Preface Ruturaj Parikh

A monograph may be many things: a chronicle and a record of work and the ideas behind the work; a “manifesto” of the practice through articulation of its core concerns; or a compendium of projects as a document to promote the work of the studio. When I initiated work on this book, I was overwhelmed by the quantum and variety of projects that have been produced over four decades of Brinda Somaya’s consistent practice. My initial research revealed about 200 projects of varying scale and typology, encompassing an incredible range of programmes from biscuit factories to large urban interventions. How can one chronicle this unique width of the practice in reasonable depth?

Over my discussions with Brinda Somaya and Nandini Somaya Sampat, it became clear that their primary intent of publishing this book was not to produce a journal of projects; rather, this monograph was perhaps a means to evaluate their contribution within a larger framework of culture and society: a reflective document that can critically discuss the impact of Brinda Somaya’s work and the validity of the intentions of Somaya and Kalappa. The ambition of this document, for me, was also to enable readers to introspect the potential of a large architecture firm in India and the impact of SNK’s rigorous, pragmatic and ethical work of scale and diversity. This width and depth of work eludes “niche” firms that have largely framed the narrative of architecture of India in the past two decades.

This monograph presents a critical section of work: a thin slice through varying scales and typologies that frame the core concerns of Brinda Somaya’s practice. It exemplifies their perpetual effort to have an impact that is larger than delivering on the programme or creating meaningful pieces of design. This diagonal cut through time and typology is a reflection on the struggle of a practice that resists being pushed to the periphery of the society it serves. The works presented in this monograph attempts to structure a discourse on the value of being in the mainstream while also concerning oneself with the greater agenda. The book is composed of 13 chapters—each discussing a prototype project/group of projects—that stand as a case studies in the potential of professional work to confront and resolve a specific issue or a concern that has always been a part of the “continuities” of Somaya and Kalappa.

The dialogues in the book—moderated conversations between Brinda Somaya and Mary Norman Woods, Kamu Iyer, Arun Shourie and Saryu Doshi—outline ideas that form the background narrative, engaging discussions on history, culture, arts, ethos, society, India and the profession. Essays by Mary Norman Woods, Porus Olpadwala, Jon Lang, Tod Williams, Billie Tsien and me are critical readings of this work from independent and distinct vantage points. The sections at the back of the book will enable the reader to understand the diversity of SNK’s portfolio along with Brinda Somaya’s professional and academic contributions.

My attempts as the curator of the book are to echo the voice of the practice that now enters its fifth decade. Reflecting on the work also meant revisiting all the buildings that were to form the chapters in this book and presenting them to the readers as they stand today: an incredibly bold path for an architect to embark upon, especially in India where the buildings are seldom maintained in their pristine original state. Ishita Parikh and Sagar Shinde of SNK revisited the projects with their cameras to represent the built environments in their honest present condition. The many traces of human occupation in the photographs of this book are a result of this wonderful exercise. This genuine portrayal of work reinforces my conviction in the values of Brinda Somaya’s studio.

This book would have been an ordinary catalogue of projects without the curatorial freedom afforded to me by Mrs Somaya and Nandini, and their patience through many abstract conversations on the same. Tina Nussirabadwalla, the art director for this book, worked overtime with a deep understanding of the nature of this content to produce an unconventional design that serves the purpose of this monograph, while Prerna Shetty dug deep into the exhaustive archive of material to enable us to make sense of the great volume of architectural production. Anthea Fernandes worked on this repository of information to develop material for the design and editing of the book.

The most important and the gentlest voice in the book is that of Brinda Somaya— the protagonist of this project. For me, the authenticity of her ideas could only be validated if narrated by her directly to the audience of this publication. It would have been a disservice to her work if the observations would have been made by the eyes of an author, who could only have engaged with the work through a small sliver of the prolific practice. While this book may not follow the convention of publishing monographs, it is published with a hope that it may contribute to the discussion on architecture, landscape, urban design and conservation in India and abroad; as well as the discussion on architectural monographs, by attempting to reach beyond its purpose, true to the oeuvre of Brinda Somaya.