In a time when heritage is increasingly pressured by tourism, development, and rapid urban change, Anuradha S Naik’s work argues for patience and precision. A UNESCO award-winning conservation architect and Principal at Anuradha Naik Associates, Hyderabad, she has led some of the country’s most significant restoration projects, including Chowmahalla Palace and Taj Falaknuma Palace. Trained at the Edinburgh College of Art and the Bartlett, University College London, and a chartered member of Royal Institute of British Architects (RIBA) and the Royal Incorporation of Architects of Scotland (RIAS), she brings an international lens to Indian conservation practice. During a recent conversation, after the launch of her book, H.E.H. Mir Barkat Ali Khan Mukarram Jah Bahadur The Life and Times of the Eighth Nizam of Hyderabad, she reflected on the philosophy that guides her approach to heritage architecture.
For her, the question of how a historic structure should evolve begins with clarity of purpose. “You have to prioritise first what you’re doing. If it is a monument, then you can’t find a contemporary use for it — it remains a monument,” she began. Where buildings were once homes but can no longer function as such, she believes adaptation must be handled with restraint. “You look at how you’re going to provide services like plumbing or electricity in a way that was not there when the building was made, but to do that in a sensitive manner,” she explained. There is no universal formula, she stressed, as every structure carries a different fabric and history. What remains non-negotiable is intent. She continued, “No matter what you do, you should not be tampering with the original spirit and the original character of the building.”
Having worked extensively in both the UK and India, she spoke candidly about how differently heritage is perceived across geographies. “It’s valued a lot more over there,” she observed, referring to the UK. In contrast, India’s rapid economic growth often sidelines historical consciousness. “We’re not always conscious of our past, though we need to be, because it’s disappearing very fast,” she noted. She further stated that conservation in India is deeply rooted in craftsmanship and sensory engagement. “There’s a lot more handwork, a lot more craftsmen. We ask — did it sound right, did it look right, did it touch right, does it feel right?” In the UK, however, conservation follows a more scientific and systematised approach. Funding, she pointed out, follows perceived value: “If there is value, people will find the money for it; if there is no value, nobody will.” The scale of protection also differs starkly. “New York City alone has more protected buildings than all of India,” she added.
Discussing the pressures faced by iconic sites, she pointed to the realities of tourism. At Chowmahalla Palace, now a public museum, footfall has begun to visibly affect the structure. “The Khilwat Mubarak, the Durbar Hall, was designed for maybe 50 people using the staircase once in six months. Today, many tourists go up and down everyday,” she highlighted.
Managing movement and regulating access has become essential, she added, noting that such decisions are an ongoing process rather than fixed solutions.
Reflecting on the role of cultural gatherings, she emphasised their ability to bridge unfamiliar worlds. Such platforms, she said, bring together people who may otherwise never engage with heritage spaces, offering learning in an accessible and immersive way. “We come here, we learn something different,” she said, calling the experience enriching and collective — a reminder that conservation ultimately thrives on shared awareness and curiosity