The Architecture of Weddings
As architects, we are rigorously trained to hone a very specific set of skills. Visualizing spaces is one of the most important, along with a multitude of others- ranging from climate studies, art history, cultural studies and basic human psychology, to the fundamental technical know-how required to create structures. We conceptualize and ideate, ruminate through layers and layers of drawings, carefully designing even the smallest, most inconspicuous detail, even as it is being built. We are taught to look at the macro as well as the micro, keeping in mind the composite whole as we detail out its individual parts. All this, and a whole lot more, can only partly prepare you to design something like a wedding.
Experiments in space- A personal collection of drawings exploring the relationship between structures and space.
The first thing that hits you is the sheer simplicity of its transience. One must come to terms with the fact that you are designing something that has to be constructed in a maximum of 24 hours (usually much lesser), has to cater to the needs of hundreds (sometimes thousands), and then must be dismantled in 4-6 hours. How do you embrace such impermanence? Unlearning gains utmost importance in the first few weeks. One must realign thought processes, to maintain our personal brand of functional and aesthetic integrity, while learning to work with temporary construction systems. Designing sustainably becomes imperative, as we strive to create elements that can be recycled or modified and reused.
“Complexity and Contradiction vs. Simplification”
Most architectural offices are streamlined in their line of thought and the design processes that they relate to. One of the best things about DNC is the eclectic mix of approaches that the whole team has towards design- even our COO is a highly trained and accomplished designer! Everyone on the team brings their unique perspective to the design process, while Devika works on tying this vast array together into a comprehensive and executable design. The impact that such heterogeneity has is gigantic- while learning a lot from each other and playing on each other’s strengths, this allows us to cater to a varying range of design aesthetics, and work on vastly different types of projects simultaneously. It has so happened that while one of us is working on a design where the mandap does not even have columns, dazzling with the absolute simplicity of the design; another one of us is creating something which has a roof under a roof, layer over layer over layer, adding depth and meaning to the project.
“A place in the shade”
I clearly remember my first site visit- I was accompanying Devika on a client recce. As we walked through the site, I remember thinking about a book of collected essays by Correa, “A Place in the Shade”, where, in of the essays, he talks about the impact the phrase itself has, transporting us from the hot and humid Indian summers, throwing us into another ambiance, where a cool, refreshing breeze blows. What we discussed on the recce touched on all the things we learnt in our first year of architecture, from solar orientation and shaded areas, to placing structures such that we open out to the vistas. We went as far as to discuss layouts such that we respect the contours of the hill atop which our site was located. I could digress and launch into a whole discourse about the universality of design principles, but I will refrain from doing that. In addition to this, we also discussed what sort of structures we could put up in the time frame we were afforded. Such a short construction time had never been a design constraint before this.
In the same way that the phrase evokes certain emotions, we try to imbibe certain values in the spaces we design, so that they also convey meaning. For example, we placed a lounge in the middle of the lawns on a cold winter night in February. Simply by adding razaais (blankets) and lots and lots of candles, we create a cozy seating area which looks warm and inviting.
Context
Next comes the ideation and design stage. As architects, we are trained to search for context at this point- reflections of historical traces, surrounding architectural styles, or even a study of ethnicity. Whether we choose to incorporate this into our designs, or radically juxtapose our design against this and disregard context, that is left to the designer. With a wedding though, the meaning of context changes- it is no longer purely physical, but conceptual and abstract. We scour through the couple’s story, searching for the tiniest detail on which to base the overall vibe, for a speck of information which could turn into a detail. Suddenly, design is a lot more emotional. Evoking emotion is now a parameter on which the design is based.
The part, and the whole
Any building can be understood as a system of parts. The layers we work with for designing any structure or system can be broadly categorized as the ‘skeleton’, which is the structural framework holding everything up; the ‘skin’, which are walls and slabs or ceilings; and the ‘cosmetics’, which are plasters, paints and other detailing. While this analogy holds true for wedding design, it can simultaneously be very similar, while being excruciatingly different. The structures here are designed for quick assembly and disassembly, which is a boon and a bane at the same time- while these are extremely time-efficient, they come with certain limitations, such as the loads they can carry. One must be extremely sensitive about the material palette one chooses, as everything must be recyclable. There is not much scope to make any edits on site, as everything is prefabricated. The finishes and detailing mean something very different here, and take a different type of planning and execution skill- one doesn’t just think about the centerpieces for the tables, we have personalized and customized this to the level where we have designed the containers for the centerpieces. We even made 3D visualizations to check how these will look! With this multitude of varied parts, ranging from the tiniest detail (like a coaster, 3in x 3in) to large trusses (120ft x 60ft x 16ft height, or more), there is the need for a certain “obligation towards the whole”, where all the individual parts must come together as a cohesive, rational amalgam. It becomes imperative for a ‘story’ to flow through all aspects of the design, holding everything together.
Trusses are modular structural systems which provide immense flexibility with finishes- they can be clad with any type of sheet (cement, acrylic, mirror etc.), wrapped in fabric, or even finished with flora!
“The presence of an absence”
In architectural jargon, wedding design is extremely fascinating- temporary pavilions, installations, and follies set up to cater to a floating population. This is extremely fascinating- a fast-paced industry, where you can go from design to execution in less than 30 days. This way, one gets to explore a lot more design concepts in the same time period.
However, the pace could also be a setback. As designers, this is a fundamental, omnipresent feeling- something is always amiss, something always gets left out, and a lot of times, there is not much one can do to rectify that. This couldn’t have been put through in a better way-
“It’s okay to make mistakes, to take bad decisions and most importantly, its essential to not be too harsh on yourself. Give yourself a break every now and then, put your feet up and know that everything will work itself out in the end.”
- Big D
In conclusion, there is no conclusion.
Written by Aabir Baoni
Sr Designer, Devika Narain & Company
