Welcome to Samvaad, where art meets conversation, and inspiration knows no bounds. Here we engage in insightful conversations with eminent personalities from the art fraternity. Through Samvaad, Abir Pothi aims to create a platform for thought-provoking discussions, providing readers with an exclusive glimpse into the creative processes, inspirations, and experiences of these creative individuals. From curating groundbreaking exhibitions to pushing the boundaries of artistic expression, our interviews shed light on the diverse perspectives and contributions of these art luminaries. Samvaad is your ticket to connect with the visionaries who breathe life into the art world, offering unique insights and behind-the-scenes glimpses into their fascinating journeys.
Amitabh Sarma, a graduate of Sir J.J. College of Architecture, Mumbai, brings a wealth of experience to architectural design and planning, with a focus on diverse projects ranging from residential to commercial and educational ventures. Initially cultivating his skills in Mumbai on prestigious assignments such as The School of Management, IIT Powai, and projects for Rahejas, Sarma later returned to Guwahati to establish his architectural practice. Co-founding AKAR in 2002 and AKAR Foundation in 2012, he has spearheaded numerous projects across the Northeast, specialising in large-scale developments like malls, multiplexes, hotels, and corporate interiors. Beyond his professional endeavours, Sarma’s engagement as the General Secretary of The Association of Architects, Assam, underscores his commitment to advocating for urban development policies and contributing to academic institutions, reflecting his multifaceted approach to advancing architecture in the region.
Joining us for this insightful conversation is Nidheesh Tyagi from Abir Pothi, as we uncover the visionary insights driving the creative force behind Amitabh Sarma’s design landscapes.
Nidheesh: So, we come to Abir Pothi’s core interest about trying to bridge between or finding a bridge between art and architecture. You have been a painter yourself; you told me before the interview..
Amitabh: not an established one for that matter but that was just a hobby kind of thing which…
Nidheesh: But that hobby would have taken you to, you know, this trade and so. But we were talking about, so we kind of work with loads of young artists again. I mean, from regional vernacular hinterland and of this country. Most of them are young and emerging contemporary artists.
Amitabh: My Mentor was a good painter
Nidheesh: Yeah, so what I’m saying is, how do we, you know, again, the whole notion, as Ruby was saying, the whole notion is to start giving that aesthetic kind of a pleasure job experience in a real structure, and then it’s somewhere it probably, you know, gets sidelined or forgotten or dissolved by the time the execution comes. So, what can we do best to bring art to some kind of, if not in the centre of things, to some kind of importance in things we do? Because what we are talking about, bringing that iconic thing without exuberance and cost, one cool thing to do is bring lots of local artists and regional artists to kind of and bring them to these public spaces.
Amitabh: Art is something which enhances the space that we inhabit. First of all, buildings give you the requirement satisfaction of space, requirement satisfaction of habitation, and your functional needs. It can satisfy all your functional needs, yes, but art takes you beyond that.
Nidheesh: It’s both phases. I mean, even so, you know, it’s all about space and coordinates, both. Yes, art itself and the light which is falling from the window on that art, and it’s changing.
Amitabh: Absolutely, that’s what I wanted to say. When I tried to say that art can be used in a very subtle way in our design so that, as you said, by the end of the project it gets a little sidelined and it takes a different shape and things like those things will never happen because when it is integrated into the design process, it cannot go in a different direction. It has to move in the same direction. It should be an artistic experience when you visit the houses of people like MF Husain, and it is not just a painting on the wall; everything is art. I mean, even the steps are art, even the steps that you put your foot on, that’s an art.
Nidheesh: I have a friend who visited MF Husain’s London studio during my BBC days. He mentioned an interesting observation: MF Husain’s fingers were all coloured because he was constantly switching on and off the electricity buttons with his paint-covered hands. This seemingly mundane act of using the switches had transformed into a unique artefact due to his artistic touch. It’s fascinating how even functional elements like switches can become part of an artist’s creative expression.
Amitabh: And of course, the moment you mentioned that, it reminded me that digitization has brought in a different kind of art form again. Yes, so digitization, of course, again, we are not trying to resist those changes. It will bring in some changes, but then again, we have to be very careful in choosing.
Nidheesh: So, if you want to advise the next generation of people who are getting into architecture or design these days, because when you were doing it, there was just one computer and now everybody’s actually kind of carrying a computer in their hands, so what do you advise them and how what things have changed in your advisory and what things will remain the same?
Amitabh: One thing that will always remain constant is the importance of being honest in your work. Honesty is non-negotiable. Being honest means ensuring that every project you undertake is worthy of the effort and serves the needs of those you’re designing for. It’s not about creating something flashy for people to briefly admire, but about crafting spaces that truly serve and enhance people’s lives.
Architecture is inherently about people, and designing with their needs in mind should always be the priority. Whether you’re working with traditional mediums or leveraging modern technology, the focus should be on delivering solutions that genuinely address the requirements and aspirations of the community you’re serving.
In today’s digital age, where technology is at our fingertips, it’s easy to get carried away. While technology offers incredible tools for design and communication, it’s essential to remain grounded and ensure that every decision and output is thoroughly scrutinised. Rushing through processes or sending out unchecked work can have significant consequences, impacting not only the quality of the design but also the well-being of the people it’s intended for.
So, my advice to the next generation of architects and designers is twofold: prioritise integrity and honesty in your work, always striving to meet the needs of the people you’re designing for, and be vigilant and cautious in your use of technology, ensuring that it serves your design process rather than compromising it.
Nidheesh: Secondly, what advice would you give to young artists from Assam and the Northeast to become more relevant to this ecosystem? There’s a clear-cut challenge in connecting artists to this emerging booming industry.
Amitabh: The Northeast region, particularly Assam, has its own intrinsic character of art and architecture. If you look back in history, the earliest traces of architecture here date back to the early 1100s. It has a rich history, and if I were to delve deeper, there are many aspects I could discuss. As an architectural firm, our identity is deeply tied to the Ahom Kingdom, which showcased this architecture to the outside world, particularly in the early 16th and 17th centuries.
The architecture you see in Assam, particularly in Upper Assam, has been influential in motivating people across the region. The Northeast boasts a diverse range of art forms, including various tribal art forms, which we have attempted to adopt. However, due to infrastructural difficulties, we have not been able to fully explore and integrate these art forms into our designs as much as we would have liked.
For instance, if you look at the tribes of Nagaland, there are numerous tribal art forms waiting to be explored. Manipur is culturally rich, with Manipuri dance being one of the most acclaimed dance forms globally, alongside Bharatnatyam and Kathakali. Arunachal Pradesh also has fascinating tribal art forms, while Assam itself is home to hundreds of tribal groups and ethnic communities whose art forms remain largely unexplored.
There is a vast opportunity for young artists from Assam and the Northeast to delve into these rich cultural and artistic traditions. By adopting and integrating these art forms into their work, they can bring a unique and distinctive flavour to their designs. It’s about embracing the diversity of the region and drawing inspiration from its rich cultural heritage to create something truly exceptional.
Nidheesh: When you think about the next 25 years of Guwahati and India, especially focusing on non-metropolitan India, with the huge fast-growing developments, do you believe it will lean more towards global motives, or are you optimistic that it will retain some of the character of the local grain?
Amitabh: See, it is very difficult to say at this point in time because we are being constantly bombarded with ideas and thoughts which are emerging every day. People’s thoughts and ideas, especially with the built form and things like that, are changing, and we are exposed to international media to an extent that was never seen before. Every day, I get an update from the architectural design community on the projects that are happening all over the world. So, the young architects who are practising now are also exposed to this kind of development. It’s not that they are only seeing it digitally; some of them must have seen it physically as well. With this tremendous development, it is our responsibility as a community of designers, as a community of architects, to see how best we can integrate our tradition, our culture, our roots, our heritage with the technological developments that are happening around us. We must adopt those advancements, use them for the betterment of the people first, and at the same time, keep the heritage, culture, the identity of each and every region of this country intact. That is the challenge because you always get tempted to adopt modernism, you get tempted to adopt newer materials. I’ll just use a small anecdote from Prague: if you’ve seen that Dancing House from Daniel Libeskind’s house, it is right in the heart of a cultural centre. Prague is known for its Neo-Gothic and all its European architecture. How architects, how designers, embed that kind of sensibility and adopt and probably create a new language for the coming millennium, that’s the challenge, I believe.
Nidheesh: How do you experience art? You have been asked to give a painting, and then you’re an architect.
Amitabh: For me, art and architecture are very integrated. If you talk about my experience with art, I experience it every day. I experience it in my study table, I experience it in the chair that has been designed for me, I experience it in the toilet that I use every day. I experience it everywhere. So, if you ask me where do I see art, I see it everywhere that I look around. But it is all about the sensibilities that you have developed for yourself how you have imbued that into your works, and how you are trying to infuse both things and take them forward. That’s how it is.
Nidheesh: Have you ever had any startling experiences watching a piece of art, a design, or a building that really made you feel that this is the kind of art which actually helps to shake you or kind of touch you, move you?
Amitabh: I was particularly moved when I visited Bratislava about four or five years back. Bratislava, the capital of Slovakia, is a very small town. It took us around 1 and a half hours from Vienna to reach there. As you walk along, it’s like a cultural tour. The guide takes you along the alleys, and there are shop fronts and suddenly it opens out into a public forum kind of thing. There are artworks everywhere; you see a statue sitting just beside the chair that you are sitting on. You can see Napoleon sitting and smoking a cigar somewhere. It’s like you are immersed in art. I was so impressed; it was so thrilling. You feel like you want to stay in that place forever. It’s something like the people have really embraced that, and they have made it a part of their daily lives. That is what excites me, I think. Simplifying things, making things simple out of a very complicated assignment, is a virtue which not many would possess. I have really learned a lot from that particular aspect.
Nidheesh: thank you so much this was a great conversation
Amitabh: Thank You so much for giving me this opportunity.
