Can you tell us a little about yourself?
I am a Mumbai based architect, graduated from Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies, Mumbai, INDIA. After my graduation I worked with K.S.A Architects and planners which is an interior and architecture firm in Mumbai where I learned more about materials, detailing and work on site.
Following that, I interned with Junya ishigami + associates in Japan; where I explored traditional and modern side of Japanese art and architecture. As a child I would draw, since I was obsessed with my Uncle’s drawings and paintings on a bigger canvas. This activity later grew as a passion which resulted in the choice of career. As an Architect through my practice I would like to work and experiment with different layers of the craft through various mediums.
What inspired you to enter the Notre-Dame design competition?
Curiosity towards preserving the old and to amalgamate it with new dimensions of time, (like a moss growing on a brick with time making its own way to breathe); this inspired me to enter the competition. I feel that it’s a crucial time as architects to express various dimensions through design experiments to deal with questions like: where do we go from here? What would be the future? Is transition an answer? And if yes (for the transition) then to what extent should we apply it?
Questioning identity, space and stories integrated into one, do we juxtapose new ideas forgetting the old, or we hold it back together as it was with new “stiffeners“ , further harmonizing it.
How does your design celebrate the past and future of Notre-Dame?
The skeleton-Skin to Notre- Dame Cathedral intervention is an attempt to explore the second skin (which is derived from the cathartic expressions of Cathedral’s key elements: The buttress, gargoyle and stained glass) through an apparatus that plays with light surrounding it. This skin (imbibing the traditional gothic elements) intends in reinforcing cathedral while preserving the Gothic charm and letting the public circulation percolate through spaces it otherwise wouldn’t intervene.
It also questions the boundaries of a Heritage building and its engagement with public; since the cathedral is both rich in terms of a spatial experience and a work of art; so where do we draw that line and could the line itself be a space and are these spaces of any relevance?