Restoring Charles Correa’s architectural satire

A NEW LIFE OR A NEW MEMORY

Studio IV Designs came on board to bring what was once an icon of Panjim back to life. A sensitive balance of redesign and restoration followed. To say they succeeded in the resurrection would not be honest. (How can you resurrect what was already a memory?) The hamlet-like conception, the interconnectedness of the spatial arrangement or the intimacy of the courtyard were all subliminal reconstructions of what generations of people across the globe saw in the city of Goa, which in itself has always been a shifting, evolving entity. Polyfocal, decentred, dreamt into existence on water and land.

“A city, which is at times a city abstracted, and then again, a city of virtual imagery, and finally a city of real dwellings and balconies and terraces,” said Correa, who left his signature across the resort. Studio IV Designs preserves these gestures from the otla in the reception to having Bhandari restore his original murals and create new ones. What is intriguing is the use of the term “authenticity”. Was the ever-clever Correa, the same colossal figure of Indian architecture who was initially inspired by Corbusier’s Modernism and then wrote Chandigarh: A View from Banaras, ever aiming to achieve the elusive authenticity while working on Cidade de Goa? Why does the idea of authenticity leave a strange aftertaste of contradiction?

Speaking of signatures, the collection of coloured squares on the façade in the brilliant hues of orange, ochre and peach has now become a part of not just Cidade de Goa but Correa’s indomitable legacy. Looking inwards, Studio IV Designs reimagined most of the interior spaces to “enhance the resort’s Portuguese-Goan identity.” In doing so, they added azulejos blue tiles, expanding the much-revered colour palette. “Every added furniture piece was designed to transport the guest to the 1940s Portuguese-Goan era while ensuring contemporary refinement in detail,” says the Principal Architect Vandana Dhawan Saxena alongside her design team. But what was the 1940s Goa, and when did Goa ever belong to the Portuguese? Not to mention, in the late 1940s, when the rest of the country was freed from colonial rule and forging a new national identity, the Portuguese refused all negotiations. In the later decades, some describe the eventual accession as “annexation” and others as “liberation”. The disjunct edges of time are usually softer in hindsight.

DESIGN AS IMAGE-MAKING

Was Cidade de Goa an architectural satire? Charles Correa himself described it as “a sardonic art.” Yet unlike other forms of art, architecture must balance the undercurrents of humour with the demands of inhabitation. Perhaps this is why restoring the property feels not only justified but necessary. Take the Sea Lounge, for example. Originally designed with an open façade, it offered dramatic views but proved impractical: strong winds and monsoon rains made upkeep difficult and limited year-round use, affecting both operations and revenue. The solution was a sensitive intervention of custom sliding doors in wood-finished aluminium that preserve uninterrupted vistas while shielding the space from the elements.

Staircases with uneven risers were rebuilt with uniform steps, usable handrails and improved lighting, while a guest lift and multiple ramps were introduced to ensure universal accessibility across public areas. An additional service lift now streamlines luggage handling, and all railings have been redesigned to meet contemporary safety standards. To prioritise longevity, furniture in semi-open and open zones was crafted from outdoor-grade materials with easy-to-clean finishes. In a high-traffic hospitality setting, such strategic use of durable materials and detail-driven design reduces maintenance demands and extends renovation cycles.

Correa’s original idea of the rooms included 60 variations, all different casas. “This is atypical of a traditional hotel design, where rooms are designed to be similar with very few variations, considering multiple factors such as brand consistency, revenue optimisation and operational efficiency. Also, the rooms had an overly bulky interior design, lacking an overall cohesive intent that did not honour the architectural intent of the property,” say the designers. Studio IV Designs reimagined the guest rooms in three subdued colour palettes: earth orange, green and blue, which, according to the designers, “allow the inimitable views beyond to take centre stage.” For the expansive guest room corridors spread across multiple levels, the designers collaborated with local artist Hitesh Pankar to create a system of four custom motifs drawn from Goa’s landscape and cultural heritage. Each floor carries its own identity through a distinct motif — the Sun of Cidade, Lion of Cidade, Rooster and Ixora flower — paired with specific colour accents for easy orientation.

These are not neutral ideas. The colours inspired by Fontainhas hark back to the time the Portuguese mandated the painting of each home annually. But why speak of history in the context of architecture? Can we not leave well enough alone? Are we digressing, pulling apart each wall and each innocent motif to overanalyse Correa’s “bitter-sweet saudade of nostalgia”? But would Correa not have done the same? There is no architecture without the context in which it is created.

Sourcing list

Landscape architect: Anjali Kulkarni of Studio ATK
Furniture: Raghbir Interiors, Vishal Interiors, IEVO & Outdoor Furnitures, Interblocco
Paint: Asian Paints, Pidilite
Art: Hitesh Pankar, Vijay Bhandari, Gulmohar Lane
Lighting: Divinity, Zailux, Philips, Osram, Sutra Lumens
Ceramic Tiles: TURI Azulejos Tile Goa
Sanitary ware / Fittings: Jaquar (All rooms) / Kohler (Public Areas)
Flooring: FCML (Public Areas), SOIL (All rooms), Colortale
Furnishing: Maspar, Runrare India

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