilor, who is one of the organisers of this year’s Athachamayam, recalls how athachamayam was celebrated in the erstwhile Kochi. “The celebrations commenced with Kochi Raja, heading the procession from Kunnumel Kottaram, as the Hill Palace was earlier known as. The royal procession then headed to Thrikkakara temple.” The procession thus had Nettoor Thangal to represent the Muslim community, Karingachira Kathanar, as a representative of the Christian community and Chembil Arayan as a member of the fisherfolk, Sasi adds.

With the merger of the Kochi State to the Indian union, the King’s title, splendour and rule became things of past, and so did the celebrations for some time. It is presumed that the last time the King made his presence felt was during the reign of Rama Varma Pareekshith Thampuran.

Athachamayam reborn… However, the Thrippuni-thura Municipality took charge of the carnival in the year 1985 and the Athachamayam soon rose like a phoenix, without losing any of its initial charm. Floats of various hues and embellished elephants became part of the parade, with the inclusion of various folk art forms such as Theyyam, Kummatti, Kolkali, Mayilattom, Karakattom, Kummi, Poykal, Ammankudam, Puli Kali, Kathakali, Aattakavadi, besides Panjavadyam and Chendamelam. Floats depicting various sequences from the epics such as Mahabharatha and Ramayana add colour to the atmosphere, in addition to providing an authentic picture of how Athachamayam was envisioned in the yesteryears. On the day of Atham, the streets of Thrippunithura are adorned with conical shaped clay mounds, decorated with flowers. They represent Mahabali and Vishnu and is popularly called as Thrikkakara Appan.

Athachamayam this year.. Sasi feels elated every time he becomes part of the team and says, “We have incorporated folklore and traditional artforms from Kasargod to Palakkad, such as Puli Kali from Thrissur, Theyyam from Malabar, and tribal dance from Kasargod, among many others.” Apart from this, tableaus and around 100 different cultural shows will be brought forth by school students. As per the organisers, a representative from the royal family will receive the Atham flag on Tuesday, following which there would be a small procession. The flag will be hoisted by the Governor at the Government Boys’ High School Ground at 9 am on Wednesday. On the day of Uthradam on August 27, the flag will be lowered. The flag will then be given to Thrikkakara Muncipal Chairman, where they will be hoisting the flag again, which is symbolic of the fact that they can start the Onam celebrations in Thrikkakara.

Athachamayam 2015 Traditional artforms from Kasargod to Palakkad such as Puli Kali from Thrissur, Theyyam from Malabar and tribal dance from Kasargod Around 100 cultural shows and performing arts by schools students

source: http://www.timesofindia.indiatimes.com / The Times of India / News Home> Kochi / by Deepika Jayaram, TNN / August 21st, 2015

Wonder Woman’s Ball Game

Vinaya (left) with women of Wings | Ratheesh Sundaram
Vinaya (left) with women of Wings | Ratheesh Sundaram

In conservative Kerala, where women rarely venture out of their homes after dusk, there is a slow wind of change. Housewives and working women in the age group of 25-65 can be seen playing volleyball in Thrissur district. They are largely from the middle-class and lower middle-class strata and till a year ago, were least interested in sports. For them  now, sports has not been simply been a life changer but has become a tool for empowerment. It has literally given them wings.

They are part of Women’s Integration and Growth through Sports (Wings), a venture by Vinaya, a senior civil police officer at the Police Academy in Thrissur. Started a year ago, Wings has more than 300 members with around 12 A teams and three B teams in Thrissur district. Two weeks ago Wings launched three teams in Palakkad.

She says that women are often excluded from many events and places due to gender disparity. “In Kerela, women often have no business entering public places like playgrounds or take active part in festivals like Thrissur Pooram. They are often totally excluded or sidelined from such activities and places, which are men’s fiefdoms promoting male camaraderie. I found this very disturbing and was determined to change it. During the football world cup or cricket world cup matches, the whole world will be rejoicing but women are totally excluded from the festivities and sometimes even ridiculed if they show interest in the games. This had to change. Wings is my way of making a change,” says the 44-year-old.

Vinaya explains that while playing volleyball, a player runs, jumps and shouts. It improves a person’s physical and mental health and increases self-confidence, gradually changing one’s attitude and outlook. “Most of these women have never done anything like this before. It has brought about a great change in them physically, mentally and socially,” says Vinaya.

The players agree. Asha Devi, a 40-year-old housewife who plays for the Kuttimukku team and is the secretary of Wings says, “Our attitude towards life changed since we started playing. We have realised the importance of maintaining our health. Once you join the team, you make so many friends and just talking and laughing with them can be a great stress buster. We don’t use our surnames these days but introduce ourselves by our first names. We have realised that there is no need to introduce ourselves by our husband’s names when we have an independent identity.” Pappa, a 34-year-old staff nurse who plays for the Police Academy team adds, “The game has positively influenced our lives, our health and physical fitness.”

Wings’ coach Ratheesh Chullikkad says that most of them are ordinary women from interior areas like Anappara, Peringottukkara, Puthur, Cheroovazhi and Vallissery whom Vinaya has recruited from roadsides or through neighbourhood groups. “Today they participate in all our activities. Besides playing tournaments, we organise blood donation camps, quiz competitions and treks.”

Wings will start teams in every district in another year. “Life is not a four-line book where you write abiding by all the rules. Women have to think differently and fight for their space in life. Being part of a sisterhood like this makes it easier to fight life’s battles,” says Vinaya.

source: http://www.newindianexpress.com / The New Indian Express / Home> Magazine / by Elizabeth Ninan / August 08th, 2015

Drumming their way to better life

Sinkari Melam by Kudumbasree members in Kozhikode .– Photo: S. Ramesh Kurup
Sinkari Melam by Kudumbasree members in Kozhikode .– Photo: S. Ramesh Kurup

 Women-Sinkarimelam troupes going places

Two major women’s Sinkarimelam troupes in Kozhikode district missed the Kudumbasree 17th anniversary contest as they were performing as part of Onam celebrations in Delhi and Bengaluru. Yes, these women are literally going places, thanks to an art form that has changed the course of their lives for ever.

There are 13 women-Sinkarimelam troupes in the district, eight of them under the Kudumbasree fold. All these troupes are doing quite well with at least 15 performances a month, up to 20 during peak season. Every troupe has average 20 members and they charge around Rs.15,000 inside the district. They are highly in demand not just for Onam celebrations and temple festivals, but even for shop inaugurations and weddings.

However, it was not a path of roses for them. When the Kuruvattur Community Development Society started the ‘Swaralaya’ troupe four years ago, they had to face severe criticism for trying to do something that is meant only for men. “We were accused of creating noise while practising. But the same people who criticised then are now seeking entry into the troupe,” says secretary of the troupe Ajitha Kumari.

Monsoon is an offseason for the troupes in Kerala, but they make up for it with performances in Tamil Nadu at the time. The festival season from November to May is the peak season. “We get more recognition when we go out of the State. The Kudumbasree fold has a good name across the country,” says M.K. Vanaja, leader of ‘Varna Mudra’ of Unnikulam CDS, the first troupe in the district. They have travelled across South India and to some parts of Maharashtra for their performances.

With the increase in number of troupes, the competition is intense and each troupe has a rare trick up their sleeve to impress their audience. Starting from colourful uniforms, they bring up different beats and dance steps for variety. The ‘Swaralaya’ has a troupe of young girls performing Vilakkattam while ‘Varnamudra’ has a men’s team performing Pookkavadi that performs alongside their Sinkarimelam.

“The members of our troupe are happy with the outcome. Sinkarimelam has helped us mould a life. We could settle our debts, get our homes done as well as get our children educated,” says Ajitha Kumari adding that her daughter is a B.Arch student.

source: http://www.thehindu.com / The Hindu / Home> National> Kerala / by Aabha Anoop / August 27th, 2015