Developing an Architectural Identity in Post-Independent India: An Analysis of Charles Correa’s ‘The Blessings of the Sky’ and Jawahar Kala Kendra
The perception of an Indian architectural identity cannot be complete without thorough acknowledgement of the depth to which religion penetrates the urban fabric of life. It should then come as no surprise that this influence extends toward the structures used for living, work and worship – the vessels that maintain and support these ways of life. Naturally, such structures become expressions of the people that use them. Thus developed a series of Hindu scriptures known as vastu shastra, outlining principles of design, planning, spatial arrangements and geometries1 aimed at “achieving a balance among functionality, bioclimatic design, religious and cultural beliefs.”2 It is the axioms defined in these texts that provide the foundations for a method of design inherent to the region and which reflect the beliefs and customs of its people. However, the advent of globalization and the consequent Modernism Movement it spawned coincided with a very fragile time in India’s history. In 1947, the country had liberated itself from British rule and was confronted with the need to consolidate and establish a sense of national identity.3 Architecture is consistently used as a means to this end, yet identity – especially at a national scale – necessitates a unifying factor; and for a country so vast as India, this is exceedingly difficult.4 In this sense, Modernism provided an alternative vision for the future that served to disassociate itself from the architecture of colonial rule. Moreover, the chaos erupting from the subsequent partitioning of the subcontinent brought into question the suitability of the region’s historic architectural heritage for use in the newly independent nation. 5 What followed became a period of architectural confusion; where the path between the universal Modernist model and the rich built-form of local tradition became increasingly thin. Ultimately, it was only from the late 1950s-onwards that a true intertwining of the two began to develop. Le Corbusier and Louis Kahn laid the foundations, allowing 1 2 3 4 5 6 7
(Acharya 1946)
(Toraskar, Mhetar and Patil 2017) (Ashraf and Belluardo 1998) (Ashraf and Belluardo 1998) (Ashraf and Belluardo 1998)
(Correa, The Blessings of the Sky 1996) (Correa, The Blessings of the Sky 1996)
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architects like Charles Correa to begin defining the built environment of post-independence India. Correa’s marriage of past and present approaches is outlined in his essay ‘The Blessings of the Sky’ and culminates in the Jawahar Kala Kendra at Jaipur. These are works which serve to demonstrate an Indian architecture embracing the ancient principles that enforce the notion of identity – whilst accepting the need to consider ideals of the antithetical Modernism Movement. “A movement through the open-to-sky pathways… is the essence of our experience. It represents a sacred journey, a pradakshina, a pilgrimage. In India, the sky has profoundly affected our relationship to builtform, and to open space.”6 Correa begins his essay by establishing a relationship between the sky and the spaces of everyday Indian life. He connotes a belief that these open-to-sky spaces generate feelings of holiness and divinity, where “subtle changes in the quality of light and ambient air generate feelings within us – feelings which are central to our beings”7 and that “True Enlightenment cannot be achieved within the closed box of a room – one needs must be outdoors, under the open sky.”8 It is through this characteristic space that Correa begins to outline traits indicative of a particular style, using local ideology to enforce the notion of a characteristic Indian appearance. As such, the salience of such a space is expressed in vastu as the central open space around which the building is built.9 This occupies the centre of the mandala, the square master grid used in planning and design.10 It is described as a geometric “abstraction of the cosmos”11 where architecture bridges the chasm between man and the heavens. Thus, through defining his development of an Indian architecture by this relationship between man and sky, Correa immediately presents a stylistic element rooted in local history, religion and culture. From the most vernacular of examples to the most extravagant, interpretations of the
(Correa, The Blessings of the Sky 1996) (Chakrabarti 1998)
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(Chakrabarti 1998) (Duriseti 2003)
mandala and the open-to-sky space are evident. This is first highlighted at the village of Banni in Kutch, which resembles the aforementioned central space and surrounding building. Each of these huts are functionally specialized, resulting in a movement between huts depending on the user’s needs; in “a nomadic pattern of astonishing style and natural sophistication.”12 Likewise, a similar spatial disaggregation is noticeable at the magnificent Red Forts of Agra and Delhi, where roof terraces house a series of free-standing pavilions enveloped by elaborate gardens and water features.13 As the villagers at Banni would, the great Moghul Emperors move from pavilion to pavilion depending on their needs.14 If one were to assume the use of each hut and pavilion is dependent on a structure or order, then this is essentially a processional movement, decided by a routine irrespective of social standing and which conjures similarities to the sacred temple journey between gopuram and shrine; beneath an open sky. Whilst not explicitly stated in vastu texts, this movement remains intrinsically linked to local religion, adding another layer to this notion of an Indian architecture.
It has been established that India’s mostly warm climate is best experienced outdoors, beneath the open sky - the implication being indoor environments are not the most pleasant. A typology outlined in vastu known as Haveli is essentially a courtyard house, where a central open-to-sky space additionally functions as a microclimate regulator, encouraging natural ventilation through the building via convection currents.15 This forms one facet of Correa’s passive design ‘kit-of-parts’: the others being stepped terraces and pergola roofs.16 There is an apparent universality to these characteristics. This combination of open-tosky spaces, spatial disaggregation, and passive design strategies creates architecture of variance and flexibility, appropriate at every end of the income spectrum. Recalling post-independence India, Prime Minister Nehru desired an Indian 12 13 14 15 16 17 18
(Correa, The Blessings of the Sky 1996)
(Correa, The Blessings of the Sky 1996) (Correa, The Blessings of the Sky 1996) (Chakrabarti 1998)
(Correa, The Blessings of the Sky 1996) (Ashraf and Belluardo 1998) (Ashraf and Belluardo 1998)
18 19 20 21 22 23 24
architectural identity, but lacked a unifying element. This universality – applicable from village hut to palace – provides a consolidating style steeped in local religion and culture.
Moreover, the initial enthusiasm surrounding Modernism had begun to decline.17 Whilst it was still seen as evidence of the nation’s development, its standardized nature did not translate well to India’s construction industry; resulting in a serious decrease in the quality of building construction.18 Furthermore, it became a commonly held view that Modernism was a “continuation of Western dominance, a new form of cultural imperialism.”19 As a result, Indian architects grew increasingly confident that the answer resided in the country’s roots, where spatial meaning had to be unearthed in the local rituals of everyday life.20 Charles Correa was one of an increasing many to acknowledge this; as evident in his Jawahar Kala Kendra (JKK) at Jaipur. The city plan of Jaipur is supposedly modeled by Maharaja Jai Singh on the Navagraha mandala, the mandala of the nine mythological Hindu planets.21 Correa calls it “truly extraordinary… [the synthesis] between the material and metaphysical worlds.”22 As such, JKK’s defining drawing has to be the plan; a 90m x 90m mandala modelled on the same cosmic beliefs as the city in which it resides. It is an almost literal translation: as the city plan had to relocate a corner square due to the presence of a hill, Correa follows suit; creating a point of entry whilst “recalling the gesture that created the original plan for Jaipur.”23 Nevertheless, this simultaneously echoes the ethos established in vastu and which Correa makes continuous reference to in his stylistic development. Each square of the building’s grid symbolizes one of the nine planets and accommodates a specific part of its program. These are then partitioned by monumental 8-meter-high red sandstone walls, replicating the Red Fort at Agra.24 In some cases, the symbolism of these planets
(Ashraf and Belluardo 1998) (Ashraf and Belluardo 1998) (Ashraf and Belluardo 1998)
(Correa, Charles Correa 1996) (Correa, Charles Correa 1996) (Correa, Charles Correa 1996) (Correa, Charles Correa 1996)
FIG [1]: Navagraha Mandala
FIG [2]: Jaipur city plan
FIG [3]: Jawahar Kala Kendra, plan
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(Correa, Charles Correa 1996) (Reference.com 2019)
is rather exuberantly extended to their function: the planet Guru – representing knowledge contains the Library. Mangal – representing power – houses the administration offices.25 Evidently, it is a conspicuous disaggregation of spaces. Further squares are made ever more distinct through differences in material color as well as some unmistakably pronounced features. For instance, the wall of the textiles exhibition space, Ketu, is distinguished by a fantastic depiction of the Hindu deity Krishna. The central space is characteristically open-tosky, as specified per vastu. Acting as a circulation node, it is notable for its red sandstone kund steps reminiscent of those found at the reservoirs of the Sun Temple at Gujarat.
However, amongst this raft of stylistic traits adherent to Correa’s theory, there are some discrepancies. There is little information on any passive design strategies employed – and whilst it can be assumed that the openness of the building encourages natural ventilation and lighting, questions may be asked concerning material use and its embodied energy. This openness also creates a susceptibility to rain or harsh sunlight, reducing functionality at times of poor weather. Additionally, whilst the high, imposing walls serve their spatial disaggregation purpose; the external appearance becomes foreboding and ironically closed off to the city it mimics in plan. Despite this, it is also in the external appearance where Correa’s acknowledgment of Modernism becomes readily explicit. The sandstone walls are largely devoid of ornament, with clear linearity and simple forms. This is accentuated through a flat roofline and low, horizontal massing; traits mostly characteristic to Modernism.26 The interiors share similar characteristics – especially those finished in white, such as at Guru and Rahu. There is also a rather elegant intertwining of form and function, which is particularly evident in circulation: weaving its way through each square in a manner resembling the processional pradakshina. An effective path is thereby created, which highlights all components of the building’s program. It is therefore a shame that further Modernist elements are not incorporated where perhaps necessary. In particular, an increased
FIG [4]: Jawahar Kala Kendra, section
FIG [5]: Curved glass at Guru with water court and pergola roof
FIG [6]: Depiction of Krishna at Ketu
prominence of shading devices could have been an opportunity to integrate, for example, pergola and brise-soleil; which would further enforce Correa’s passive design ‘kit-of-parts.’
Nevertheless, JKK stands as a monument to not only the principles outlined in Correa’s ‘The Blessings of the Sky,’ but also many facets of India’s culture as a whole – for it acknowledges vastu shastra and the great works of Indian architecture, the country’s religions, and the work of local artists. In this sense, however, it might be seen as an almost exaggerated exhibition of elements innate to India. Though Correa is true to his theory to a high degree, it must be noted that this interpretation of identity is exceedingly overt. In some instances, the symbolism is virtually spelled out. For example, the external walls of each square contain the traditional symbol of the corresponding planet, inlaid in marble and stone.27 It is a decidedly literal translation of religious and historical influences; yet it is also a wholly ebullient celebration of Indian heritage, where references to local ideology are displayed with aplomb. Although other, more vernacular and functional buildings might be better representatives of a wider Indian architectural identity, JKK remains a strong example of an answer to the postindependence identity question posed by Prime Minister Nehru. It responds to the conflicting stylistic problem of the time and demonstrates an engaging reinterpretation of the past, respecting the formal boundaries of Modernism whilst evoking a true sense of locality and context. Finally, to end on a personal note – my analysis of ‘The Blessings of the Sky’ and Jawahar Kala Kendra has been thoroughly enjoyable and captivating to research and write about. The question of developing an architectural identity is one which I believe all architecture students grapple with at some point – do I want to design in a characteristic style? Or do I want to create work that is wholly contextual in nature? After writing this essay I am inclined to believe it can be either, so long as function and sustainability are not compromised at their expense. Word Count: 1913 27
(Correa, Charles Correa 1996)
FIG [7]: Jawahar Kala Kendra, exterior
FIG [8]: Central open-to-sky space with kund steps visible
FIG [9]: Interior at Rahu
Bibliography Acharya, Prasanna Kumar. 1946. An Encyclopaedia of Hindu Architecture. Oxford University Press. Ashraf, Kazi Khaleed, and James Belluardo. 1998. An Architecture of Independence: The Making of Modern South Asia. The Architectural League of New York. Chakrabarti, Vibhuti. 1998. Indian Architectural Theory: Contemporary Uses of Vastu Vidya. Curzon Press. Correa, Charles. 1996. Charles Correa. Thames and Hudson. Correa, Charles. 1996. “The Blessings of the Sky.” In Charles Correa, by Charles Correa. Thames and Hudson. Duriseti, Shyama Sundar. 2003. “Harmony in Architecture: New technologies and ancient traditions.” Thesis Dissertation, Interaction Design Institute Ivrea, Ivrea. Reference.com. 2019. What are the Characteristics of Modern Architecture. Accessed May 8, 2019. https://www.reference.com/art-literature/characteristics-modern-architecture-dee36c0aeb26e739. Toraskar, Vrushali V., Gouri A. Mhetar, and Manorama R. Patil. 2017. “Study of Architecture and Planning of Jaipur City in context with Vastushastra.” International Journal of Engineering Research and Technology (International Research Publication House) 10 (1): 139-142.
Images FIG [1]: “Navagraha Yantra.” Digital image. Sacred Mother Arts. Accessed May 8, 2019. http://www. sacredmotherarts.com/store/p6/Navagraha_Yantra.html. FIG [2]: Correa, Charles. 1996. Jaipur city plan. In Charles Correa, by Charles Correa. Thames and Hudson, 1996, pg. 218 FIG [3]: Correa, Charles. 1996. Plan. In Charles Correa, by Charles Correa. Thames and Hudson, 1996, pg. 219 FIG [4]: Correa, Charles. 1996. Section. In Charles Correa, by Charles Correa. Thames and Hudson, 1996, pg. 221 FIG [5]: Correa, Charles. 1996. Curved Glass Wall and Water Court in Guru. In Charles Correa, by Charles Correa. Thames and Hudson, 1996, pg. 230-231 FIG [6]: Correa, Charles. 1996. Krishna in Ketu. In Charles Correa, by Charles Correa. Thames and Hudson, 1996, pg. 228-229 FIG [7]: Correa, Charles. 1996. A Model of the Cosmos. In Charles Correa, by Charles Correa. Thames and Hudson, 1996, pg. 220-221 FIG [8]: “Jawahar Kala Kendra Jaipur, India.” Digital image. Jaipur Tourism. Accessed May 8, 2019. https://jaipurtourism.co.in/jawahar-kala-kendra-jaipur. FIG [9]: Correa, Charles. 1996. The Imaginary Planet Rahu. In Charles Correa, by Charles Correa. Thames and Hudson, 1996, pg. 232