Could you share with us a bit about your journey into architecture? What inspired you to pursue this field?
Destiny brought me to architecture. It was as if some buildings were waiting to be designed by me. I wanted to become a psephologist and had gained admission to Hindu College, Delhi, for a degree in Statistics. After studying for 15 days, my professor asked me to get a migration certificate from my school. When I reached the school, a friend who had filled out my form for CCA, where I got admission, convinced me to join in Chandigarh instead.
In 1980, architecture was not such a lucrative profession. I returned to Delhi to rejoin Hindu College, but the principal didn’t take me back. He said, “This girl left my prestigious college, which is known for grooming prime ministers, for a small architecture college in a village.”
That’s how I ended up back in Chandigarh. But once I started my practice, it was a U-turn. Architecture became my passion. The feeling I get when my project takes shape cannot be described. Now I say, “Creativity is my staple food.”
Can you walk us through your typical design process, from concept to completion? How do you ensure that your vision aligns with the client’s needs and expectations?
Before I start any design, I familiarise myself with the background of my client and the purpose of the building. I strive to arrive at a unique concept most suited for the design. Once the concept is established, every detail and drawing flows smoothly from it. This initial phase is all about working with my heart.
Next comes working with my brain. I conduct a SWOT analysis, review the by laws, and consider any limitations. This stage involves creating drawings and 3D walkthroughs. Throughout this process, I ensure that the basic essence of the concept is not lost. During the specifications and estimation stage, I review the 3D models to maintain the integrity of the theme.
For example, while designing the Banda Bahadur War Memorial, we redid the walkthrough to ensure that the victory tower was fully reflected in the water body. Sometimes, clients may not initially understand a new design because it is unlike anything they have seen before. In such cases, I reassure them to have confidence in me and that I will deliver the best.
With 39 years of experience, what are the key lessons you’ve learned throughout your career as an architect?
Believe in your design; don’t get discouraged when someone suggests changes. Every human being has the desire to be creative, but only the blessed and gifted get to pursue this divine profession.
When I designed LIG housing for HBH and created socially interactive spaces, the executive engineer asked me to change the design, fearing these houses wouldn’t sell. Despite his concerns, the project earned me my first national award in 1999. Today, these houses are being resold at an exponential premium — selling for 70 lakhs each, compared to the Rs 80,000 at which we initially delivered them.
Your work is often described as experiential and narrative. Could you elaborate on what this means to you in the context of your work? How do you approach the balance between creativity and practicality in your designs?
I see architecture as akin to scriptwriting, where the success of a building depends on how well the historical background or client aspirations are narrated. For instance, at the Banda Bahadur Memorial, hearing the local sarpanch describe how Banda Bahadur strategically used the terrain inspired me deeply. Standing on the site, I envisioned the entire complex coming alive before it was even sketched on paper.
The land itself was where the Battle of Chapparchiri had taken place in 1710, with ‘Chappar’ referring to a pond, ‘Chiri’ to tall bushes, and ‘Tibbas’ to mounds. Banda Bahadur’s foresight led him to use these natural features cleverly in guerrilla warfare, utilising the ponds and mounds for defence against enemy cannonballs. Recreating this landscape from 1710, with domed buildings representing mounds and statues symbolising generals, was essential. The 328 ft tall Victory Tower offers visitors a three-level journey to experience the victory.
In contemporary architecture, like at the Forest Complex in Mohali, I designed spaces that reflect organic shapes and natural motifs. The aerial view resembles a tortoise, while the elevation mimics organic tree forms. Upon entering, visitors encounter an 80 ft diameter water body and a 50 ft high waterfall. Whether walking horizontally through corridors or vertically in glass lifts, they immerse themselves in the tropical rainforest experience.
Are there any particular architects or architectural movements that have influenced your style?
Zaha Hadid’s freedom in design has been a constant inspiration to me. Her approach opens up new avenues and horizons in architecture. Just as nature doesn’t adhere to flat earth, square suns, or rectangular Jupiter, why should architecture be restricted to particular forms? I believe we are on the cusp of a new architectural movement, one that Zaha started and that is being carried forward by like-minded architects who focus on experiential and narrative design, like myself. This movement challenges conventions and embraces creativity to shape spaces that are not just functional but also deeply meaningful and engaging.
Could you tell us about one of your favourite projects where steel was a central element, and the challenges or inspirations you encountered?
We embarked on designing the auditorium for PDA in Prayagraj, facing the challenge of site changes three times. Initially, it was a standard site with a road on one side. The fourth and final site had roads on three sides, situated on a roundabout. Despite the option to retain the original design, I couldn’t satisfy my architectural instincts without fully embracing the unique site location.
I conceived a fitting concept for this Auditorium cum Convention Centre. Given the profound geographical significance of Prayagraj, where the Ganga, Yamuna, and Saraswati rivers converge, I drew inspiration from the spiritual concept of ‘moksha’, symbolised as the Kalash. Thus, I designed the building in the shape of a Kalash, with an RCC interior complemented by an exoskeletal steel structure.
Sustainability is an important aspect of modern architecture. How do you incorporate sustainable practices into your designs, especially considering steel as a material?
I have pioneered the construction of Punjab’s first green building and have completed three other buildings rated by GRIHA and IGBC. One of my notable achievements was obtaining a 4-star GRIHA rating for the CIC building at the old JNU Campus in Delhi.
Steel’s advantages are manifold: it is reusable, facilitates faster construction, and provides unparalleled design flexibility. Notably, its construction process does not require water for mixing concrete or curing, which is crucial in cities facing severe water shortages, especially during summer. This feature allows steel construction to proceed even when RCC construction may be restricted due to water scarcity concerns.
