Monday, August 18, 2025

Hallow by Daniel Popper: A Quiet Call from Nature

Discovering Hallow: A Quiet Call from Nature in Lisle, Illinois

Hey there, art enthusiasts and nature lovers! I’m an architect by trade and an artist by soul, forever chasing that sweet spot where human creations dance with the untamed beauty of the earth. Recently, I found myself captivated by Hallow, a stunning sculpture by Daniel Popper nestled in the Morton Arboretum in Lisle, Illinois. As someone who drafts buildings to harmonize with their surroundings and experiments with installations that tug at the heart, this piece felt like a revelation. Let’s take a relaxed walk through what makes Hallow so special—its concept, its role as public art, the materials, its impact, and how you can visit it yourself. Picture this as a cozy chat over tea, not a formal talk.

The Concept: Stepping Into Nature’s Embrace

Imagine a 26-foot-tall female figure rising from the ground, her chest split open like a doorway to her heart. That’s Hallow. It’s about vulnerability, healing, and the deep ties we share with the natural world. Daniel Popper, the South African artist behind it, crafted it to spark personal reflections. For me, it’s like a threshold: step inside, and you’re in the “heart” of the figure, invited to look inward or reconnect with nature’s pulse. It carries notes of sorrow, growth, and remembrance, much like a space designed to make you pause and feel.

Public Art: Rooted in the Landscape

Hallow is part of the Human+Nature exhibition, created by Popper exclusively for the Morton Arboretum. The theme is all about rethinking our bond with trees and the environment—what they offer us and what we must give back, especially in a changing climate. Spread across 1,700 acres of meadows, lakes, and woodlands, the sculptures feel like they belong there, not just placed but grown from the land. As an architect, I see this as the pinnacle of site-specific design: art that doesn’t dominate the landscape but becomes part of its story, inviting visitors to wander and reflect.

Materials: Resilient Yet Poetic

What I love about Hallow is how its materials tell a story of their own. Made from glass fiber reinforced concrete (GFRC), it’s tough enough to brave Illinois winters yet light enough to allow intricate details like rope-like textures that feel organic, almost woven. Having worked with concrete and fibers in my own projects, I’m impressed by how Popper uses GFRC to balance industrial strength with natural softness, mimicking bark or vines. It’s a material choice that feels both enduring and tender, perfectly matching the sculpture’s themes.

Impact: A Ripple Beyond the Arboretum

Since its debut in 2021, Hallow and the Human+Nature exhibition have pulled in crowds, turning the Morton Arboretum into a hub for art and ecology. Visitors don’t just snap photos—they linger, ponder, and connect with the environment. The exhibition’s success led to its extension and expansion, a testament to its resonance. For the Lisle community, Hallow is a landmark, but its influence stretches further, inspiring designers like me to create public spaces that spark dialogue and care for the planet.

Visiting Hallow: Your Guide

Ready to see it for yourself? Hallow is at the Morton Arboretum, 4100 Illinois Route 53, Lisle—just 25 miles west of Chicago. It’s near the Visitor Center by Meadow Lake on the Frost Hill Path, with parking in lots 1 or 2. Admission (around $15–16 for adults, less for kids and seniors) includes access to all sculptures. Driving? Take I-88 to Route 53 North. For public transit, hop on a Metra train to a nearby stop and take a quick ride-share. Visit in fall for vibrant foliage or spring for blooming surroundings—the arboretum is open year-round, so pick your season and go.

Final Thoughts

Hallow isn’t just art—it’s a conversation, a mirror, a reminder of our inseparable bond with nature. For me, it’s a spark that reignites why I create: to design spaces and art that feel alive and meaningful. Whether you’re an architect, an artist, or just someone who loves a good walk, Hallow is worth the trip. It’s a quiet whisper that might just echo your own story back to you.

Stay curious,
Pallavi Vasekar – Architect, Artist, Endless Wanderer

Wednesday, August 13, 2025

Ceilings of the Cosmos: Chidambaram’s Painted Mandapas

Celestial Canvases: The Artistic Legacy of Chidambaram’s Nataraja Temple

As an architourist drawn to the alchemy of art, history, and spirituality, I found myself entranced beneath the vibrant ceilings of the Thillai Nataraja Temple in Chidambaram, Tamil Nadu. On a recent journey through South India’s sacred trails, I stood gazing upward, captivated by a symphony of painted stories—mandalas, Chola-era frescoes, and the resplendent 17th-century Nayak murals, revitalised around 1643 CE under patrons like Shrirangadeva Raya III. These artworks are no mere embellishments; they are luminous portals into the divine, where gods dance and myths breathe through colour and form, echoing the eternal rhythm of Shiva’s cosmic dance.

A Tapestry of Time

The Nataraja Temple, a millennium-old sanctuary of Shaivite devotion, is a living gallery of artistic evolution. Its ceilings and walls bear the marks of distinct eras—Chola paintings from the 10th to 13th centuries, intricate mandalas rooted in ancient spiritual traditions, and the vibrant Nayak murals of the 17th century. Following the decline of the Vijayanagara Empire, the Nayak dynasty stepped in, restoring the temple’s faded frescoes with their own flourish. Around 1643 CE, amidst political upheaval, they breathed new life into the mandapas, blending Vijayanagara’s grandeur with their signature elegance. As I wandered these halls, I felt the weight of centuries, each layer of paint a testament to artisans preserving sacred stories under flickering lamplight.

The Craft of Sacred Art

The temple’s artworks reflect a spectrum of techniques, each tied to its era. The Nayak murals, executed in the buon fresco style, involve painting on wet lime plaster, allowing pigments to fuse with the wall as it dries—a precise, unforgiving craft. Walls were prepared with layers of lime and sand, sometimes enriched with organic binders, smoothed to perfection. Pigments, drawn from nature—ochre for fiery reds, malachite for lush greens, and rare lapis lazuli for celestial blues—were blended with plant-based dyes for resilience, defying Tamil Nadu’s humid climate.

In contrast, the earlier Chola paintings, some dating back to the 13th century or earlier, exhibit a more restrained palette and stylised forms, reflecting the artistic sensibilities of their time. Meanwhile, the temple’s mandalas—geometric patterns revered in Hindu, Buddhist, and Jain traditions—serve as meditative tools, their symmetrical designs creating sacred spaces for contemplation. Together, these techniques weave a rich tapestry of South Indian artistry, each stroke a dialogue between mortal hands and eternal truths.

A Palette of Divine Expression

The Nayak murals burst with vivid colours—crimson reds, sapphire blues, emerald greens, and radiant golds—chosen to evoke divine energy. Bolder than the muted tones of Chola frescoes, these hues carry symbolic weight, rooted in the Natya Shastra: reds for transformation’s fire, blues for preservation’s calm, and greens for life’s renewal. The Chola paintings, though more subdued, share this symbolic language, their earthy tones grounding mythological narratives in human experience. Mandalas, with their precise, often monochromatic patterns, contrast the narrative vibrancy, guiding the viewer inward to spiritual focus. Standing beneath this chromatic interplay, I felt drawn into a cosmic dance of colour and meaning.

Myths and Mandalas in Motion

The Nayak murals, adorning the temple’s mandapas, weave tales from the Tiruvilaiyadal Puranam—Shiva’s sixty-four divine lilas. At their heart is Nataraja, his Ananda Tandava a whirlwind of creation and dissolution, framed by cosmic flames. Other panels depict Shiva as Bhikshatanamurti, the wandering ascetic, his sacred union with Parvati, Vishnu’s enchanting Mohini, and the miracles of saints like Manikkavachakar. Some frescoes capture the 108 karanas of the Natya Shastra, each pose a snapshot of Bharatanatyam’s grace, as if Shiva dances eternally above. Vaishnavite and Shakta motifs blend seamlessly, reflecting the temple’s inclusive spirit.

The Chola paintings, older and more austere, focus on similar Shaivite themes but with a distinct simplicity, their figures less ornate yet deeply evocative. Mandalas, meanwhile, transcend narrative, their geometric precision symbolising cosmic order and inviting meditation. Together, these artworks—narrative and abstract—create a dialogue between the divine and the devotee, bridging the epic and the intimate.

A Legacy Preserved

Leaving the temple, I carried the interplay of mandalas, Chola frescoes, and Nayak murals in my mind—a fragile yet resilient testament to devotion. Modern conservation efforts protect these treasures, ensuring their stories endure. Chidambaram is more than a destination; it’s a call to look upward, to let pigment, stone, and pattern weave their ancient magic. For those who chase beauty and meaning, these artworks beckon. Step into their radiance, and you may find your heart swaying to Shiva’s cosmic rhythm.

Sanskrit Shloka

नटति यः संसारनृत्यं विश्वसृष्टिसंनादति चन्द्रमौलिः।
तस्य चरणस्पर्शात् तमो नश्यति सर्वं विश्वं च संनादति॥

“He who dances the cosmic dance of existence, the moon-crowned Lord resounds with creation;
By the touch of His feet, darkness fades, and the universe hums in harmony.”

✍️ – Ar. Pallavi Vasekar

For more such stories where architecture, art, and meaning meet, follow my blog.

Disclaimer: Some images used in this post are sourced from Google and may be subject to copyright. They are included here solely for educational and informational purposes, to help share and promote awareness of this art. No commercial use is intended. All rights remain with the respective copyright holders.

Monday, August 11, 2025

Chola Murals of Brihadeshwara Temple – History, Art, and Stories in Color

Step into the timeless corridors of Thanjavur’s Brihadeshwara Temple and discover the 1,000-year-old Chola murals—masterpieces of colour, devotion, and storytelling. Written by architect Pallavi Vasekar.

The Soulful Splendor of Chola Murals in Brihadeshwara Temple: A Dance of Color and Divinity

The first thing you notice inside Brihadeshwara Temple isn’t just its scale—it’s the silence. A silence so full it feels alive, as if the stone itself is holding its breath. You take a step, and the air cools. Shadows stretch across ancient corridors, and somewhere in that dim light, colors begin to emerge—muted at first, then glowing, as though the walls have been waiting a thousand years to speak.

Here in Thanjavur, in a temple raised to the skies by Raja Raja Chola I in 1010 CE, you meet the Chola murals. They were never meant to shout. They hum softly, like an old song you almost remember, pulling you closer until you’re standing before a world painted in devotion.

Stepping Into Another Century

Imagine the 11th century—the Big Temple newly built, its granite still warm from the sun. Within its inner passages, away from the glare of daylight, artists work with pigments and plaster, coaxing gods and saints onto the walls. Every line is deliberate, every curve of a wrist or tilt of a head steeped in reverence. Centuries later, the paintings would be covered over, forgotten. It took the curiosity of a historian, S.K. Govindaswami, in 1931 to peel back the layers and reveal them—like lifting the veil on a secret the temple had been keeping.

Where Lines Dance and Colors Breathe

The murals don’t just sit still—they move. Shiva as Nataraja spins in a ring of fire, his limbs a blur of grace and power. Devotees gaze upward, their eyes lit with an intensity you can feel. The artists painted in fresco-secco, a technique as stubborn as the Tamil Nadu humidity, yet the results are effortless. Bold black lines shape each figure; delicate washes of colour give them life.

The palette is the earth and sky of the Chola world: deep reds like temple lamps glowing at dusk, ochres warm as sunlit stone, blues as rich as the Cauvery River, and greens that whisper of monsoon fields. Touches of yellow and white flash like gold ornaments catching the light.

Stories the Walls Remember

These aren’t just paintings—they’re living epics. You see Shiva as the destroyer of demon cities, bow drawn; Shiva as Dakshinamurthy, serene beneath a banyan tree; and Shiva’s wedding to Parvati in a swirl of silk and flowers. Saints appear with human tenderness—Kannappa Nayanar offering his eyes, Karaikkal Ammaiyar walking on her hands to meet her god.

Between these divine moments, there are glimpses of Chola life: queens with pearl-laden hair, warriors with bare feet and steady stares, and celestial dancers mid-spin. It’s as if the artists wove the mortal and the divine into the same fabric, because for them, they were never separate.

Stone and Color in Conversation

The murals and the temple architecture share a quiet harmony. In the circumambulatory passages, where light falls gently and footsteps echo, the paintings curve with the walls, matching their rhythm. The towering vimana above feels far away here—inside, it’s all intimacy and detail, the grandness of the temple distilled into human faces and graceful lines.

Time’s Touch

The years could have taken them. Smoke, soot, and later overpaintings hid their beauty. Yet those same layers became a shield. In the 1980s, the Archaeological Survey of India uncovered them with the precision of a restorer’s heartbeat. What was revealed wasn’t just pigment—it was the Chola spirit, preserved.

Standing Before Them

When you finally stand close, you notice the smallest things: the curve of a fingernail, the pattern in a robe’s hem, and the way two painted figures seem to look at each other across the centuries. And then you realise—this isn’t just art on stone. It’s an unbroken thread from the Chola world to ours, carrying with it the hum of devotion, the skill of hands long gone, and the quiet truth that beauty can outlast time.

If You Go

When you visit Thanjavur, linger here. Let your eyes adjust to the shadows. Let the murals come to you slowly, as they have for centuries. Bring curiosity and maybe a small notebook. You won’t just see history—you’ll feel it breathe.

✍️ – Ar. Pallavi Vasekar
For more such stories where architecture, art, and meaning meet, follow my blog.

Sunday, August 10, 2025

Meet Planet: The Floating Baby Sculpture That’s Stealing Hearts in Singapore

The Mesmerizing Floating Baby: Marc Quinn’s Planet in Singapore

Hey there, art lovers and curious wanderers!

If you’ve ever wandered through the lush wonderland of Gardens by the Bay in Singapore and suddenly spotted a giant baby floating above the grass, I bet you froze mid-step and thought, Wait… what am I looking at?

That’s Marc Quinn’s Planet—a jaw-dropping sculpture that’s been stopping people in their tracks since it arrived in 2013. And trust me, it’s way more than a quirky photo backdrop. There’s a heartfelt story, clever engineering, and layers of meaning hidden in that peaceful little (well… not so little) figure.

Let’s break it down.

The Big Idea: A Baby with a Story

Imagine a huge, serene baby—eyes closed, floating as if in a dream. That’s Planet.

Marc Quinn, a British artist, created it in 2008, inspired by his own son at just seven months old. At that time, his son had been diagnosed with a severe milk allergy—a terrifying moment for any parent. That mix of love, worry, and awe became the seed for this piece.

It’s almost like Quinn took that fleeting, vulnerable moment and made it immortal. At nearly 10 metres

long, it’s not just an artwork—it’s a love letter to life’s fragility, blown up to a monumental scale.

And that floating effect? Magical. In the middle of Singapore’s futuristic Supertrees and vibrant gardens, the baby feels weightless—like it’s still in the womb, untouched by the noise of the world. You can’t help but pause, tilt your head, and think: What kind of world are we leaving for the next generation?

What’s It Made Of? Bronze, Steel… and Illusion

It may look soft, but Planet is a heavyweight—literally. It’s made of bronze and steel, weighing in at about seven tonnes.

The details are incredibly lifelike: every curve of the skin, every tiny fold, sculpted with care. It’s then painted in a smooth, white finish that gives it a dreamlike, almost ethereal quality.

But here’s the genius part—the baby is held up by a hidden steel arm that supports its head and hand. From most angles, you can’t see the support at all. The result? That jaw-dropping “How is this thing floating?!” moment.

Why Public Art Like This Matters

Public art isn’t just about looking pretty in parks. It’s about sharing. No museum ticket, no dress code—just art, right there in the open, for anyone.

Planet sparks conversations. Some people see hope; others see a reminder of climate change, or overpopulation, or the need to protect innocence. Kids point and giggle. Couples pose for selfies. Strangers swap theories.

That’s the beauty of public art—it turns a space into a shared story. In Singapore’s case, it blends seamlessly with the city’s identity: futuristic, nature-loving, and unafraid to dream big.

Visiting Planet: The Practical Bits

You’ll find Planet in the outdoor gardens at Gardens by the Bay—which means:
✅ Free to visit
✅ Open from 5:00 AM to 2:00 AM

Perfect for early-bird photographers or night owls who want that skyline backdrop.

How to get there:

By MRT: Take the Circle Line or Downtown Line to Bayfront MRT (CE1/DT16). Exit B and follow signs—it’s about a 5–10 min walk.
By Bus: Routes 400, 402, or 405 stop nearby.
By Foot: If you’re at Marina Bay Sands, it’s a scenic 10–15 min walk.
By Car/Grab: Head to 18 Marina Gardens Drive—parking is available.

📸 Pro tip: Go in the evening so you can catch the Garden Rhapsody light show (7:45 PM & 8:45 PM) at the nearby Supertree Grove right after.

Final Take

Standing under Planet feels… grounding. You’re in one of the most modern cities in the world, yet you’re face-to-face with a symbol of innocence and vulnerability. It’s peaceful, moving, and—let’s be honest—super Instagrammable.

Whether you’re an art lover, a casual stroller, or someone who just enjoys a good “Wow, how’d they do that?” moment—Planet will get you.

So, next time you’re in Singapore, go say hi to the floating baby. You might leave with more than just a photo.

Have you seen it already? What did you feel when you stood there?

✍️ – Ar. Pallavi Vasekar
For more such stories where architecture, art, and meaning meet, follow my blog.

Monday, August 4, 2025

When Bronze Speaks: Fearless Girl and the Poetry of Resistance

Fearless Girl: Material Strength, Symbolic Power

Public Art Meets Poetic Protest

In the dense financial heart of New York, where towering buildings and thundering markets define ambition, a small figure stands her ground—not with aggression, but with assurance.

Fearless Girl, sculpted by Kristen Visbal in 2017, challenges more than the iconic Charging Bull. She confronts the imbalance of power it represents. She isn’t just public art—she’s a bronze metaphor for resilience, equity, and visibility.

Materiality: Why Bronze Matters

Cast in bronze, a material long used for heroes and kings, Fearless Girl redefines what strength looks like. This time, the metal captures youth, femininity, and unshakeable confidence. Bronze endures. Bronze resists the elements. And that permanence is not just structural—it’s symbolic. It says, This girl, this message, is not going anywhere.

Theme and Concept: Redefining Power

Planted in front of the Charging Bull, she doesn’t flinch. With her chin raised and hands on hips, she reclaims the narrative of leadership and confidence—traditionally associated with masculine power—and rewrites it.

She’s not just confronting a bull.
She’s confronting a mindset.

And by sculpting a child, Visbal drives home the point: leadership is not an inheritance—it’s a possibility we must protect and nurture.

Impact: When Art Sparks Action

Commissioned by State Street Global Advisors, the statue had a mission: call out the 787 U.S. companies with all-male boards. It wasn’t just a symbol—it was a strategy.

By 2020, over 100 companies had appointed women to their boards.
That’s public art transforming private power structures.

Some critics dismissed it as a branding stunt. Yet its legacy shows us how deeply a visible symbol can stir change, dialogue, and discomfort—exactly what good art is supposed to do.

Why She Still Matters in 2025

In a world where gender gaps persist, especially in leadership and decision-making roles, Fearless Girl continues to ask uncomfortable but necessary questions.

Her bronze feet still stand for:

Gender equity in leadership
Public art as protest
Fostering courage from childhood
A new, inclusive definition of power

A Poetic Parallel: Vinda Karandikar’s “आयुष्याला द्यावे उत्तर”

The spirit of Fearless Girl finds a hauntingly beautiful echo in वि.दा. करंदीकर यांची कविता—a timeless call to live with conviction and to stare boldly into life’s eyes.

असे जगावे दुनियामधे ,आव्हानाचे लावून अत्तर
नजर रोखूनी नजरेमध्ये ,आयुष्याला द्यावे उत्तर

She’s doing just that. Looking life straight in the eye.
Unflinching. Daring.

नको गुलामी नक्षत्रांची ,भीती आंधळ्या तारांची
आयुष्याला भिडताना हि, चैन करावी स्वप्नांची

She’s not afraid of the stars—or of systems. She carries dreams, not fear, into confrontation.

असे दांडगी इच्छा ज्याची, मार्ग तयाला मिळती सत्तर
नजर रोखूनी नजरेमध्ये ,आयुष्याला द्यावे उत्तर

She is the will. She makes the way.

पाय असावे जमिनीवरती, कवेत अंबर घेताना
हसू असावे ओठांवरती ,काळीज कडून देताना

Even as she holds the sky, she stands grounded and graceful—like all changemakers do.

संकाटासही ठणकावून सांगावे ,आता ये बहतर
नजर रोखूनी नजरेमध्ये, आयुष्याला द्यावे उत्तर

To trouble, she says, Come. I’m ready.
To the future, she says, You can be better.

करून जावे असेही काही ,दुनियेतुनी या जाताना
गहिवर यावा जागास सारा, निरोप शेवटचा देताना

स्वर कठोर त्या काळाचाही, क्षणभर व्हावा कातर कातर
नजरेमध्ये नजर रोखूनी ,आयुष्याला द्यावे उत्तर
— वि.दा. करंदीकर

Conclusion: Bronze That Breathes

Whether you see her as a girl or as a metaphor, Fearless Girl stands with a quiet defiance that mirrors Karandikar’s poetic fire. She is made of metal, but what she stands for is far from rigid—it is flexible, evolving, and deeply human.

In an age where equality still feels like a battle and representation still feels earned—not given—she reminds us:
Strength doesn’t always raise its voice.
Sometimes, it simply raises its gaze.

And in doing so…
आयुष्याला देते एक सडेतोड उत्तर.

✍️ – Ar. Pallavi Vasekar
For more such stories where architecture, art, and meaning meet, follow my blog.

Sudha Cars Museum Hyderabad – Timings, Tickets & Quirky Car Collection

🚗 Sudha Cars Museum, Hyderabad – Where Cars Get a Creative Twist

If you think a car is just four wheels and an engine, Sudha Cars Museum in Hyderabad is here to change your mind. This place is like stepping into a world where vehicles have personalities—some are glamorous, some are downright hilarious, and all are born from pure imagination.

🛠 From Scrap to Showstopper

In the quiet lanes of Bahadurpura, you’ll find the life’s work of Kanyaboyina Sudhakar—an artist, engineer, and dreamer who builds cars that make you look twice. Since 2010, he’s turned scrap metal into more than 250 unique vehicles, including Guinness World Record holders like the tallest tricycle in the world (an unbelievable 41.7 feet tall).

Wandering through the museum, you’ll see:

A lipstick-shaped car that looks ready for a fashion runway.
A burger car that will make you instantly hungry.
A toilet car that’s equal parts shocking and funny.
A graceful swan car inspired by a century-old British design, complete with golden lilies and dragon details.
But it’s not all playful shapes—there are vintage beauties, WWII jeeps, and clever makeovers like a Maruti Omni turned into a tram. Even the bicycle section is a treat, with tandems for six and old-school “Penny Farthings” that look straight out of a history book.

Every display has little notes telling you how long it took to build, how fast it goes, and what it cost—reminders that each of these is not just art but a functioning vehicle.

🌟 Why You’ll Love It

This isn’t your typical car museum. Here, every creation tells a story about turning the ordinary into something unforgettable. Whether you love automobiles, quirky art, or just want to spend an afternoon somewhere fun, Sudha Cars Museum is one of those places that stays with you long after you leave.

📍 How to Get There

It’s close to Nehru Zoological Park and Chowmahalla Palace, so it’s easy to fit into a day’s itinerary:

By Air: 24 km from Rajiv Gandhi International Airport (~30 min by cab).
By Train: Falaknuma (6.3 km) or Nampally (6.4 km).
By Metro: Malakpet Station (5 km) + short ride by auto or taxi.
By Bus: Bahadurpura bus stop is practically next door.
By Car: Address – 19-5-15/1/D, Bahadurpura X Rd, Hyderabad. Parking is available.

🕒 Visitor Info

Timings: 9:30 AM – 6:30 PM (Open daily)
Entry Fee: ₹100 (adults), ₹80 (children)
Camera Fee: ₹100

💡 Tips Before You Go

Double the Fun: Visit along with Nehru Zoological Park or Chowmahalla Palace.
Cash Ready: Ticket and camera fees might need cash.
Beat the Heat: Morning visits are cooler and less crowded.
The Camera Fee Is Worth It: You’ll want to take LOTS of pictures.
Time Needed: Around 1–2 hours to explore comfortably.

❤️ Why It Stands Out

The Sudha Cars Museum is a reminder that creativity has no limits. From a cricket bat on wheels to a towering tricycle, it’s a place where engineering meets art in the most unexpected ways. Visit with an open mind, take plenty of photos, and get ready to be amazed—because this is one ride you won’t forget.