A sandstone façade, designed to minimise noise pollution from the main arterial road, is also embossed with 78 hand-carved emblems of all religions and beliefs. “Religious orders and philosophers across the world were the first people to patronise the arts and architecture,” Benninger muses. “There is an indelible relationship between the evolution of spiritual systems, art, architecture and culture. We are not espousing religion but rather recognising spiritual paths as conduits to self-realisation.” And, just like the havelis of old, which are composed of a main entrance and welcoming courtyard and are inward-oriented, India House comprises three equal-sized volumes, with the middle one left open as the atrium courtyard to admit sunlight and breeze and serve as a plaza for music, dance or discourse. There is also a sequence of forecourts punctuated by rescued palm trees while lotus pools serve to control climate, security and privacy. Benninger says, “The courtyard symbolises the spirit of people coming together… being civil while innovating forms of interaction, mutual respect and creation.” Visitors to India House cannot help but notice interesting adjustable louvres made from aluminium — Benninger’s contemporary tribute to the ancient heritage of jalis. Those familiar with the intricate stone or wooden latticed screens would know their place in Indian architectural heritage where, besides being a beautiful means by which heat and light may be tempered, they also served a practical purpose, allowing the women of the zenana (traditional women’s quarters) — in times when purdah was still enforced — to observe happenings at court or at home without exposing their faces.
Inside, a treasury of artworks — most commissioned for particular spaces within the complex, — abound. Benninger points out that the Shiva statue is of particular significance to them, as it was conceived from images that Ramprasad captured photographically from the Thanjavur Palace art collection of Nataraja statues. “The concept was then further evolved by taking the best features from several of these classic Nataraja icons. Ramprasad then worked closely with traditional craftsmen from Swami Malai in Tamil Nadu over many months, employing the ‘lost wax’ method,” says Benninger. This is said to be a particularly complex process involving the creation of a hard wax statue refined to the exact desired form, which is then entombed into a hard clay jacket into which molten bronze is poured, melting the hard wax and filling the voids created. The statue finally emerges when the clay jacket is removed and is only then carved into its final detailed form. Meanwhile, India House’s dining area is a study in artistic contrasts — the glorious result of Ramprasad’s aesthetic eye and philo sophy. As Benninger explains, “My partner Ramprasad is an avid collector, specialising in vernacular Indian art, such as the Thanjavur traditional paintings in our dining room.” This vivid style of painting is said to have emerged out of the Vijayanagara Rayas’ intense desire to encourage traditional art while under threat of invasion from alien cultures. This art form then matured in the Maratha Court of Thanjavur in the 17th and 18th centuries. Other artworks in the dining room are portraits by the famous artist Alberto Galvez from Valencia, Spain. “We were invited by the government of Spain to lecture there and fate introduced us to these wonderful works of art. Thus, East greets West, peering at one another from across the dining table.” The 5,000 sq ft main gallery is located on a subterranean level, following the traditional practice of having a kota, or “storage area”, under the building. “In India House, it is within a podium that is raised up a metre or so, allowing for small windows. So, our collection of paintings, drawings and etchings are kept securely in our kota. There are skylights looking down into the kota from the courtyard to give light and may be opened to allow fresh air to circulate,” says Benninger. “Ultimately, we want India House to allow the people who live and work here to be able to be reflective, thoughtful and pensive about their own natures and their relationship with the environment, their culture and to be inspired to know what makes them unique, from where they can go on to make their own unique contributions to the world.”
