The German Bauhaus School of Architecture and Applied Arts, under the direction of founder Walter Gropius, had greatly influenced the development of architecture and design in the 20th century. It brought together architects, painters and designers from several countries, all determined to formulate goals for the visual arts in the modern age. Students worked collaboratively with teachers who were some of the outstanding

innovators of the era. This new wave of modern architecture demonstrated its virtues in new Siedlungen (low-cost housing) in Berlin and Frankfurt. An exhibition of housing types, the Weissenhof Siedlung (1927) in Stuttgart, brought together works by Mies, Gropius, the Dutch J. J. P. Oud, and the Swiss-French Le Corbusier; this milestone identified the movement with a better life for the average citizen.

Adil Kerai, who has developed a fetish for modern architecture based on inspiration from Corbusier, Alvar Alto and Luis Barragán, obtained his bachelor’s degree in architecture in 1992 from the University of Houston, USA. He undertook internship with EDI Architects, Houston, Texas in 1990 and with HC Hwang International, Houston Texas in 1991. He teamed up with the renowned architect Habib Fida Ali’s firm in 1992, where design excellence and problem solving is pivotal to professional activity.

Creativity at this firm is promoted through disciplined design process that assesses, analyses and synthesises a project’s intricacies and objectives. The design philosophy of this team of architects revolves around timelessness, simplicity and functionality. Kerai is a member of the Pakistan Council of Architects and Town Planners, Institute of Architects Pakistan and is an Associate of the American Institute of Architects.

During the last 18 years, he has completed many corporate and residential projects. Some of the notable projects undertaken by him include Siemens Pakistan Engineering Co., PICIC head office building, British deputy high commission, Karachi, AKU-faculty of arts and sciences (FAS) with Payette Associates, Boston, Karachi Club and Ellahi Buksh and Company building. Amongst others, the project for ‘Restoration and Adaptive Reuse of Mohatta Palace’ is his chief contribution towards the preservation of heritage of Karachi.

Kerai’s commitment to design, quality, innovation and delivery are illustrated in his accomplished projects. He has the ability to produce rich quality of architectural design and space planning in an urban site that bears difficult topography or is devoid of character. The designs have a graceful flow of transition spaces augmented by captivating landscaping.

He is keen on utilising natural indigenous materials with innovation and traditional grace.

The client is guided through a series of visuals well adorned with aesthetics appropriate to our cultural concepts and depicting a unity in space/ colour and texture while remaining in harmony with nature.

Work ethics adopted by Kerai speaks volumes about his work because he chooses his clients and works on self-devised principles. He works on fewer projects at a time and avoids stretching boundaries of project intake, thus giving more time to less work rather than vice versa. His designs are nothing like the everyday architect-designed-houses.

Kerai’s designs provide pleasant, diverse exteriors in styles that relate with the context of the environment. He refrains from dictating taste and chooses to cater to clients' diverse needs and focuses on their preferences to create designs that are sound, captivating and highly marketable.

The sensitivity that emerges from an architect, he believes, comes from the context which must be identified and implemented. Weather, climate and environmental considerations are primary to the context, thus, he usually prefers fair-faced concrete finishes which require minimal maintenance over decades.

Regarding preservation of Karachi’s heritage, he says that the old buildings are in a dilapidated condition which is worrisome. Although designed exquisitely, the condition of these buildings is declining rapidly and impairing their essence owing to neglect and poor maintenance.

He is of the view that if an old building is in a good condition, we should make every effort to preserve it rather than tearing it down. Kerai is a firm believer that preservation of buildings should have a context, a raison d'être or perception such as ancestral significance, sentiment or architectural relevance.