Conservation architect Vikas Dilawari sheds light on the challenges and triumphs in safeguarding India’s architectural legacy

In the world of conservation, Vikas Dilawari is a name that resonates with reverence. “Imagine discovering a drum sealed for decades inside Flora Fountain, holding the entire engineering mechanism we had been searching for months—this is the kind of journey conservation takes you on,” shares the simply dressed Dilawari as we meet at the Royal Bombay Yacht Club, an iconic 18th-century building situated at the southern tip of Bombay overlooking the Gateway of India. He restored this architectural gem almost a decade ago and currently oversees its preventive maintenance.

For the uninitiated, the 50-something Dilawari has lovingly, voluntarily, and passionately conserved over 60 buildings, focusing on both glamorous landmarks and simple, low-cost housing. “Each project is like a journey through time,” muses Dilawari, whose journey spans three decades and has earned him 18 UNESCO Asia Pacific awards for Cultural Preservation. His impressive portfolio includes Esplanade House, St John The Baptist Church, The Royal Bombay Yacht Club, Wellington Fountain, and the Ashley and Somerset House in Colaba, Mumbai. More recently, he restored the iconic museum building of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) for its centenary year and revitalized Flora Fountain, a Grade I heritage site in Mumbai. Here, he not only restored the three-tiered fountain but also enhanced its water engineering and surrounding landscape.

However, “It was a long journey from being called a ‘conversation architect’ by a municipal commissioner to executing conservation projects,” he laughs, cueing us into the life and story of what seems like a living legend!

A TWIST OF FATE
“A lot of freak episodes led me to conservation architecture,” he recalls with a hint of nostalgia. Born to a saffron trading father and raised in North Mumbai, Dilawari’s path to conservation was serendipitous. “I was a dull student in school; I flunked in 11 subjects out of 12; barely passing in history, the only subject I loved,” he reveals. This setback, however, became a turning point. “My mother cried in front of the principal, and that changed me,” he shares. “I started studying hard, aimed to be a doctor, and managed to get into an Ayurvedic school in Pune, but Sanskrit was compulsory, and that wasn’t my forte.” With medicine out of the picture, Dilawari explored other options. “I hated maths, so architecture seemed like a viable path,” he explains. “There was an admission available in LS Raheja College of Architecture, so I joined.” Here, history again played a crucial role in his education. “The continuity was there with the history of architecture for three years and that fascinated me.”

THE APPRENTICE’S REVELATION
During his early years, Dilawari started his apprenticeship with Ved Segan, the architect behind Prithvi Theatre. This experience shaped his perspective significantly. “Ved Segan was handling the first conservation project in the country, Gaiety Theatre in Shimla. Coincidentally, we were given a third-year submission on the redevelopment of Crawford Market. Everyone else demolished the market on paper; I conserved it. I got low marks, but it shaped my future.”

Dilawari’s commitment to conservation architecture was solidified during his undergraduate thesis on the conservation of colonial architecture in Mumbai, a topic not widely recognized at the time. After completing his education, he pursued further studies in conservation at the School of Planning and Architecture, where he found his true calling. “By then, conservation had become my passion,” he states.

Dilawari’s persistence paid off when he received a scholarship to study in England, further honing his skills. Returning to India as one of the earliest practicing conservation architects, he began to make significant strides in the field.

SUSTAINABILITY: A KEYSTONE OF CONSERVATION
Dilawari’s approach to conservation is deeply rooted in sensitivity and sustainability. “Conservation is nothing but sensitive architecture,” he explains. “The very fact we lost sensitivity post-World War II due to faster materials like concrete over lime and steel over wood, changed our buildings. Conservation involves understanding how to save the environment by preserving these traditions.”

He emphasizes minimal intervention and economical solutions. “For me, if conservation is economical, it will be accepted,” he says. His projects, ranging from the KEM Hospital to modest ancestral homes, reflect this philosophy. “Conservation is more about understanding how you can save the environment. It’s not just about preserving buildings but about being sensitive to the materials and techniques that were originally used. For instance, if one of the wooden joists is bad, I wouldn’t remove the entire joist. I would just cut it and repair it, maintaining the original integrity,” he explains.

THE QUEST FOR AUTHENTIC MATERIALS
“Sourcing traditional materials can be challenging,” admits Dilawari. Yet, his commitment to sustainability is unwavering. By sourcing hydrated lime from Sikar district and hydraulic lime from Jodhpur, he ensures that his projects are environmentally friendly. “Conservation itself is a sustainable practice, as it prevents demolition and minimizes carbon footprints by using site-sensitive materials and traditional techniques.” His expertise spans lime mortar work, traditional stone masonry joinery, and the intricate art of stained glass restoration. These techniques, passed down through generations, are meticulously preserved and revitalized under his stewardship, ensuring that the craftsmanship of the past continues to enchant the present.

THE ECONOMICS OF CONSERVATION
“Conservation projects often work on a shoestring budget,” Dilawari admits. “For me, if conservation is economical, then only it will be accepted.” His approach is to do the minimum necessary intervention to preserve the authenticity of the structures while keeping costs manageable. “One of the most significant projects we’ve done is the OPD at KEM Hospital, which cost seven crores about ten years ago. Typically, projects like museums and other substantial structures are done within a five-crore budget, over two to three years,” he explains. Dilawari’s ability to work within constrained budgets without compromising on the quality of restoration is a hallmark of his practice. However, the satisfaction now comes from doing the most unglamorous, normal grain projects. “I started with the most glamorous buildings, but now I find joy in restoring simple, low-cost housing for low-income groups. The grain makes the difference, and these projects often have the most significant impact on the community,” he shares.

“For instance, I’ve taken on projects with very modest budgets as well,” he says. “There was a case in Deolali where two sisters and their mother wanted to restore their ancestral house with just 25 lakhs. It was a challenge, but we made it work.”

CASE FILES OF ICONIC RESTORATIONS
“The restoration of the fire-damaged BMC Corporation Hall was highly satisfying,” says Dilawari. This project was one of the earliest examples of professional restoration of a fire-damaged property in India. The project involved comprehensive interior restoration, including designing the interior layout and necessary structural repairs. Dilawari’s meticulous work ensured that the hall, which had suffered extensive fire damage, was restored to its former glory, reinstating it as a symbol of civic pride.

Another landmark project was the conservation of the Aga Khan Palace in Pune, initially declared unsafe. “The Aga Khan Palace became the youngest monument to be protected by the ASI in the late 2000s. This project was particularly special because it involved restoring a piece of history that was at risk of being lost forever.” The meticulous restoration preserved the palace’s architectural integrity and historical importance, ensuring its legacy endures.

Dilawari also takes great pride in the restoration of the Lal Chimney complex. “Restoring these century-old, unloved buildings was a deeply fulfilling project. It gave me a great sense of satisfaction to see how TLC can transform neglected buildings into cherished homes once again.” This project, involving the restoration of five century-old tenanted buildings in Central Mumbai, stands as a testament to the potential of conservation to revitalize urban spaces.

The restoration of iconic fountains like the Mulji Jetha and Flora Fountain also highlights Dilawari’s expertise. “Restoring these fountains involved not only the physical restoration but also enhancing their surroundings and making them functional again.” The Flora Fountain project included comprehensive restoration efforts that revitalized the Grade I heritage structure and its water engineering, enhancing the surrounding landscape to match its historical grandeur.

PRESERVING THE FUTURE
“Technology makes certain manual tasks easier,” Dilawari notes. Integrating modern technology, such as Lidar surveys and AutoCAD, into traditional conservation practices has revolutionized the field. This blend of old and new ensures efficiency and precision while maintaining the authenticity of the restoration process. Looking ahead, Dilawari sees a bright future for conservation in India, driven by passionate professionals and increased awareness. His advice to aspiring conservationists is simple: “It’s a growing profession for those passionate about history and sensitivity. Patience is key, as projects are slow but immensely satisfying.”

Vikas Dilawari’s journey in conservation is a masterclass in dedication, sensitivity, and respect for history. His work not only preserves the past but breathes new life into it, ensuring that the stories and beauty of India’s architectural heritage continue to inspire future generations. Through his meticulous attention to detail, respect for traditional techniques, and integration of modern technology, Dilawari exemplifies the best of conservation practices, setting a gold standard for others to follow.

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