Art -Deco must be the sexiest movement in architecture and design if we should divide in such an order. But while we only started because of its extravoyance, we were soon from the amazing depth and diversity of how this form was overcrowded with India's local cultural and political context. This is Art -deco beyond the surface decoration.
In an essay about champions, Sathe & Bhuta, an architecture company that works in the early 20th century, Atul Kumar indicates: “While her works under colonial rule reflect an emerging but strong Swadeshi identity, in which she blasts with an Indian speech after an Indian referendum …” In the Bhavan swastika, the home of the late Nanjibhai in Porbandar, a strict, almost Gandhian form of Art -deco, wraps around the life of a traditional Gujarati family. In Shirin Bharucha's apartment in Oval Maidan, the Art -Deco district of South Bombay, the Terrazzo floor is a song. Gujarat's Morvi Palace is unique the most stylish interiors I have ever seen. Here Stefan Norblin's frescoes of portraits of the Flapper -era go to Shiva and Krishna mythology. In Indores Manik Bagh – as shown on the photographs of the Shubha & Prahlad Bubbar Collection, discover the material purity and functionality of Bauhaus. And then Art Deco reaches the highlight of the decadence in Jodhpurs Umaid Bhawan Palace in its amazing volume of atrium, stairwells and endless lobbies. In Chettinad, which requires a whole edition of its own topic, the technology deco and the Tamil tradition “like nowhere else in the world” come together, writes Sam Dalrymple. Finally, despite the heavyweights in this edition, Punes Hotel Sunderban made the unexpected cover.
The compilation of this edition brought together a Coterie of people. A large part of the everyday task of an editor is to take people in and convince them to get the gold out on which they are sitting on. In this case, however, no conviction was required. I hardly had to ask, only had to whisper “Art Deco edition”, and the answer would be “yes, I'll do it.” Don't you love that? Kunal Shah curated an Art Deco show in the 47-A gallery in Mumbai two years ago. I remember that I was standing in the gallery, we both knowingly looked at without words, only in the language of the eyes -it was decided, yes, one day we have to do a kind -deceo topic. And he has composed every step of the way with ideas, leads, leads, favors, opinions and composing four breathtaking sets with pieces such as Camelot, Mahendra Doshi, Jaipur Carpets, including people – people who provide Art Deco contemporary and easy.
Many thanks to Deepthi Sasidharan, who teased me for the first time with pictures of a house in Porbandar and the arm twist of the shy owner to introduce it to us. Atul Kumar, founder of Art Deco Mumbai Trust, as a friend, philosopher and guideline as well as the unpaid, unofficial factor examiner of this topic. Many thanks to Pooja vir of Pictor Publishing, who helped us get access to countless archive photos. All photographers who have all left their drives to run to Pune or iodhpur or porbandar -now because our timelines are so generous -to shoot an Art -deco building. Thanks to John Burns, editor of Kinfolk Magazine, for permission to reuse the story of Morvi, which originally appeared in the title mentioned. To Vikram Kamdar, who released all the artistic watercolor renderings from Kamdar LTD from the 1930s; According to Hemant CHARVEDI, to share his photographic collection of Art -deco cinemas from all over the country; On Mustansir Dalvi, who wrote the opening attachment and wrote everything in the context and finally to Rahul Mehrotra for the timely updated edition of the Bombay dececo, which proved to be absolutely invaluable. Also the marginal note: the fact that it was 100 years ago since the exhibition International of the Arts Decoratifs et Industiel Modernes in post-war paris, which was generally regarded as the beginning of Art Deco, was only magical timing. Simply was lucky! The universe conspired.