Finding Gandhi, Golak, and Khadi in Wardha

A recent unplanned detour brought Nipun Prabhakar to the small town of Wardha—home to Sevagram, where M.K. Gandhi founded his ashram and left a lasting historical legacy. In this journey of unexpected discovery, Nipun encounters Magan Sangrahalaya, a newly built guesthouse designed by Golak Khandual. Its raw, honest materiality resonated deeply with the spirit of The Five Year Plan, a book housed within its walls — crafted entirely on Khadi, echoing the ethos of the place itself.

I always wanted to visit Wardha since my undergrad thesis was on architecture based on Gandhi’s Ideas. With no fixed agenda, guided only by my friends Shirish and Anshul, the journey began with a morning visit to the Gandhi Ashram. My intention was a swift return to Bhopal the same day. However, fate, it seemed, had other plans waiting at our next stop: Magan Sangrahalaya.

Upon arrival, unaware, we discovered a convergence of events – the inauguration of a new guesthouse designed by architect Golak Khandual, and within it, the unveiling of a remarkable exhibition. Golak’s name wasn’t entirely new to me; it had surfaced in conversations, often linked with Pradip Krishen, one of India’s most respected landscape designers. Friends like Fazal described Golak, or ‘Golu’, as a somewhat eccentric figure, known for his immersive approach – living on-site, dedicating himself entirely to one project at a time.

Golak, originally from Odisha and an alumnus of Delhi’s School of Planning and Architecture, has carved a niche with his profound commitment to integrating architecture with environmental sensitivity. His long-standing collaboration with Krishen, dating back to eco-sensitive projects near Pachmarhi in the early 1990s, has yielded significant works like the Kishan Bagh desert park in Jaipur. There, his structures, crafted from vernacular materials, meld seamlessly into the unique Thar landscape.

At Magan Sangrahalaya, we found Golak concluding lunch with his guests – it was, after all, the inauguration day for the guesthouse he had painstakingly designed. His architectural philosophy is deeply embedded in place-making, utilising local materials and contextual design to create spaces that feel born of the earth, not imposed upon it. As final preparations unfolded, marigold garlands lending their festive colour, I learned about the second inauguration: a book made entirely of khadi.

A Book made on Khadi Fabric

This was not an ordinary book. Created by American artist Aaron Sinift, and published by Booklyn, Five Year Plan is the culmination of over a decade’s work. Its fascination lies not just in the object itself, but in the intricate ecosystem behind its creation. I was fascinated to know that unlike conventional artist books, Five Year Plan is printed entirely on hand-spun, hand-woven khadi fabric. The project happened because of collaborations, involving organic cotton farmers, traditional weavers using handlooms, and block printers who transferred artworks contributed by international artists onto the fabric pages. This third edition followed the idea of contemporary art with the Gandhian tenets of self-reliance (swadeshi) and sustainability.

During the inauguration ceremony, a speaker recounted the project’s genesis. Aaron Sinift’s curiosity was sparked years ago by a simple khadi jhola (bag) spotted on the ghats of Banaras. Research revealed the history of these ‘Gandhi bags’, produced by ashrams and khadi organizations, embodying a distinct pre- and post-Independence aesthetic. This discovery became the seed for Five Year Plan, a project that not only honours khadi’s legacy but actively sustains the communities integral to its production.

Following the inauguration, the guesthouse doors opened. Stepping inside, one is immediately confronted by a wall bearing the simple yet profound inscription: “aage sapne dekhna” – “keep dreaming forward.” A choice then presents itself: turn left or right into two distinct spaces.

The building embraces the unfinished, perhaps Golak’s signature style. The exposed brick vaulted roof remains raw, unpointed. The walls possess a subtle undulation, a tangible memory of the hands that shaped and plastered them. The floor, a traditional mix of mud and cow dung, is demarcated from the lime-plastered walls by a delicate, continuous line of turmeric powder.

Initially serving as an exhibition space, the guesthouse walls were adorned with the individual khadi pages of Five Year Plan.

The Layers within Wardha

Later, I had a chance to speak with Golak. He confirmed that like most of his projects, he’d been living on-site for the past year, immersing himself in the project’s realization. With the building now complete, he was preparing to move on, his next destination yet unknown – embodying the nomadic focus he is known for.

Reflecting on the day, I realized Magan Sangrahalaya itself was a crucible, drawing together a wonderfully eclectic mix of individuals. A retired D.R.D.O scientist, who had spent time researching in Antarctica, filled the space with the soulful notes of his flute. A folk singer offered resonant verses of Kabir. Organic farmers shared stories of their produce. Vibha Gupta, or Vibha di as everyone called her, the Director of Magan Sanghralya, kept everyone together. This gathering, orchestrated by the dedicated team running the Sangrahalaya, felt like a living expression of the place’s ethos.

Magan Sangrahalaya, named in honour of Gandhi’s associate Maganlal Gandhi (a pioneer of rural industry) felt like a dynamic centre dedicated to Gandhian thought, sustainability, and rural innovation, functioning as a hub for experimentation, knowledge-sharing, and collaboration – the very spirit we experienced that day.

The visit, intended as a brief stopover, evolved into an unexpected immersion. Wardha revealed itself as a place where Gandhi’s enduring legacy, Golak Khandual’s grounded contemporary architecture, and Aaron Sinift’s globally collaborative, craft-rooted art project converged seamlessly. It was an interesting encounter with the intersecting narratives of architecture, sustainability, art, and community. What was meant to be a short visit turned into a day of meaningful encounters, each adding another layer to the evolving narrative of Wardha.

As dusk began to settle, casting long shadows across the mud floor of the guesthouse, the air itself felt thick with resonance. Standing beneath Golak’s raw brick vaults, surrounded by the tactile khadi pages of Sinift’s global project, was like being inside a living dialogue – a space where Gandhi’s enduring ideals, mindful architecture, and collaborative art weren’t just concepts, but tangible realities.

It was a potent reminder that the most meaningful places aren’t always the most polished; sometimes, they are the ones that breathe, bearing the marks of their making and leaving space for the dreams yet to unfold. The synergy was palpable: the building’s raw, honest materiality directly mirrored that of the book it housed. Both artifacts felt deeply human – imperfect, bearing the beautiful blemishes of hand-craftsmanship, sustainable not just in material but in spirit.

All Images Courtesy of the author, Nipun Prabhakar.