ΤΗΕ KIRAN NADAR MUSEUM OF ART

ON 18 MAY, AT THE PREVIEW OF LA BIENNALE DI VENEZIA, GHANAIAN BRITISH ARCHITECT SIR DAVID ADJAYE SAT DOWN WITH AD AT AN OUTDOOR CAFÉ AT THE ARSENALE IN VENICE-HIS TEMPORARY TIMBER INSTALLATION OF KWAEE TOWERING IN THE DISTANCE. GRACIOUS, ATTENTIVE, AND GENEROUS WITH HIS TIME, HE SPOKE FONDLY OF THE MODERNISTS OF INDIA, AND WITH ABSOLUTE REVERENCE FOR THE ANCIENT ARCHITECTURE OF THE SUBCONTINENT. INSIDE, IN ONE OF THE PAVILIONS, THE MODEL OF THE UPCOMING KIRAN NADAR MUSEUM OF ART (KNMA)-DESIGNED BY ADJAYE ASSOCIATES AND SLATED TO OPEN IN DELHI IN 2026-SAT UNDER A SPOTLIGHT, STATELY AND EXQUISITE, AS IF WAITING PATIENTLY TO BE BUILT ON GROUND. THIS IS KNMA'S GIFT BACK TO THE PEOPLE AND TO THE PRACTICE OF ART ITSELF.

- Komal Sharma

Edited excerpts of AD’s interview with Mrs. Kiran Nadar, chairperson and founder, Kiran Nadar Museum of Art, and Sir David Adjaye, architect for the KNMA building.

(To David Adjaye) What was your first instinctive response to the idea of building in India?

Adjaye: For me, India is very important in architectural history. As a young architect, one tends to begin studying the modern period and goes backwards from there. And as you go backwards in time, you realize how deep the history goes and how impactful the histories of civilizations that have been in India and this region are. As a young architect, I came to India to visit the works of Le Corbusier, [Louis] Kahn, Charles Correa, [B.V.] Doshi—all these incredible modernists. And then I visited Rajasthan and started to go to all the ancient shrines there; I went to Ellora and all its magnificent caves—my mind was blown! You realize how incredibly sophisticated these histor ies and civilizations are. And in my work, I’m very interested in narratives of civilization and places.

So when the competition came up [to build a museum in India], I was naturally thrilled. I also feel connected to India personally. Charles [Correa] was a dear friend. I remember going to his home, with Monika’s exquisite loom right in the hallway, and having supper and talking about architecture. I have very fond memories of visiting Doshi in his studio, Sangath in Ahmedabad, with his Buddha sculpture right there and just sharing incredibly poignant words. My friends in India have been very supportive of me. I may not be an Indian architect. I don’t have it in my DNA so to speak. But I have an insight, and I have an empathy, a deep empathy.