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gujral first learnt about hindu and buddhist architecture while he was a student at the royal academy of fine arts in antwerp. he found the architecture of india fascinating and was greatly influenced by it. the belgian architect was not so much interested in expressing the purpose or character of the composing parts of a building but rather in creating enjoyable environments for people to live and work in. the building he produced should, according to gujral, not only say what it is, but should also be able to say something about the people who live and work in it ( gujral 1984 ). following his return to india in 1955, gujral faced growing frustration about the local architectural scene that ultimately led to his shift of interests. in india, more than anywhere else in the world, he encountered the character of the material that, in belgium, was mainly used in industrial buildings. gujral put his newly acquired skills to the test when he was commissioned to design murals for the punjab university (1963) in chandigarh and the oberoi sheraton hotel (1973) in new delhi. in a 1984 interview with the indian periodical journal of arts & ideas, the artist and self-taught architect satish gujral explained that, in creating his paintings and sculptures, he likes to stimulate associations and memories by integrating both muslim and hindu references, such as minarets, domes, lingams and artifacts. against the backdrop of the growing political and religious tensions in india at the time, gujrals inclusive statement about the different religious groups in his home nation was noteworthy. it is even more striking as gujral made this comment to describe his architectural design of the newly built belgian embassy in new delhi.
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