Approaches to Critical Regionalism in Post-Independent Architecture of India by Jinal Shah

Approaches to Critical Regionalism in Post-Independent architecture of India Discerning through case study of Jaipur

Submitted by Jinal Shah Guided by Yatin Pandya Faculty of Design, CEPT University

Thesis submitted as a part of under graduate course for the degree of Bachelor of Interior Design

Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No: Shah Jinal Manishkumar

Signature of student:

Date: 08 May 2020

Acknowledgment I wish to express the deepest gratitude to my guide, Prof. Yatin Pandya, who consistently encouraged and supported me. Without his guidance, the goals of this research would have not been realized. My sincere thanks must also go to Amal Sir for always motivating and believing in me during this journey. I am most grateful to all the faculties at SID, especially Kireet Sir, Seema Ma’am, Rishav Sir , Rachita Ma’am,

Supriya Ma’am, Hamid Sir, Catherine Ma’am

and Claire Ma’am for offering me their valuable time and constructive criticism towards improving my work and providing a broader perspective towards the thesis. I would like to recognize the invaluable patience and assistance provided to me by KD Sir, Chandra Ma’am, entire Library Staff at Cept University, the administration at Pearl Academy for their support and all those without whose assistance this thesis would not have been the same. I am indebted to Raj, Roma and Joohie for their valuable discussions, Grishma, Vishwa, Sajal and Manav for their technical contribution. There is no way to express enough how much it meant to me to have friends who went through hard times together, cheered me on and celebrated each accomplishment: Aditi, Prachi, Shivangi, Medhavi, Shloka, Shivam, Ishani, Drasti, Haardikaa, Zil, Parth. I cannot thank enough to my lovely Batch 2015 for motivating and entertaining, friends and seniors for making the journey at SID a memorable one. Finally, I want to acknowledge the love, care, support and sacrifices of my family, my Parents, and brother, Moxit for believing in me and standing by me at every step. They kept me going even through the most difficult times and this thesis would not have been possible without them.

Definition

Critical Regionalism is an approach to architecture that strives to counter the placelessness and lack of identity of the International Style, but also rejects the whimsical individualism and ornamentation of Postmodern architecture. The stylings of critical regionalism seek to provide an architecture rooted in the modern tradition, but tied to geographical and cultural context. Critical regionalism is not simply regionalism in the sense of vernacular architecture. It is a progressive approach to design that seeks to mediate between the global and the local languages of architecture. Source: Kenneth Frampton

Introduction

i Abstract ii Aim iii Objective iv Scope and Limitations

v Methodology

Origins of Critical Regionalism

1.1 Resistance to modernism and foundation of regionalist architecture 1.2 Historiography of Critical Regionalism 1.3 Critical Regionalism and Phenomenon of place

1.4 Key Findings

Critical Regionalism in Indian domain

2.1 Impacts of various factors on Indian architecture 2.2 Facets of Resistance 2.3 Key events of Critical Regionalism in Architecture Post Independence in India

2.4 Key Findings

Jaipur as a region

3.1 Criteria for selection of region, case study 3.2 Rajasthan and Regionalism 3.3 Planning and evolution of Jaipur

04 05

3.4 Traditional Architecture of Jaipur

Case Study

101

4.1 Parameters for evaluation 4.2 Jawahar Kala Kendra, Jaipur 4.3 Pearl Academy of Fashion, Jaipur

Summing Up 5.1 Comparative Analysis 5.2 Conclusion 5.3 End Note. vi Bibliography vii Illustration Credits viii Glossary

175

Introduction i Abstract ii Aim iii Objective iv Scope and Limitations v Methodology

00 Introduction

Abstract Critical Regionalism had emerged as an onslaught to the modernist image of universal and homogeneous utopia in architecture. The theories of critical regionalism are used to address the literal imitation of vernacular style and placelessness of universal built environments. This thesis attempts to understand the principal theories of critical regionalism as an approach to architecture practices of Post-Independent India. After understanding impacts of socio- cultural and political aspects on the architecture of post independent India, various key events in the history of critically regional architecture are discussed. For the assessment of critical regionalism, the regional architecture has to demonstrate strong characteristics as a response to the climate, geography, topography, materials, construction techniques and so on. The city of Jaipur in Rajasthan region deploys these qualities, making it an area of inquiry. The discussions of critical regionalism in practice are supported by case study of two institution buildings of Jaipur; that are two decades apart and analyze the translation of critical regionalism from a theory to practical approach in two very different approaches. These studies will help to determine the methods of translation and approaches to critical regionalism in recent architecture of India.

Critical Regionalism

PostJaipur

Independent Architecture of India

Fig 0.1 Keywords defining the research

00 Introduction

Aim The study attempts to comprehend various approaches to the application of the theory of Critical Regionalism in the pluralist Architecture practices of Post-Independent India by focusing on the region of Jaipur

Objective To understand the theory Critical Regionalism as a thought process and study itâ&#x20AC;&#x2122;s translation through diverse and varied approaches in the pluralist architecture of India To understand the post-Independent architecture of India with respect to the socio-cultural and politic aspects and itâ&#x20AC;&#x2122;s impact on emerging styles of Indian architecture To identify the characteristics of a built form that make it region responsive, by looking at the history and essence of traditional architecture of Rajasthan and Jaipur To recognize the translation of critical regionalism in present times using the interpretation and diverse approaches adapted by two institutions from recent past in the region of Jaipur.

Scope and Limitations It is difficult to isolate the theory from itâ&#x20AC;&#x2122;s interior and exterior aspects, so the study resorts to space making and itâ&#x20AC;&#x2122;s attitudes for discussions. This is because the implication of the theory is seen in both the domains and hence the cases are seen from the facet of architecture discourse to elucidate the discussion. Looking at the promising evidences by the region of Jaipur, the study limits it as case study and does not look at other regions, maintaining a steady and consistent response to translated critical regionalism. Since the theory does not list method for evaluation of critical regionalism, the outcome does not quantify the responses in the form of empirical data, and instead makes a comparative analysis to see the degree of response. Due to the covid-19 pandemic and lack of library resources, the study relies heavily on the limited and available on-line resources. Also, the study uses only two primary case studies to support the theory, keeping in account the mobility limits due to Covid-19 pandemic.

00 Introduction

Methodology The thesis follows an interpretative-historical research methodology to understand the frame work of principles and theories of Critical Regionalism. The study focuses on understanding the regionalist approach to architecture. To do so, the study is initiated by discussing the origin of Critical regionalism through various phases. The term and its phenomenon is discussed referring to the contributors and pioneers of the theory. The Six points of Critical regionalism by Kenneth Frampton help in bringing the discussion to further clarity using examples. This discussion of the theory and itâ&#x20AC;&#x2122;s applications outside India set up the context for the study. Then after, the study focuses on understanding the role of various socio-cultural, economic and political aspects in impacting the nationâ&#x20AC;&#x2122;s architectural style and defining the identity of the nation post Independence. It is understood using certain facets of resistance, one of them being Critical Regionalism. The formal approach to critical regionalism and itâ&#x20AC;&#x2122;s key events suggest the active resistance and development of critical regionalism in India. The discussion then progresses by narrowing down towards the regionalism in the city of Jaipur. The traditional architecture and space making attitudes of Rajasthan and region of Jaipur are discussed as a source for regionalism in the case studies. The physicality of these case studies are understood using this context as a build up. Lastly, the discussion is supported by focusing on case studies of two prominent buildings of Jaipur based on their high degree of responsiveness to critical regionalism. Jawahar Kala Kendra and Pearl Academy, are two decades apart, built by two different generations of architects and in the same region. The case studies are selected based on their merit of diversely varied interpretations towards the theory

and the region both in institutional typology responding to collective user groups. After a primary visit to the buildings, by the means of photographs, drawings and diagrams, the buildings are analyzed using set of evaluation parameters. Using various parameters of spatial make up like the siting and location, form and massing, organization, role of elements, material, technique and surface application, associations are made with the region of Jaipur. Hence, by making these associations to the traditional architecture of the region, the built formâ&#x20AC;&#x2122;s approach to critical regionalism is analyzed. This synthesis for the built forms helps in comparing the degree of response in two diverse approaches by two institutes of different decades in the same region of Jaipur. The findings from the case studies are analyzed by comparison and study is concluded on the basis of these evaluated case studies.

Applications in India

World Theory

origins of critical regionalism

Applied regionalism in Jaipur

Regionalism in Jaipur

critical regionalism in indian domain

jaipur as a region

Evaluation

case study

summing up

Resistance to modernism and foundation of regionalist architecture

Impacts of various factors on Indian architecture

Rajasthan and Regionalism

Jawahar Kala Kendra

Comparative Analysis

Historiography of Critical Regionalism

Facets of Resistance

Planning and Evolution of Jaipur

Pearl Academy of Design

Conclusion

Significant contributions to the theory Framptonâ&#x20AC;&#x2122;s genesis to the theory

Critical Regionalism and Phenomenon of place

Socio-Cultural impact Socio -Economic impact Religious impact Socio-Political impact

Contemporary facet Regional facet

Key events of Critical Regionalism in Architecture Post Independence in India

Amer Fort Planning of Jaipur

Traditional Architecture of Jaipur

End Note.

Man Context Relationship of man and his context

â&#x20AC;&#x153;Whence the paradox: on the one hand, it has to root itself in the soil of its past, forge a national spirit, and unfurl this spiritual and cultural revindication before the colonialistâ&#x20AC;&#x2122;s personality. But in order to take part in modern civilization, it is necessary at the same time to take part in scientific, technical, and political rationality, something which very often requires the pure and simple abandon of a whole cultural past.â&#x20AC;? (Ricoeur, 1965, pp. 276-277)

Origins of Critical Regionalism 1.1 Resistance to modernism and foundation of regionalist architecture 1.2 Historiography of Critical Regionalism

1.2.1 Significant contributions to the theory

1.2.2 Framptonâ&#x20AC;&#x2122;s genesis to the theory

1.3 Critical Regionalism and Phenomenon of place 1.4 Key Findings

01 Origins of Critical Regionalism

Critical Regionalism had emerged as an onslaught to the modernist image of universal architecture. It acted as a bridge between the built environment and it’s geographical context. In order to synthesize on the theory and principles behind Critical Regionalism, it is important to understand the shortcomings and failures of modernism. The understanding validates the design philosophy and it’s development from regionalism to critical regionalism. “Critical regionalism

endorses the phenomenological concept of place as an approach to design that warrants a sophisticated and overt connection between the specificity of site, it’s cultural, historic and topographic characteristics, and the built form.” (Green, 2014) The chapter discusses the resistance to modernism that lead to the foundation of regionalist architecture. This discussion is followed by the significant contributions to the theory by Lewis Mumford, William Curtis, Alexander Tzonis, Laine Lefaivre and lastly Kenneth Frampton’s genesis to the theory of Critical regionalism using the six points for an architecture of resistance as a basis to understand the theory. Further, the study discusses the relationship of critical regionalism with the phenomenology of place by Noberg Schulz. These findings help in establishing the foundation for understanding the theory of Critical Regionalism.

Fig 1.0 Critical Regionalism emerging from resistance towards Modernism

1.1 Resistance to modernism and foundation of regionalist architecture

1.1

Resistance to Modernism and foundation of Regionalist architecture Critical Regionalism ultimately sought to correct the failings of the modernist movement rejecting its sterile and uniformed facades and hostile interiors (Jencks, 1977, p. 15). The demise of modern architecture can largely be attributed to what American architect and theorist Charles Jencks describes as a “univalent form” (1977, p. 15). In his book The language of Post-modern architecture, Jencks argues that “the modern movement has impoverished

architectural language on the level of form” (1977, p. 15). The tenets of modernism were based on the Universalization of truth, which was supported by mass production and Industrialization. The development of industries during the early stages of the 20th century had an arguably strong impact on the development of the International or global style-a modernist language that favored a universal vernacular over instances of context and culture. This was an effect of the emerging use of concrete, not as a material but as a process of construction that allowed itself to be cast in any form and the process was similar in every region of the world (Fig 1.1). Also, being based on assembly of components like glass and steel as a result of mass production allowed universality in construction. Meanwhile, there was a resistance to classical styles like Rococo and Baroque style which continued to lose

Fig 1.1- Casting of the concrete allowed universality in construction methods, resulting in a similar output across the world

01 Origins of Critical Regionalism

their purity in the name of regional. Hence, Modernism tried to counter this movement by adding a brutalist aesthetic to the structural elements. Slowly, but certainly regionalist characteristics were replaced by contemporary methods, materials and universal motifs. However, while standardization resulted in the very modern aesthetic in the West, this phenomenon was seen differently in the traditional space making of Indian architecture. With the production of craft and regional aesthetic into the architecture, the standard kit of elements like beam and column in Indian architecture resulted in variation through customization in standardization. Elements like diversely carved base, capital and brackets allowed diversity despite coherence in the overall regional architecture. The same set of elements and materials resulted differently in Indian traditional architecture as opposed to that of the West. By the 1970’s, Modernism had transformed into a global architectural language that had not only dominated the commercial typology, but had influenced into housing, hospitality and institutional design. Jencks recognized that

“the glass-and steel box had become the single most used form in modern architecture” (1977, p. 15). This point is demonstrated profoundly in the book Modern Architecture since 1900 by William Curtis, wherein he discusses modern architecture as the “recurrent tendency to use simple

rectangular volumes articulated by crispy cut openings’ and ‘recurrent motifs like strip windows, flat roofs, grids of support, cantilevered horizontal planes, metal railings and curved partitions” (1996, p. 256). The failure of modernism can be suggestively understood as the reduction of architecture to its simplest form. Peter Eisenman in a journal article titled Post Functionalism, identifies how “architecture became increasingly a social programmatic art” and further argues “as the function became more complex, the ability to manifest the pure type-form eroded” (1978, p. 56).

1.1 Resistance to modernism and foundation of regionalist architecture

There were a few standard characteristics of Modernism, followed by architects as a recurring phenomenon to counter state the pastiche of classical architecture. These were even observed as styles of Glass Box

individuals like the German architect Mies Van Der Rohe as Miesian style or Corbusian by the Swiss-French architect Le Corbusier. The few principles common in modern built forms were space planning, use

Horizontal Ribbon windows

of materials, spatial configurations and aesthetics(Fig 1.2). The use of newly found material- concrete, along with the mass produced Glass panels and Steel columns allowed the imitation of these industrial processes for construction across the world. The outer volume of

Flat thin cantilever overhang

the building was usually a long rectangle with long horizontal or ribbon windows on the plain facade. This volume was raised by a number of columns placed in a grid. Another approach by Mies was placing full height glass panels as facades

Metal column grid

enclosing the space. The internal space planning was configured by placing parallel vertical planes and a thin flat roof as an overhang. This juxtaposition of planes, cantilevering of roofs , division of

Parallel vertical planes

glass panels and square grid false ceiling formed the modern aesthetic. While this character rejected all regional aspects, it created a very standard and monotonous universality, owing to the same material and tectonic across the

Paneled Glass Box Fig 1.2- Demonstrating basic principles of modernism

world and across all typologies of built forms.

01 Origins of Critical Regionalism

It can be assumed that Jencks’ concept of a univalent form leads itself to an absence of specificity of type in the Modernist Style. Curtis argues that modernist “buildings of different functions, size, material, meaning and expressive power could be found which nonetheless had obvious features in common” (1996, pp. 257). Arguably there is hardly any distinction between the appearance of a residence and an institution during the modernist movement. This is evident in any of the works by Mies Van Rohe. On comparing two of his projects, the Fransworth house (1945-51)(Fig 1.3) located in Chicago, USA with the Barcelona Pavilion (1929) (Fig 1.4) in Barcelona, Spain reveals the identical principles used in the design of a residential and an exhibition pavilion. The built forms are held together with parallel vertical and horizontal I-Beams. The facades are made out of full height glass panels with a thin roof overhung as cantilever.

Fig 1.3- Plan of Fransworth House reveals the lack of identity as a domestic space and shows the typical open plan structure of Modernism, while the north elevation of the House is influenced by the overhanging thin roof and parallel I Beam structure

1.1 Resistance to modernism and foundation of regionalist architecture

Fig 1.4- Barcelona Pavilion designed by Mies using principles of modernism demonstrates the innovation of steel and glass as underlying materials of modernism, while depicting the analogy in appearance with other typical built forms of Modernism

With the internationalism and concept of a uniformed utopia beginning to falter, the critics of modernism recognized the absence of region. Modernism had introduced a permissive attitude towards uncovering past traditions, and as Curtis described â&#x20AC;&#x153;by the last quarter of the twentieth century, most truly regional traditions- most authentic vernacularswere dead, and the rest were under threat of extinctionâ&#x20AC;? (1996, p. 639). This consequently prompted the emergence of Regionalism and later Critical Regionalism, both of which were considered solutions to the neglect of region and culture in architecture.

01 Origins of Critical Regionalism

Critical Regionalism was based on Phenomenology. Phenomenology was brought about by the lack of sense of place in modern architecture. While regionalism is an idea attached to vernacular and modernism is about new non-contextual ways of design, critical regionalism is an approach to counter the placelessness and lack of meaning in modern architecture by using contextual forces to give a sense of place and meaning to it. It is to get critical about the vernacular or region which is not blindly just conserved but also bridges the gap between the modern and regional approaches to built environments.

Historiography of Critical Regionalism In the early 1980s, the term ‘Critical regionalism’ was first introduced as an architectural concept in writings by Alexander Tzonis, Laine Lefaivre and, later on by, Kenneth Frampton. “The term was coined by Alexander Tzonis and Laine Lefaivre in their article ‘The Grid and the Pathway’, where critical regionalism was portrayed as the 3rd and most recent type of regionalism at Greece after ‘nationalist regionalism’ and ‘historicist regionalism’ ... modern architecture is thought to be impersonal and monolithic, destroying

the

humanistic

qualities

architectural

expression which would be reinstated by a new form of regionalism. Critical regionalism is a solution to becoming

modern and yet returning to the sources.” (Wu, 2006) These theorists often claim the works of Tadao Ando, Luis Barragan, Glenn Murcutt and other architects as archetypal models of the theory, pertaining to their intelligent response and dynamic fusion of local and universal ideas.

1.2.1 Significant contributions to the theory At the essence of modern thinking was a desire to broaden the boundaries of architecture, bridging societies through a standard and global language, paralleling the cultural paradigms of post World War 2. The advancement of

1.2

1.2 Historiography of Critical Regionalism

Critical Regionalism

Regional

Universal Vernaculars

Fig 1.5- Critical Regionalism at the concurrence of Regional and Universal Vernaculars

a universal culture was important to the development of a universal architecture, indicative of a political and economic awareness and liberty forming the aspiration for an egalitarian society. However, in an ironic turn of events by neglecting regional culture, cast and creed, modern architecture resulted in a built world that was unfamiliar to those who lived in it. Furthermore, as Curtis points out in his book Modern architecture since 1900, the modernist school of architecture ‘reflected Western bias: with a disregard for developing cultures in the Third World (1996, p. 636). The critical reflection and re examination of Modernism found a need to restore the memories and aspirations of the local cultures and an acknowledgment of geographic contexts, leading to a regionalist thinking. Architectural and urban historian, Lewis Mumford (18951990), first voiced his concerns amidst the progression of modern architecture as the universe language, rejecting the reliance of technology and the limitations of Modernism and the International Style. He was, as historian Liane Lefaivre described, the forefather of the “regionalist rebellion” (2012, p. 31). In his article titled The theory and practice of Regionalism, Mumford describes how the processes of Modernism “impoverish the earth by hastily removing, for the

01 Origins of Critical Regionalism

benefit of a few generations, the common resources which, once expended and dissipated, can never be restored” (1928, p. 18). Mumford here identifies how modernist thinking was more concerned with creating a uniformed Architecture that speaks nothing of its site, history or culture. He acknowledges the need of region, rather than ignore it and destroy it. Mumford’s writing is concerned with the idea of the Machines being a symbol of urbanization and the destruction of regional identities. He argues against modern technology and methods. Architect Alexander Tzonis and historian Liane Lefaivre identify with Mumford’s critique and concur that there is a need for architecture to return to region, not only for the salvation of contemporary architecture, but also to protect and restore the authentic vernaculars of local states. Tzonis and Lefaivre’s definition of Critical Regionalism confronts the universal civilization and demands a dialogue between architecture and society. However, in their analysis of Regionalism, they uncover the paradox of a regional culture being part of a world culture, and tension in trying to create an architectural language sympathetic to old and new (1976, p. 484). Tzonis and Lefaivre turn to John Ruskin to aid their discussion of the impossibility for contemporary buildings to possess “that strong quality of sympathy, affinity, memory and familiarity, a deep sense of voicefullness that convincingly speaks of past as if it were one with the present” (1976, p. 484). In their article Why Critical Regionalism today, Tzonis and Lefaivre come to terms with the realization that “civilization has lost identities regions and collective social structure”, and in a sombre tone reflect that ‘community and place cannot be recaptured” (1976, p. 484).

1.2 Historiography of Critical Regionalism

1.2.2 Frampton’s genesis to the theory Culture and

Perhaps the most influential writing on

Civilization

Critical Regionalism is that of historian and critic Kenneth

Frampton, like

many critics of the cultural significance needed in modern architecture, he is

The Rise and

also aware of the need for an explicit dialogue between past traditions and new

Fall of the

methods. He proposes “an alternative

Avant-Garde

theoretical position in which architecture is able to build on the liberative and poetic legacy of the pre-war movement” (1983, p. 469). Furthermore, he argues

Critical Regionalism and World Culture

that “Regionalism bares the “capacity

to condense the artistic potential of the region while reinterpreting cultural influences coming from the outside” (1983, p. 469). Frampton’s Regionalism successfully

amalgamates

local

traditions and universal methods and

The Resistance of the Place-Form

illustrates an architecture that is relatable to both local and global societies. Frampton follows Tzonis and Lefaivre’s idea in setting forth critical regionalism, but calls it with more urgency and emphasizes on “its critical nature against

Culture versus Nature:

placeless monotony.” (1978)

Topography, Context, Climate, Light and Tectonic Form

the

article

“Towards

Critical

Regionalism,” Frampton defines critical regionalism as- “an architecture of resistance, seeking to mediate the impact of universal civilization with elements

The Visual versus the Tactile

derived indirectly from the peculiarities of a particular place.” (1983) Fig 1.6 Six points for an architecture of resistance in essay Towards Critical Regionalism from book The Anti-Aesthetic.

01 Origins of Critical Regionalism

Six points for an architecture of resistance 1. CULTURE AND CIVILIZATION Kenneth Frampton comments about the changes in the skyline and cityscape that have been brought about, by the technological advancements in the late 19th century. He describes how the Skyscrapers and highways have gained control over form and importance in the urban fabric. The modern universal civilization changed the nuance of culture. Modernism brought placelessness and left the regional sources untapped.

Fig 1.7 Gurgaon city undergone rapid change which is seen exclusive of the context of Delhi region that it builds upon. The skyscrapers and highways were a sudden intervention into the urban fabric of Delhi.

2. THE RISE AND FALL OF THE AVANT-GARDE In the field of Arts and literature, the 19th century saw many ups and downs. In the early to mid-19th century Gothic revival and Neoclassicism gained popularity. By end of 19th century, Modernist and utilitarian paintings took over and classicism ceased to exist. Along with art movements, even architecture saw the rise and fall with modern, postmodern, new wave architects. These movements affected the regionalism due to industrialization and modernization.

1.2 Historiography of Critical Regionalism

3. CRITICAL REGIONALISM AND WORLD CULTURE According to Frampton, “The fundamental strategy of Critical Regionalism is to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a

particular place. It is clear from the above that Critical Regionalism depends upon maintaining a high level of critic self-consciousness. It may find its governing inspiration in such things as the range and quality of the local light, or

tectonic derived from a peculiar structural mode, or in the topography of a given site.” It suggests that critical regionalism looks for an approach for architectural traditions that are profoundly established and rooted in its neighborhood conditions, and not borrowed from the global strategy.

Fig 1.8 The Church on the water built by Tadao Ando in response to the topography, light and seasons of the hilly region on Hoikkaido island of Japan

4. THE RESISTANCE OF THE PLACE-FORM Architects must study contextual features very well in architectural work rather than creating independent, nonresponsive built forms. The characteristics of the place should be addressed and adapted. According to Frampton, “When applying critical regionalism to the design, architects should consider the idea that there is no limitation of physical space and the characteristic of place cannot consist of an independent building. Spaces may be created by enclosing however its borders should be the beginning of the place

01 Origins of Critical Regionalism

instead of its ending. The spatial organization of a building

should be solved in terms of its relationship between the exterior qualification of place such as; its entrance, exits, and the circulation.â&#x20AC;? (Lefaivre & Tzonis, 2003)

Fig 1.9 Belgian Embassy building by Satish Gujral in New Delhi exhibits the exposed brick-facades which are ingeniously punctuated with wellcrafted brick arches, window openings, domes and skylights of varied sizes that let in natural sunlight.

Fig 1.10 Each building at Belgian embassy is placed in a manner such that they are all independent yet tied together by a series of passages and landscaped courts, which is the binding force

1.2 Historiography of Critical Regionalism

CULTURE

VERSUS

NATURE:

TOPOGRAPHY,

CONTEXT, CLIMATE, LIGHT AND TECTONIC FORM This point is probably the most relatable ground for comparing any work with critical regionalism. Frampton here describes the sensibility required to understand the uniqueness of place within a region. Simply put, the design approach can be modern but it has to respond to the organic unity of local materials, the climate, geographic context, natural elements like light and other tectonic forms to achieve coherence with the place.

Fig 1.11 Sangath office building by B V Doshi showcase a harmonious relationship with the exterior surrounding and site, while the circulation and light are accentuated with the use of forms, material and climate indigenous to Ahmedabad region

Fig 1.12 The entry of Sangath is such that the visitor and users are forced to follow a diagonal route of access from the entrance space which leads through water body and vegetation

01 Origins of Critical Regionalism

6. THE VISUAL VERSUS THE TACTILE Kenneth believes that if tactility and other senses along with vision are being utilized to feel the space, the dominance of universal technology can be resisted. When materials being used are such that they provide an olfactory experience, the architecture can detach itself from placeless monotony. The materials used can be such that can they evoke an emotional response and create the poetics through their construction, truly becoming non-universal.

Fig 1.13 The Desert Resort by Revathi Kamath illustrates a contemporary use of mud that is autochthonous to Mandawa in Rajasthan. While the rooms of the resort incorporate all the luxuries of the contemporary hospitality design, the use of traditional materials, techniques and forms ensures the roots are regional. This shows how the movement of critical regionalism was taking shape in not just the urban cities of India, but also in the rural where smaller and discrete attempts were being made towards bringing resistance to adoption of vernacular along with the modern.

In an age where the consideration of environment and global ecology is so vital, the theories have a particular relevance (1990,p. 483). The progression of Critical Regionalism throughout the last 50 years would see that an embodiment of tradition and innovations is not only possible but also entirely necessary. Equally important is the essentially of a considered dialogue between architecture and context to avoid what Frampton refers to as placelessness.

1.3 Critical Regionalism and Phenomenon of place

1.3

Critical Regionalism and Phenomenon of Place Critical Regionalism is concerned with the idea of place, essentially promoting a sensitive dialogue between the built environment and its geographical context. Frampton explains, “If any principle of Critical regionalism can be isolated, then it is surely a commitment to place rather than space” (1996, p. 481). Critical Regionalism progressed from the concept of Regionalism and developed a new definition of place that extends past the limits of ethnicity and culture (1976, p. 486). Norwegian architect, historian and theorist, Christian Norberg-Schulz identifies in his article The phenomenon of space, how “nature forms an extended comprehensive totality, a place, which according to local circumstances has a particular identity” (1996, p. 481). Architecture that responds to place, drawing inspiration from climate, topography and phenomenological interests, becomes specific to its site. These elements become a medium for design, influencing decisions in orientation, spatial organization, materiality and significant cultural motifs. An underlying fault of Modernism was its supposed placelessness; a building could be transposed from one continent to another, from one culture to another and its purpose and meaning would not be altered. An example of this displacement can be seen at the Villa Shodhan in Ahmedabad (1951) by Le Corbusier, where the client and site, it was commissioned for completely changed after designing; from a bachelor’s house to a family house and the modern building still retained it’s relevance and meaning. The embodiment of place and a regional identity within architecture sets the foundation for a comprehensive critic of the modernist, mentality. This point is reflected in the writing of Kenneth Frampton, who states that only through a specificity of place will the “ceaseless inundation of a placeless, alienating consumerism find itself momentarily checked” (1996, p. 482).

01 Origins of Critical Regionalism

The specificity of place that Critical Regionalism prides itself on furthermore distances the mentality from previous failed attempts of Regionalism associated with Post Modernism (Curtis W. J., 1996, p. 636). Frampton warns that it “must avoid resulting in consumerist iconography masquerading as culture” and act as ‘a symbol that would speak of the

past, present and future” (1996, p. 472). By giving focus to place and identifying qualities of a geographical context, the design philosophy of Critical Regionalism builds its own unique diverse identity, and avoids the danger of resulting in yet another ironic attempt at Regionalism. A point supported by Tzonis and Lefaivre who identify without region and place, “how is it possible for regionalist architecture to be anything more than, at best, a sentimental cosy indulgence in nostalgia for a bygone era” (1976, p. 485). This preoccupation with place and the specific character of regions is a response to what Curtis describes as a “sense that the whole world was becoming more and more the same” (1996, p. 655). The idea of a building that had a direct response to its site and context gave hope of future buildings that could be timeless, able to distill old and new, local and universal. Holds a physical bond to regional identity

Concept of

Is indicative of

Place

memory and history Develops a phenomenological experience of

Fig 1.14- Concept of Place

space

1.4

Key Findings As a reaction to the underlying faults of Modernism and a universal culture, it can be claimed that the theory and practice of Critical Regionalism successfully shapes a conscious and sympathetic dialogue between architecture and itâ&#x20AC;&#x2122;s geographical context. At the heart of its design philosophy is a critique of the homogeneous identity influenced by the desire of the post World War 2 society. Though catering to the shift in society, Modernism had suppressed the memories and aspirations of the local cultures in favor of a more commercialized architecture, consequently developing the theory of Regionalism. Where regionalism had disputes with Modernity in entirety, Critical Regionalism acknowledged the necessity of modern thought and innovation in avoiding an adverse architecture. Furthermore, it identified the concept of place as an approach to architecture that transcends the visual narrative of culture to a phenomenological representation of memory. In essence, critical regionalism promotes a sense of identity and purpose within architecture, arguably resulting in a design philosophy that ensures more than a pure aesthetic approach to design.

â&#x20AC;&#x153; ...It was a profoundly universalist project, an alternative universalism based not on a deluded sense of Indian selfsufficiency, but one which was ready to argue with the West, as well as with itself. It was prepared to deploy critical reason, in deciding what to adopt and to dispense with from both its own traditions and from the West.â&#x20AC;? - Khilnani, 2007, pp. 13-14

Critical Regionalism in Indian domain 2.1 Impacts of various factors on Indian architecture

2.1.1 Socio-Cultural impact

2.1.2 Socio- Economic impact

2.1.3 Religious impact

2.1.4 Socio- Political impact

2.2 Facets of Resistance

2.2.1 Contemporary Facet

2.2.2 Regional Facet

2.3 Key events of Critical Regionalism in Architecture Post Independence in India 2.4 Key Findings

02 Critical Regionalism in Indian domain

Impacts of various aspects on Indian architecture STATE OF ARCHITECTURE POST INDEPENDENCE India has always been a plural and multi layered landscape filled with diversity in languages, cultures, traditions, religions and ways of living. The nation has always existed and evolved with multiple influences at the same time and yet maintained the cohesive image of India. It is this quality that is sought after in every realm, be it the way of life, style of architecture, culture or tradition. The complexity and richness of the Indian culture have allowed it to become a strength rather than a weakness. Various Social, Economic, Cultural, Religious, and Political factors have accounted for the evolution of the current imagery of contemporary India.

Fig 2.1 Newspaper article celebrating the new wave of Independent India in 1947

The current scenario of transformed India is a successful amalgamation of internal and external influences. Along with indulgence and introspection, various other foreign factors have also been influential to this evolution. This point is profoundly demonstrated in the book The Speaking Tree by Richard Lannoy, wherein he discusses about the influences on transformation as, â&#x20AC;&#x153;Virtually no sector of Indian society

is entirely unaffected by the process of transformation, but there are many instances where, once the stimulus has been found, and at least a degree of creative ferment is generated,

2.1

2.1 Impacts of various factors on Indian architecture

change proceeds according to patterns for which there is no parallel in Western history. Yet the fact remains that, while India is ‘pulling itself up by its own bootstraps’, it is doing so with methods largely foreign, or which did not emerge until less than a century ago.” (1971, p.xv) What needs to be understood from this is that all these external factors or methods had directly affected society. Since architecture is very closely associated with the society, the Indian architecture has also evolved over hundreds of years under these influences to become the present-day contemporary. The architecture that we see today is a result of complex layers of influences, interpretations and experiments over decades. India has set many milestones over the history of 73 years post Independence. With these various influences, there is also a certain threat imposed onto Indian architecture. This point is reflected in the article The India Project by Indian historian and theorist Sunil Khilnani, where he states that “… as a nation, India has for the past 60 years often been defining itself through its break with its colonial past, but with globalization could, be in danger of losing its ‘self-understanding’ in terms of its culture and architecture.” (2007, p. 5)

Fig 2.2 Socio-economic conditions of nation post Independence

02 Critical Regionalism in Indian domain

2.1.1 Socio-Cultural impact Dating back to the inception of Indus Valley cities some 2500 to 1000 BC, the time line of Indian architecture has been autochthonous while being intermittently interrupted by a century of colonial influences. Styles of Indian architecture have evolved in many phases by colonial forces contributing to its dynamism, like the Mughals, Marathas, the British and others. Following this, an eclectic style prevailed for about half a century post-colonization. The eclectic style tried to mix and match with its original traditions, past influences and current internationalism from global society. For a better understanding of these influences, Indian architecture can be majorly realized in two parts, the colonial style and the nationalist style of architecture which continues to prevail in the contemporary and recent times. THE COLONIAL CONTINUUM Around mid 20th century, with the westernization, many changes came about in the ideologies of people. The middle and upper-middle-class started getting influenced by the British ways of living in society. There was a bombardment of influences from alien cultures upon recent generations of all social classes and walks of life in the nation, also due to the power of the media, printed and audiovisual. These cultural nuances brought about certain threats like social resistance towards indigenous Indian ethos. With the modernization and growing economy, people started to adopt new modernized classes and social hierarchy comprising of the elite class. There was a shift in the orientation of people from traditional methodologies to the western. This shift reflected even in the design language of built forms along with other aspects of society. 25 YEARS OF INDEPENDENCE After years of Independence, the influences started to weaken as Indians started to revisit the traditions and Indianness. With Independence and the state of emergency,Indians experienced a feeling of resistance towards the foreign.

2.1 Impacts of various factors on Indian architecture

A sense of nationalism erupted as a resistance to the borrowed systems from the British Raj. Rejection of supremacy penetrated in all aspects of society, including architecture. People started to look for answers inwardly. Resistance was not just towards the West, but also getting critical about it’s own past. PROJECT INDIA Indian Fig 2.3 The book cover: Vistara was an attempt to resurrect and preserve one of the most crucial and complex comments on the Architecture of India. It presented not only the great monuments of Indian history but also examples of the vernacular habitat that existed alongside – and the beliefs and mythic imagery that had generated them both.

historian

and

theorist

Sunil

Khilnani, in his article The India Project identifies this resistance and describes it as “a profoundly universalist project, an alternative universalism based not on a deluded sense of Indian self-sufficiency, but one which was ready to argue with the West, as well as with itself. It was prepared to deploy critical reason, in deciding what to adopt and what to dispense with from both its own traditions and from the West.” (2007, p. 13) This introspection generated

resistance

consequently

prompted the emergence of critical regionalism in Indian architecture, even Fig 2.4 Charles Correa describing the relationship of man and his surrounding context

before the term was coined in the west. This

resistance

was

formally

acknowledged and discussed by the master architects in 1986 at the exhibition ‘Vistara: The Architecture of India’ led by Charles Correa, as a part of ‘The Festival of India’- series of major exhibitions. The exhibition set up a precedent for a recent exhibition ‘State of Architecture’ curated by a new generation of architects looking at the practices and processes in the Fig 2.5 State of Architecture exhibition, 2016 critically discussing the contemporary Indian architecture

contemporary Indian architecture. These exhibitions opened up dialogue over the situation of architecture of their time.

02 Critical Regionalism in Indian domain

2.1.2 Socio- Economic impact Post Independence, the socio-economic conditions of the nation started getting bi-polar and unevenly distributed due to politics and other reasons. With the growth in Industrialization and International trade, the modern economy had started booming. People were migrating from rural areas to urban cities. The spending capacity of middleclass people was increasing and this led to a demand for better lifestyle among the urban cities. (Biswas, 2007, pp. 16,17 ) As people from all over the country were migrating, a cosmopolitan society was starting to take shape as a result of these events. The demand for this new society gave an upsurge to houses, malls, IT campuses and condos, furthermore giving emergence to the new architectural landscape in various parts of the nation. With this new urban fabric development, Large scale migration and rapid growth of urbanization led to increasing needs for new infrastructure. Since the 1960â&#x20AC;&#x2122;s, the Nehruvian government state funded and commissioned new housing, public institutions commercial projects and industries to meet the increasing demands of this emerging population and project the identity of new India post Independence. These growing needs gave rise to many

Fig 2.6 Asiad Games Village, 1982 designed by Raj Rewal in Delhi to house the athletes for the games

2.1 Impacts of various factors on Indian architecture

Fig 2.7 Urban city of Lavasa built on the Sahyadri hills outside Pune, is a longing for the American cities from 19th Century. â&#x20AC;&#x153;...It is an ambitious, and deeply controversial, project to build an entire private city from scratch. The name Lavasa is the invention of a US branding firm, having no meaning, but meant to conjure up images of mystery and exoticism with its abstract poeticism and hint at Hindi.â&#x20AC;? (Inside Lavasa, Indiaâ&#x20AC;&#x2122;s first entirely private city built from scratch, 2015)

different styles of architecture at the time. Various national events like the housing for Asiad Village,1982 (fig 3.6) in Delhi commissioned to Raj Rewal and other projects gave architects a medium of expression to the resistance. While housing and community projects reflected the postCorbusian/ Nehruvian period, the demands for housing quickly converted to the desire for ownership of houses. But this market-driven emerging landscape was very less attentive to the existing spatial and social matrix. Some cities that rapidly developed during this time can be seen very exclusive about their larger context like Lavasa to Pune (fig 3.7), Gurgaon to Delhi, Hiranandani (fig 3.8) to Mumbai,

Fig 2.8 Hiranandani Residential Township- by Hiranandani builders

02 Critical Regionalism in Indian domain

With economic liberalization, the transformational narrative can be seen today in the Havelis and farmhouses, to the elegant constructions of Bijoy Jain (fig 3.9), Rahul Mehrotra and other architects of the new generation after the masters. In an article title Raga India, Kazi Ashraf describes how

the public buildings cease to remain the major exegesis of Indian architecture, giving rise to more private and secluded architecture. (2007, p. 9) The ethos differed among the kinds of architects who resorted to the global style of architecture and those that revisited the regional architecture which was earlier interrupted by a decade of westernization.

Fig 2.9 Palmyra House by Studio Mumbai Architects

2.1.3 Religious impact India has always seen the co-existence of various religions prevailing together to create multicultural imagery of India. Religion always had a huge impact on the way people lived in this country. And the way of living impacted the way we built our buildings. The traditional arts and craft skills contributed largely to the way buildings were built. These skills came about from the religions like Hinduism or Buddhism, that responded to the place and time. The religious style of building resorted to indigenous elements from the surrounding like the air, water, landscape, climate, material and spaces. These religious places became places for cultural diffusion by

2.1 Impacts of various factors on Indian architecture

manifesting meanings deeper than just aesthetics into their spaces. The crafted environments that people inhabited, reflected their ethos of time and space. The tolerance towards such complex social structures of the society gave even more acceptance to the pluralism in other aspects of life and architecture. This heterogeneous nature of society played an important role in shaping the built environments and it transcended even in contemporary architecture. Traditional Indian architecture has always reflected the ethos and culture of itâ&#x20AC;&#x2122;s inhabitants. As Egyptian architect Hasan Fathy states,

â&#x20AC;&#x153;Architecture belongs to a place and the people.â&#x20AC;? Fig 2.10 Kailash temple in Maharashtra, Ellora Caves, Aurangabad

The idea was to preserve only the essence of the traditional spaces in religious buildings, while rejecting the traditional notions. This is evident in buildings like the Chapel in Goa, Shiv temple in Maharashtra. Stressing on the importance of context in Architecture, Indian Architect and theorist K T Ravindran discusses how architecture should reflect the multiplicity and contradictions of its context. (1992, p.42) Religious buildings have seen a lot of transition in their built forms have the social changes. Modernity is just another layer than India absorbed out of the many

Fig 2.11 Shiv temple in Maharashtra, 2010 by Sameep Padora

layers that contribute to making what we see as contemporary architecture today.

02 Critical Regionalism in Indian domain

Fig 2.12 A contemporary expression of critical regionalism in the exterior of Chapel of our Lady of Perpetual Succour in Goa by T R architects

2.1.4 Socio- Political impact India has always had a very diverse and eclectic cultural palette by the forces of politics in the nation. Different political stances have layered over time in the pluralist nation. From the inception of Indus Valley civilization to the ruling of the Mughal empire followed by colonization by the British. All these events have contributed to the layering of what we see as India today. NEHRUVIAN INDIA AND ITâ&#x20AC;&#x2122;S MILESTONES Post colonization, Indian architecture tried to re-look at the recent adaptations from the British Raj. Political milestones like

the

Independence,

Emergence

and

Economic

Liberalization have largely accounted for many influences on over all dynamic of the nation, and particularly architecture. During the late 1950â&#x20AC;&#x2122;s, many Indian origin architects who were sent to study in the west by Nehru post Independence, had returned to India. They saw the onslaught of other countries on modernism and tried to reciprocate the same in India. While doing so, they were rejecting the modernism and started for quest for internalization. They critically relooked at the traditional Indian architecture and tried to reinterpret those values of India that existed before the

2.1 Impacts of various factors on Indian architecture

Fig 2.13 Jawaharlal Nehru on a visit to Bhilai Steel Plant, Chhattisgrah (1963)

wave of globalization in the country. The resistance which was towards the West as well as India’s own past, gave motivation to a critically regionalist architecture that rejects traditional and foreign ways of building. Under Nehru’s leadership, the nation attempted to provide inclusivity to minorities and regions. The creation of industrial towns, and from steel plant like Bhilai (designed as melting pots of caste hierarchy and religious difference where the new secular, productive, Indian citizen would be created), onwards to Nehru’s commissioning of Le Corbusier to build Chandigarh. (Khilnani, 2007) Such efforts showcased the attempt for inclusivity across the political discourse. The city of Chandigarh pioneered this thought by not being nostalgic about either the colonial or ancient history of India. This property of the city was identifies by Khilnani as “The city’s radical meaning lay in its cultural and physical unfamiliarity” (2007) This indulgence and resistance was acknowledged by the first Prime Minister of Post Independent India, Jwaharlal Nehru stating “It is totally immaterial whether you like it or

not; it is the biggest job of its kind in India ... because it hits you on the head, because it makes you think ... and the one

02 Critical Regionalism in Indian domain

Fig 2.14 Master Plan of Chandigarh City by Charles Correa-1951

thing that India requires in so many fields is to be hit on the head.” These acts through architecture tried to showcase India’s attempt to express inclusivity, inter-relativity within the nation and autonomy with the globalization. Here the architecture tried to not remain just a passive beneficiary of the ongoing debate. While the nation was trying to find the answers to tradition vs modernity, two different ideologies were formally emerging in the 1970’s as a reaction to this discussion. “In India, this paradoxical symbiosis informed the architectural policy of the Nehruvian State, which began with independence and ended, not with Nehru’s death in 1964, but with Indira Gandhi’s declaration of the State of Emergency in 1975.” (Mehta, 2019)

Fig 2.15 Jawahar Kala Kendra,1986 commissioned to Charles Correa by the State govt, dedicating to Nehru and the city of Jaipur

2.2 Facets of Resistance

Facets of Resistance

2.2

With the idea of India that prevailed during the mid 20th century, there seemed to be fewer ways of reacting to this new situated provided to the nation. The post independence decade provided with fewer narrowed options about the idea of India. It was either to accept the homogenizing globalization or to reject this aggressively. Although these choices had emerged out of the refusal to accept the colonial inheritance, the vision never sought submission to nativism. The nation was determined to be critical on what was to be adopted and exempted from its traditions as well as the West. During this time, India sought to not participate in international alignments and movements, by remaining autonomous. There seemed to be a celebration of the wholly alien, form, style and material. With this new turnabout, there have been two major facets to the resistance placed with the adaptation of the former ways of building environments. In the scenario of these new emerged possibilities, tradition versus modernity was the choice almost every field including sociologists, writers, poets and architects were struggling to respond to. Like Gautam Bhatia, the architectural writer mentions this situation as a â&#x20AC;&#x2DC;Modernitis plagueâ&#x20AC;&#x2122; (Bhatia, 2007), it offered

the architects to either muse over the loss of the old ones or find a strategy to move further. While there was resistance to mainstream cinema in 1980s and Indian parallel cinema was once at itâ&#x20AC;&#x2122;s peak, this first facet is where there can be seen a longing to exist within the foreign domain. The longing can be seen in not just architecture but also many other realms. Bollywood has many times been a catalyst to these approaches. It can be witnessed in the Hindi film Mein Prem Ki Diwani Hoon, where the setting is that of a fictional city called Sundarnagar. While the actual shooting was done in New Zealand, it was

02 Critical Regionalism in Indian domain

shown to be a part of India. The Hindi filmic imagination wants to get embodied elsewhere and this also manifests in the architecture landscape that continues to be radically altered and set out of context. (Ashraf, 2007) Bollywood tends to set some precedents that appear quite superficial and seem to deny the harsh reality of the nation’s architecture, climate, crowds and crime at times. Many architecture critics and historians believe the architecture here needs to project a contemporary innovative and appropriate urban environment through Bollywood and repel these hybrid imageries of fascination. With these kinds of aspirations towards the universalist project, the nation is refraining from projecting a cohesive idea of India as a nation through the physical and built forms. Talking about the ability and desire of Indians to adapt universalist and contemporary ideologies, Das, in India’s leading weeklies writes: “One can now afford to bring in a Renzo Piano, Frank Gehry or even I M Pei”. (2006)

Fig 2.16 Sundanagar shown in movie Main Prem ki Deewani Hoon, 2003 projecting a fictitious image of India while longing for foreign impressions

The second facet is the long followed path of regionalism, in a more formal manner. While critical regionalism was being practiced since early 60’s in the nation, the choice had to be made on which resistance to be offered. Even regionalism was seeing two different approaches where one was being critical about region and not completely adopting it and the other was rejecting the traditional such that it completely redeveloped the traditional methods. The alternative technology and critical regionalism were the options architects of the time were left with.

2.2 Facets of Resistance

The internationalism adhered to the global trends of design and got

replicated

various geographies across the world. The contemporary facet of

The radical contemporary

resistance resorted to the more

approach did not surrender

modern and universalist ways

Internationalism

completely to the global

of design. The approaches

ways

were,

instead emerged as a non-

however

slightly

building,

but

contextual style in itself.

different further

Radical

Contemporary

Facets of Resistance Post

Independence,

the

nation was facing a situation of

resistance

towards

the

foreign methods. In the field of architecture, this resistance surrendered to either of the two forms

Regionalism Regionalism as an approach responded

the

Technology

context

of the region, a structure is

The method of using cost-

built on. While vernacular always existed in the history of

architecture,

Critical

regionalism emerged out of

Alternative

Critical Regionalism

effective, sustainable design solutions using local, natural and environment friendly construction techniques

the resistance to modernism

Critical regionalism did not blindly follow the vernacular or the global design ideas. It critically assessed and evolved as a response to region and materials, while addressing the global style of design. Fig2.17 Scenario of Indian Architecture Post Independence

02 Critical Regionalism in Indian domain

2.2.1 Contemporary Facet The past few decades of Contemporary India have seen a hybrid mix of various styles of building. The co-existence of these approaches is interesting in the pluralistic identity of India. The styles often overlap and superimpose over each other and come together to form the dynamic identity of India. Those that chose contemporary method of design dealt in majorly two ways: through internationalism or through a radical approach.

RADICAL CONTEMPORARY Many architects and designers in the recent past have been using the radical approach to defamiliarize the built environment from its context. This ignorance leads to the radical approach, disregarding the context and locating the built form in individuality. Here, the built form in itself is of much importance than anything else. This effort can be seen in KMYF Clinic, Banglore that is designed by Cadence Architects, the Brigade Rubix’s project in Banglore by CnT Architects, and many other projects that take inspiration from external forces irrespective of their context.

Fig 2.18 Brigade Rubix, Commercial project in Banglore can be seen exclusive of it’s context and takes a radical approach. The geometry of Rubik’s Cube is translated quite literally to develop the form.

2.2 Facets of Resistance

INTERNATIONALISM The global style has been adopted by many designers that tend to impose its singularity by standing out from the context it stands on. This approach follows a universal language and neglects the history of time and space. It usually reflects the advances of technology and speaks for the global ideology it builds upon. There is a certain detachment of such built forms from it’s history and context. There have been various critical insights over this style of design. Raising concern Fig 2.19 KMYF Clinic, Banglore by Cadence Architects with a radical approach to facade design

over the autochthony in architecture, I M Pei states that “Contemporary architects tend to impose modernity on something. There is a certain concern for history but it’s not very deep. I understand that time has changed, we have evolved. But I don’t want to forget the beginning. A lasting architecture has to have roots.” With

the

increasing

commercialization corporate

offices,

and this

needs

for

universalizing method

has

become popular in metro cities with IT industries. There is seen a need by clients to match the international standards and quality of design, leading to a similar approach across the world, leaving the regionalism ignored in the context it stands upon. Fig 2.20 Skyrise Manerva, Mumbai by Hafeez Contractor follows an International style of form development that seems to borrow from the fast spreading trends of facade architecture

02 Critical Regionalism in Indian domain

2.2.2 Regional Facet Regionalism as an approach responds to the context of the region, a structure is built on. This approach is always rooted in the indigenousness of the region. While vernacular always existed in the history of architecture, Critical regionalism emerged out of the resistance to modernism and literal imitation of the vernacular. Many architects had resorted to the approach as a reaction to support nativism and finding answers within the historic architecture. ALTERNATIVE TECHNOLOGY The design approach emerges from the region or context and is rooted in the traditional ways of building. It usually draws the roots from low-cost vernacular practices, by the local people using local, natural materials and methods for sustainable, environmental friendly architecture. The method for sustainable or green buildings in net-zero buildings at times is using various technologically advanced materials and methods, as seen in various parts of the nation.

Fig 2.21 House by Anupama Kundoo architects in Auroville

Fig 2.22 Appropriate architecture practice of Laurie Baker

2.2 Facets of Resistance

CRITICAL REGIONALISM The approach tries to stay true to the local while transcending from the regional to contemporary ethos. It can be local in style and yet universal in language. It questions the traditional ways of building and does not blindly follow the Fig 2.23 Hunarshala Office, Kutch by Hunarshala Foundations uses local material and construction technique for innovation in expression

international. There are various challenges with this kind of approach.

Paul Riceour, the

first historian to discuss the challenge with his

critical regionalism mentions in book

Universal

Civilization

and

National Cultures in 1965 that there is a paradox, how to become modern and

yet return to sources; furthermore he poses the question on â&#x20AC;&#x153;how to revive an old, dormant civilization and take part in universal civilization.â&#x20AC;? (pp. 276-277) Fig 2.24 Rashtrapati Library building, Delhi by Raj Rewal as one of the examples of Critical Regionalism in 21st century India

Critical Regionalism is always a degree of response that a designer responds to, according to his own interpretation of the theory. The approach is usually focused on few of the many parameters like

topography,

climate,

materials,

light, culture or tradition, construction technique and so on. Along with this transcend, there is a liberal adoption of the contemporary and universal styles or methods. Only when these two elements Fig 2.25 Gallery House in Bansberia designed by ADS uses local materials and abstracts the temple carving techniques for facade, while the form responds to the surrounding site condition

come together it really can be known to have evaluated critically on the regional and universal grounds.

02 Critical Regionalism in Indian domain

Key events of critical regionalism in architecture post independence in India

2.3

Fig 2.27 The memorial abstracts the historical element of Hindu Shikhara using newly found concrete to create long and thin cantilever structure with clean lines and geometric forms reflecting modernism

Gandhi Ghat Memorial

Habib Rehman

1947

Calcutta

1949

1960 Habib Rehman

Wave of freedom Fig 2.26 Independence of India brought about a new wave for architecture, along with every other field. Jawaharlal Nehru was the first prime minister to lead the nation

New Delhi

Maulana Azad Memorial Fig 2.28 The white marble canopy uses central arch of Jama Masjid to derive the cross-barrel vault structure by concrete shell technology, hence evoking imagery of Islam from the surrounding context

2.3 Key events of Critical Regionalism in architecture post Independence in India

Fig 2.29 Museum uses palette of brick walls, stone floor, wooden louvered openings and terracotta roof tiles. Using a humanly scale, it adapts a contemporary expression for swadeshi spirit in Gandhi

Fig 2.31 The housing is built according to the charts created using the climatic maps of Hyderabad for establishing the design of courtyards and openings according to the sun angle and wind direction

Gandhi Smarak Sangrahalaya

ECIL Housing

Charles Correa Ahmedabad

1962

B V Doshi

1966 Achyut Kanvinde Kanpur

Indian Institute of Technology Fig 2.30 The tightly placed building blocks forming courtyards & pedestrian streets, self shaded windows recessed by outward projecting upper floors and exterior finish in brick depict the regionalist sensibility

Hyderabad

1973

02 Critical Regionalism in Indian domain

Fig 2.33 The global expression was resisted and instead the appearance of hotel rooted subtly into Mughal architecture of the context, blending the mid rise brick structure into the surrounding landscape

Hotel Mughal Sheraton

ARCOP design group

1975

Agra

1976

1977 B V Doshi

Banglore

State of emergency

Indian Institute of Management

Fig 2.32 PM Indira Gandhi declared State of emergency in India to control the political unrest, arising resistance, when the architects struggled with the identity of Indian architecture; tradition vs modernity

Fig 2.34 Drawing inspiration from the courtyards of Fatehpur Sikri, courtyards, squares and pedestrian streets are laid around buildings, while using gray local granite stone to unite the complex into one

2.3 Key events of Critical Regionalism in architecture post Independence in India

Fig 2.35 Housing embodies micro-climate for passive low-energy design, by running water and trees into the central landscape. Hot and dry Delhi climate is mitigated by large projections on higher levels of cluster

Fig 2.37 The office building combined principles of light, geography, craftsmanship, emotions, while suiting to the local climate and ethos, using earth forms, open terraces and water channels

Tara group housing

Sangath

Charles Correa New Delhi

1978

B V Doshi

1980 Laurie Baker

Trivandrum

Indian Coffee house Fig 2.36 The spiral form of the experimental and visually attractive building in brick sought resemblance with certain mosque minarets, yet innovative in the use of lowcost, local and ordinary material-brick

Ahmedabad

1981

02 Critical Regionalism in Indian domain

Fig 2.39 Artist designs the largely post modern character with reminiscence of an ancient monument in exposed red brick and two impregnable Mamluk style domes, courtyard in the context of Chanakyapuri.

Belgian Embassy

Satish Grover

1983

New Delhi

1984

1985 Raj Rewal

Vistara: Festival of India Fig 2.38 Vistara was part of an international â&#x20AC;&#x2DC;Festival of Indiaâ&#x20AC;&#x2122; celebrating the pluralism and Indic myth embedded in Indian architecture, which became a for catalyst for discussions on tradition and modernity

New Delhi

National Institute of Immunology Fig 2.40 Institute draws inspiration from the classical Indian city- Jaisalmer for the built form organization of campus complex, while referring to the Indiaâ&#x20AC;&#x2122;s traditional stonework of Jaalis and detailing

2.3 Key events of Critical Regionalism in architecture post Independence in India

Fig 2.41 Based on a 9 square layout from Jaipur city plan, further based on Vastu Purusha mandala, alludes regionalism through use of stepped courtyard, local stone and murals for spatial narrative

Fig 2.43 Large concrete girders use advanced technology of time, localizing for the climate and labor intensive building industry by beige and red sandstone panels on exterior, minimizing air conditioning

Jawahar Kala Kendra

State Trading Corporation

Charles Correa Jaipur

Raj Rewal

1986

1988 Anant Raje

Bhopal

Indian Institute of forest management Fig 2.42 Regionalism evokes through courtyards, loggias, stone cladding and water pools while modernism is inherited from IIM-A in geometric forms and concrete giving it an institution scale

New Delhi

1989

02 Critical Regionalism in Indian domain

Fig 2.45 While the form responds to context of Lodi Garden, the modern construction techniques are used in fabrication of shading elements and screens out of local materials in natural finishes

India Habitat Centre

Joseph Allen Stein New Delhi

1991

1993

1994 Christopher Benninger

Economic Liberalization Fig 2.44 As the nation opened itself to the global economy, it opened up access to various global directions for architecture. It was now that the term critical regionalism came into being as a strategy of resistance

Pune

Centre for development studies and activities

Fig 2.46 On the hill terrace, response to climate is seen using sloping roofs to block winds, wherein temples, village and mosque courtyards of the region inspire the space planning with use of local stone

2.3 Key events of Critical Regionalism in architecture post Independence in India

Fig 2.47 The govt building relies on the Buddhist Sanchi Stupa from its context for the form, while the planning is derived from Navagraha mandala and courtyards respond to climate, with earthy expression

Fig 2.49 The housing is critical towards planning of ‘gated housing complexes’ and resorts to a network of courtyard streets and pedestrian paths, using brick for exteriors in response to climate of Delhi

Vidhan Bhawan

Andrew’s ganj housing

Charles Correa Bhopal

1997

S K Das

1999 Moshe Safdie

Chandigarh

Khalsa heritage centre Fig 2.48 Centre attempts to root itself with the context using local sandstone and form inspired by Rajasthan fortress while the galleries covered in stainless steel hark of the dome at Golden Temple in Amritsar

New Delhi

2003

02 Critical Regionalism in Indian domain

Fig 2.51 Drawing inspiration from courtyards & gable roofs of the region, the production halls are roofed by barrel vaults forming curvilinear gables, while using local quarry granite and craftsmanship

Synergy Lifestyles

SJK Architects

2003 Raj Rewal

New Delhi

Karur

2004

2008 Ashok B Lall

New Delhi

Parliament Library building

Development Alternatives HQ

Fig 2.50 While the building ceiling is domed alluding to the mughal monuments of the region, it uses contemporary techniques of construction. Moreover courtyards and sandstone exterior regionalise the building

Fig 2.52 Zero emission building uses passive cooling strategies- double glazed windows, insulated walls and shaded courts,with traditional domes, courtyards and vaulted ceilings out of local materials

2.3 Key events of Critical Regionalism in architecture post Independence in India

Fig 2.53 Institute refers to the traditional architecture of Jaipur for passive cooling strategies using Jali, baoli and courtyards in response to hot climate, while using local materials for contemporary expression

Fig 2.55 Exposed brick walls inlaid with ceramic blocks inspired from Bengalâ&#x20AC;&#x2122;s terracotta temples take contemporary expression using local materials and craft , while responding to communal context

Pearl Academy of Fashion

Community Centre

Morphogenesis Jaipur

2008

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2013 Archohm

New Delhi

Delhi haat Fig 2.54 With spatial arrangements alluding from traditional Indian bazaars, courtyards are surrounded by bamboo & Delhi quartzite stone cladded structure with canopies responding to hot climate

Bansberia

2020

02 Critical Regionalism in Indian domain

Key Findings Soon after the first decade of Independence, efforts in the direction could be seen in works of various Architects. The first generation of architects started this phenomenon on returning back to India from the West. A lot of architects like Charles Correa, B V Doshi, Achyut Kanvinde went to study and work with modernist Architects of the West. After seeing the world modernism first hand, on returning these architects tried to integrate their learnings from West with the traditional Indian Architecture as a response to the context. The government commissioned them with many public projects like Institutions for Education, Government buildings, Cultural Centers and housing schemes to cater to the growing needs for a developing nation. For a long time, these typologies saw a critically regional approach in the government sponsored projects. The architects tried to respond with the situation at hand as their individual response to the context. While some architects tried abstracting the spatial elements of traditional Indian Architecture, some responded to the climate of the region, using local and indigenous materials. Elements of passive cooling strategies like Jaalis, courtyards or elements from Islamic Architecture like Domes and arches were extracted in many built forms. Various spatial planning aspects were alluded from village clusters, classical Indian city planning, forts, bazaars, temples or Vedic Shastra, with modern expressions. Local construction techniques and forms were burrowed as a response to regional Architecture by many architects. However, these efforts were largely seen in the urban cities of developing India. These kind of practices were commonly seen until the state of Emergency. In 1975, as Indira Gandhi declared a state of emergency, a lot of resistance and introspection was seen among the people, including architects. Two different schools of thought were emerging in the times post emergency. With the struggling economy of the country, architects started to find answers within. The developing nation was trying

2.4

2.4. Key Findings

to define it's identity in the world. Vistara- Festival of India played a major role in instigating the discussion of tradition vs modernity, while portraying the regionalist attempts of Indian architects to the world. It was post the economic liberalization in the early decade of 90's that the term 'Critical Regionalism' became popular in the nation, while it was coined in the West much earlier. Until then, no formal term was offered to the state sponsored public buildings designed by the first generation of master architects in India. But with the globalization in the last decade of the century, the economy opened up new opportunities for architects in the private sector. This resulted in extreme commercialization and privatization of buildings, leading to competition. The debate of tradition vs modernity became even more relevant with changing times in the past two decades. It completely tore apart Nehru's project for India, hence making practices reconsider Critical Regionalism. With the two facets of resistance offered, many architects chose to adopt the global deign ideology, discarding regionalism. The contemporary practices now see fewer projects in response to this phenomenon in the private sector. The newer projects with response to Critical Regionalism now pertain usually to Cultural and Education Institutions typology.

Jaipur as a region 3.1 Criteria for selection of region, case study 3.2 Rajasthan and Regionalism 3.3 Planning and evolution of Jaipur

3.3.1 Amer Fort

3.3.2 Planning of Jaipur

3.3 Traditional architecture of Jaipur

03 Jaipur as a region

Criteria for selection of region, case study Now that the prior theory discusses the various influences and approaches towards Critical Regionalism in Post colonial India, the theory is followed by a discussion of cases that support the theory and itâ&#x20AC;&#x2122;s application in a region. With the diverse cultural and geographical landscape of India, the regional responses are so unique, that it is difficult to identify the common characteristic that can define national architecture. Hence, by limiting the discussions to a regionJaipur, the study focuses on a part of the whole. The evaluation is made in terms of degree of response to certain criterias.

Fig 3.0- Selection of Jaipur region as a part of the diverse whole- India

The region of Jaipur city has been chosen to understanding the applied theory using case studies. The city is one of the classical and planned city of India, built in 18th century and stood the time amidst many foreign influences. It carries a historic legacy of Rajput architecture with traces from Mughal architecture. The regional architecture demonstrates a strong traditional identity in as a response to the climate, geography, topography, materials, construction techniques and so on. This makes it a challenging and interesting context to respond to-for the theory of critical regionalism. The cases discussed here are based on their merit

response to a certain criteria better responded than the others. The chapter synthesizes on the theoretical issues discussed in the previous chapters and dwells into understanding of the practical application of the theory in specific references in few of the projects. Both the case studies are taken as the ideal or best degree of response

3.1

3.1 Criteria for selection of region, case study

to the theory of Critical Regionalism. The first case study is Jawahar Kala Kendra from the 20th Century and is considered as a peak towards regionalism in the country by pioneering architect Charles Correa. This example is known to have shown exemplary response as an application to the theory of Critical Regionalism. The second case study is the Pearl Academy of Design in Jaipur designed by an architecture practice Morphogenesis. The building is known to have adhered to the theory and uses the technology of itâ&#x20AC;&#x2122;s time. While, the first case study is slightly primitive in itâ&#x20AC;&#x2122;s time of construction, the other case study is more contemporary and recent from the 21st century, both being two decades apart and designed by two generations of architects. Both cases showcases a varied and diverse approach through distinct parameters to the application of theory of Critical Regionalism. While Jawahar Kala Kendra using the syntax of city planning of the region and Vedic Shashtra, Pearl Academy uses the climatic response from the region. The projects are selected based on their merit of response and richness of data they bring to a particular approach and are known within the field of architecture. Both of these examples are an attempt by the architect or practice to be responsive towards the region and have consciously chosen to reject the traditional and global ways of design by reacting with their own interpretations and understanding of Critical regionalism. Over the decades post Independence, the cultural institutions (like art gallery and museums) and Institutes for Higher Education have shown a consistency in efforts realized towards Critical Regionalism. Hence, both these buildings are institutions that are designed in common interest of the public. While one is a government owned institution, other is privately owned and for a closed group. Both the buildings provide a diverse approach for study of the regional aspects from theory to application of Critical Regionalism.

03 Regionalism in Jaipur

Rajasthan and Regionalism â&#x20AC;&#x153;Rajasthani towns are essentially settlements in the desert and reflect very clearly the characteristics of an oasis. The Thar Desert, except in parts, is not quite the vast sand wastes that one imagines deserts to be. Nevertheless vegetation is sparse and the dry climate results in dust laden winds which scourge the area. Water is scarce, and lakes and natural reservoirs are few and far between. Towns in Rajasthan are placed far apart in the desert. Concentration is fostered and the towns form densely packed settlements turning their back on the desert. The closely spaced buildings and the network of narrow streets effectively shelter them from the worst of the elements, the sun, and the hot dust laden winds. An enclosed and sheltered environment in the desert is as much a psychological need as a physical one â&#x20AC;&#x201C; a haven of refuge from the vast desert wastes.â&#x20AC;? (Sabikhi, 2010) The need for defense further accentuated the needs for cities to be bounded, guarded and huddled within the city walls. These isolated towns in the desert needed to be guarded and protected. And hence, the high fort and city walls formed majority of Rajasthani towns skylines, dominating it. These walls were visible from miles away and were seen as a difficult conquer. The fort of Mehrangarh in Jodhpur was 125metres higher than the city, dominating the skyline. However, the early settlements of this region showed a

Fig 3.1 Fort wall of Mehrangarh in Jodhpur dominating the skyline of the city, typical for many fortified towns of the region

3.2

3.2 Rajasthan and Regionalism

slightly different approach to the climate and

dwelling

units.

The

traditional

cluster houses of Rajasthan and Gujarati settlements were also a great response to the climate. This cluster of houses focused on the courtyard in the centre, with other volumes around it. A specific function was assigned to every hut, like one for entertaining guests, for Fig 3.2 Topography of the region with desert and Aravalli hills on the east

resting, for storing grains, and so on. The user kept moving from one hut to the other, depending upon the activity and time of the day. These disaggregated

architectural forms formed a series of separate yet interdependent volumes. (Khan, 1987) While the disintegrated volumes were common for settlements, the towns saw a different approach. The closely packed arrangement of Rajasthani towns gave it a unique urban fabric. The feeling of Fig 3.3 Typical Cluster Organization of traditional settlements in Gujarat and Rajasthan with disaggregated volumes centering the open to sky courtyard, reflected with transition in degree of enclosure of spaces

containment was supreme among all small are large towns of the region. The urban and spatial fabric was further affected by the climate of the desert region. While there was a considerable difference between day and night temperatures, this difference was noticeable even in spaces under sun and shade. So, a strategy was to trap the cool air of the night, and retain it during the day. This strategy resulted in the development of deep courts that retained cool air at lower level and the sun did not penetrate very deep.

Fig 3.4 Courtyard of a typical Shekhawati haveli in Jhunjhunu district

03 Regionalism in Jaipur

This strategy was seen even in other parts of the region, during the Mughal period. In the palaces of Mughal Emperor, the similar strategy was deployed to trap the night air and retain it during the day. â&#x20AC;&#x153;In the early morning of the summer months, a velvet shamiana (canopy) was stretched over the rim of the courtyards trapping the cold overnight air in the lower level of the rooms. This is where the Mughal Emperor spent his day(fig 3.5). In the evening, the shamiana was removed, and the Emperor and his court came out in the gardens and pavilions of the terrace level. In the cold but sunny winters, this pattern was reversed; the terrace gardens being used during the day, and the lower level of rooms at night.â&#x20AC;? (Khan, 1987)

Fig 3.5 Section of a Mughal structure showing the strategy to trap cold night air through a canopy

On the street level, another strategy was adopted in Rajasthani towns to respond to the harsh sun. The streets were designed to be narrow and one of the side building profile was made taller than the width of the street, keeping the streets shaded. These shaded streets allowed comfortable conditions for movement during the sunny day. (Sabikhi, 2010) The sequence of spaces characterized the towns and this was an important aspect of Rajasthani planning. The urban fabric was made out of a strategic relationship between the smaller units to the whole. Each built floor level had itâ&#x20AC;&#x2122;s own definite relationship with the other floors. Similarly, each room of the floor was related to the courtyard and courtyard was related to the street by a chabutra or entrance. Every

3.2 Rajasthan and Regionalism

street was broken down into smaller units and the turning of each street or a projecting house defined another larger unit. As one moved from space to space, the experience was different as the scene continuously kept on changing. A lot of these experiences were resultant of a pedestrian movement oriented planning and scaling to the speed of the foot. The scale of streets responded highly to its usage. Most junctions catered as a meeting area for the residents and so the streets widened and straightened at the open spaces. The spaces got only comparatively wider, so that the sense of gradual development is felt and the scale Fig 3.6 Typical streets of Rajasthani towns with outward projecting volumes and narrow street section, shading the street throughout the day

is retained. While these basic characteristics are represented by most Rajasthani cities, there is additional individuality reflected by each town. At times, the architecture of each city or region is defined individually. A very simple way of unifying is surface application. â&#x20AC;&#x153;A peculiar treatment in each

place helps to underline the continuity of spaces in each town. In Udaipur almost all the buildings are whitewashed, in Jaipur all are painted pink and in Jaisalmer every building is built of the yellow sandstone of the area.â&#x20AC;? (Sabikhi, 2010) This helped in

establishing an order among the

built forms, without imposing it strictly. Although every unit was different from one another, a basic harmony of relationships Fig 3.7, 3.8 Streets of Udaipur and Jaisalmer, showing different character with surface application

was established with infinite possibilities for variations.

03 Regionalism in Jaipur

Planning and evolution of Jaipur The city of Jaipur is considered a classical city of historic India because its traditional town planning has remained intact until the present times. It is considered one of the most sophisticated examples of Rajasthanâ&#x20AC;&#x2122;s towns and cities that impose a planned grid layout on the landscape. Jaipur followed the principles of a vastu-purusha-mandala, with nine squares and city palace at the heart or centre of the grid. Inspite of its rigid grid, the city has allowed itself to grow organically with time. The city palace complex itself provides a rich variety of spaces. Today, The city of Jaipur is a part of the famous golden triangle of North East India, Delhi-Jaipur-Agra, for tourism to see the traditional India, architecture including handicrafts, arts and crafts, museums, history, cuisine and the culture most importantly.

3.3.1 Amer Fort The city of Jaipur was established in 1727 by the Maharaja Jai Singh II. Before establishing the city of Jaipur, the king lived in the nested fort of Amer or Amber, in the foothills of Aravalli Range. Amer was a 10th century tribal fort belonging to the Minas. In the 11th century, the Kachhwaha Rajputs occupied the fort of Amer. The Kachhwahas were best known for their

intimacy and diplomacy with the Mughal Empire. Maharaja Jai Singh was throned to rule the kingdom in 15th century. It was later passed on to Jai Singh II, when the fort of Amer had

Fig 3.9 Amer Fort nested on the foothills of Aravalli mountain ranges and ruled by Kachhwaha Rajputs for the longest time, before planning Jaipur

3.3

3.3 Planning and evolution of Jaipur

already gone through a lot of renovations during centuries. Following the Mughal palatial structures, spaces like the Hall of audience (Diwan-i-Aam), Sheesh Mahal, paradise gardens alluding from the Mughal, Temples, the Palace building with multiple courtyards were added. The Palace complex was essentially divided into three parts: the ceremonial or public Fig 3.10 Ganesh Pol (in 1900s)- The gate was one the main entrances to the inside the Amer Palace

spaces, the zenana or spaces for females and mardana for the male, based on genders. Just like Mughals, the Rajputs community has always been conservative and promoted privacy for females. The Fort of Amber was enriched with variety of spatial organization of spaces. The fort walls held within itself, a complex system of spaces, including a religious space, ie temple, the public and private halls for audience of the Maharaja, while

Fig 3.11 The view of Amer fort in distance, enveloped by 6 meter high and 2.5 meter thick long fort walls, seemingly impregnable

a series of courts separating public spaces from the private quarters of residences. Most of these were organized around large courtyards which provided a sequential relationship from part to part. One dwelling unit of retainerâ&#x20AC;&#x2122;s residence in the fort complex was particularly interesting for its spatial organization. The single and two storey residential units were small and sandwiched on one side with the fort wall. These were closely

Fig 3.12 The mughal inspired garden and fountains inside the Amer Palace responding to the hot and dry climate, surrounded by Pavilion and Assembly halls

packed residential developments, where every unit had its own courts and terraces at different levels, setting a unique example.

03 Regionalism in Jaipur

3.3.2 Planning of Jaipur Maharaja Jai Singh II had earlier led mughal armies of Aurangzeb. When Jai Singh II realized the downfall of the Mughals, he saw the need to develop a new city near Amer. Jai Singh II had imagined the new capital city of Jaipur for trade and commerce. He chose the location for Jaipur, 5 miles to the south of Amer, between Amer and Sanganer. The new walled city would be built close to the existing trade route of Mughal highway, on a flat land, except for the north east part being hilly. The city planning of Jaipur was assisted by Vidhyadhar who was the minister incharge of public works during Jai Singh IIâ&#x20AC;&#x2122;s rule. Two other forts were built between Amer and Jaipur, namely Jaigarh and Nahargarh. The fort of Jaigarh was used as a defense fort employed with canons, to offer protection to the kingdom. While, Nahargarh was used for negotiations with the Mughals. The city of Jaipur was to built to establish a new centre for trade and commerce in the North East of India. Jai Singh II called business communities like Jains to settle in the new town, by providing the merchants with incentives of haveli. The city planning of Jaipur was based on Vastu Vidhya, as Jai Singh II possessed the knowledge of Jyotish Shashtracombination of astrology and astronomy. The plan was formed on a square grid with nine squares from the Navagraha mandala of Vastu-Purusha-Mandala.

Amer Jaipur

Sanganer

Fig 3.13 Map of the new city connecting Amer Fort on the North and Sanganer on South

3.3 Planning and evolution of Jaipur

Hence, in order to understand the plan of Jaipur, the Indian science and architecture

called

‘Vastu

Shashtra’

needs to be understood briefly. VASTU SHASHTRA The ancient science of architecture in India which identified the relationship of forces of nature with living in a space can be understood as Vastu Shashtra. It is to ensure a harmonious living with the natural forces. VASTU PURUSHA MANDALA Fig 3.14 Old city of 18th century Jaipur

“Vastu means surrounding environment or nature (Prakriti in Sanskrit). Purush means energy or soul (Shakti in Sanskrit). Mandala

means

the

astrological

chart- which relates the layout to the orientation, right direction (both in space and in time), right proportion and right placement. These three collectively, called Vastupurusha Mandala (formbeing-diagram), used as a guide for which activities are best suited for each Fig 3.15 Old painting of ‘Navagraha’ mandala depicting the planetary signs

area of the building. [...] The Mandala can be applied when interpreting the scale of a whole city down to understanding that of a house.” (Sharma R. ) To simply put, number of squares are abstracted as the cosmos in the form of simple geometry. Here, architecture becomes the connection between the model of “cosmic man”(Vastupurusha

Fig 3.16 The diagram of Navagraha or nine houses, with nine celestial bodies resting in each house according to the Hindu science of architecture

Mandala and the man). The cosmic man model is adopted by the Hindu culture for limitless applications ranging from

03 Regionalism in Jaipur

houses to institutes to as large as city planning. One such application of the cosmic man model can be seen in the old city planning of Jaipur. The later, along with itâ&#x20AC;&#x2122;s underlying principles of Navagraha Mandala becomes the basis for the planning of Jawahar Kala Kendra by Correa.

Fig 3.17 The diagram of cosmic man model (Vastupurusha mandala) from Hindu science of architecture

Fig 3.18 Superimposition of the city plan on the map reveals the direct translation from later to the fore.

3.3 Planning and evolution of Jaipur

Fig 3.19 Guesstimated the site for Jaipur Fig 3..20 Formation of cardinal axes on site Fig 3.21 Arranging the site according to the mandala Fig3.22Adjustments on the western and eastern ends as per site conditions

The 18th century city was planned to house various functions like Forts and Palaces, City walls and Gates, Public buildings and memorials, temple and religious buildings, Havelis and houses, Wells and baolis, Water systems and Natural resources like the gardens, hills and lakes. With two cordinal axes, North-South and East-West, the main templeGovind Devji temple(1735) and City Palace were placed at the centre of the axes. The East end of the axis was marked by the Suraj Pol or Sun Gate, based on the movement of sun and Chand Pol or Moon Gate to the west end of the axis (fig 3.24). Govinda Deva(Lord Krishna) was worshiped as the main deity of the city and resided at the centre. Hence, the city plan was made up of many centre, the main centre and sub centers formed by the crossroads or chaupars created at the junction of primary streets.

03 Regionalism in Jaipur

Fig 3.23 A sketch plan showing the zones and gates into the square grid

The houses or havelis for the nobles and merchants invited by Jai Singh II, were plotted on the main streets. The allocation of the haveli size and type was based on the merchantâ&#x20AC;&#x2122;s caste, rank, financial status and political status, ie relationship with the king. Multiple types of havelis were constructed across the city, ranging from single courtyard to as high as seven courtyards. The scale of haveli and number of courtyards depended on the number of family members and socio-political status of the family. The city palace was considered the node of the city on a political level. Similarly, on an aristocrat level, the havelis demarcated the nodes on a sector or zone level. The connectivity of the owner with the temple and well was emphasized by the status of the owner. The dwelling groups were divided on criteria likei) Religious clusters The Havelis were a reflection of the owner in a sense. The location of housing units was based on the caste of the owner, like the Brahmin havelis were situated in the areaBrahmapuri and Thetaron ka raasta based on the brass workers. This is also how the streets got their names, eg. Johari Bazaar as centre for jewelers.

3.3 Planning and evolution of Jaipur

ii) Fraternal clusters Based on families of two or more brothers iii) Single family The even smaller houses served as infill to the negative spaces in the sector. “ In this vein, the city of Jaipur is a

mandala, where the flow of movement is from the periphery to the centre, from the profane to the sacred. The geometry and forging of a sacred landscape makes the plan and the city cosmic, in abstraction as well as construction.” (Andhare, 2018) Even the city temple, believed to be the residence of the God was developed as Fig 3.24 An early plan of the city, depicting th major axis and location of city palace, gates, temples

finely as the City Palace, that was a marble clad temple with ancillary structures like the Rajput Pavilion which was employed with wide scalloped arches and landscape with fountains. It is believed that about 400 temples were constructed during the planning of the city in 18th century. The city temple of Govind Devji was placed in a direct axis with the Chandra Mahal along the Palace, so the Maharaja could worship from his palace, every morning.

Fig 3.25 View of one of the Principal streets of the city in 18th century

The

main

commercial

streets

were

operating with the primary function of trade, with a series of equal sized shops and the street’s urban facade was enriched even further with the smaller gates or punctures in between to access the haveli temples. Even

the

constructed

commercial wide

streets

enough

for

were the

Maharaja’s procession to be carried out Fig 3.26 Maharaja’s elephant in a commercial street

on the smaller streets.

03 Regionalism in Jaipur

Fig 3.27 Plan of the City Palace, Jaipur A. Garden B. Chandra Mahal C. Pritam Nivas Chowk D. Ganesh Pol E. Sarvato Bhadra

F. Amba Pol G. Sabha Nivas H. Rajendra Pol I. Mubarak Mahal J. Zenana.

The Palace complex at the City Palace employed various spaces like multiple courtyards, offices for administration, workshops for the trade and commerce, grand gates connecting the streets, public and private spaces for different occupants and the seven story Chandra Mahal offering panorama of the entire city. Chandra mahal offered direct views the city temple. The devotee aspect of the Maharajas was also visible in the surface applications across the Palace. The murals on the walls were based on local devotional themes, floral motifs, auspicious images and even small but historically important manuscripts.

3.3 Planning and evolution of Jaipur

The

later

king,

Sawai

Pratap

Singh(1778-1803) was a worshiper of Vaishnav and constructed the Brijnandji City temple

temple near the Tripoli Gate. While, Sawai Ram Singh(1835-1880) was a devotee of Shiva and so he constructed a Shiv temple in Ram Singh Mahal.

Fig 3.28 Axial connection of Temple with the Palace

Maharaja Jai Singh II was known as the ‘astronomer king’ of India. He built 5 Jantar Mantar or observatories across India during his reign, with the largest one in Jaipur around 1734. It is considered one of the most modern applications of technology during the time. “ The first point to establish is that the modern Western distinction between astronomy and astrology did not exist in eighteenthcentury India: both were parts of the single field known as jyotish vidya.” (Sachdev & Tillotson, 2002) One of the most important historic buildings of India, the Hawa Mahal was built by Pratap Singh in 1799 at the south-eastern border of the city. The

Fig 3.29 Rama Mandir with murtis of Rama and Sita

structure is an extremely appealing visual composition, along with it’s performative features. “Running down the central vertical spine of the façade is the repeated motif of a triple-bayed opening. This motif is a simplification of a standard pavilion type, which is often found as a crowning element – as in the Mukut Mandir on top of the Chandra Mahal –

Fig 3.30 Jantar Mantar observatory constructed under the leadership of Jai Singh II was one of the most modern applications of technology of the time

comprising two square, domed chhatris (small pavilions) flanking a rectangular

03 Regionalism in Jaipur

chhatri with a curved bangaldar roof. These components are here reduced and fused to make a triple window. On either side of this motif is a smaller one, again a triple opening, but here expressed as three sides of an octagonal turret, capped by a round dome. Divisions into three are common in Indian design, usually with the central part wider than the outer two.â&#x20AC;? (Sachdev & Tillotson, 2002)

Fig 3.31 The street outside Hawa Mahal during a procession of Maharaja, viewed from the Mahal by the females of the Royal family

The structure mainly functioning as a pavilion, overlooking the street on the East. Hawa Mahal was supposed to be used by the females of the Palace to view the processions taking place on the street. Designed by Lal Chand Ustad, Mahal was dedicated to Radha-Krishna with the top profile as a metaphor of the crown of Lord Krishna.

Fig 3.32 The crown of Krishna emulated to form the top of the Mahal

3.3 Planning and evolution of Jaipur

It is known for it’s performative aspects of climate respect through the tiny honeycomb structured openings, The screen cuts down the direct sunlight entering

into

the

courtyard,

while

providing air circulation through the tiny perforations which use the venturi effect. Along with this, it also provides privacy for the women overlooking the exterior.

Fig 3.33 The effect of Venturi taking place at the perforations of Hawa Mahal, resulting in cool breeze on the interior

The Maharaja had set up a committee for the development of the city, The Public Works Department (PWD) Of Jaipur and led by a British architect Samuel Jacobs in 1867. The later developments of the city were done by Sawai Ram Singh II, like establishing schools, hospitals, gaslights on the streets, metaled roads. The railway

Fig 3.34- The jaali from Hawa Mahal has tiny perforations and small shutter windows, providing privacy to the royal ladies residing inside the palace

network and services for transportation, public of

gardens,

Arts(1887)

Rajasthan

and

School

construction

entertainment avenues like theaters was also owed to Sawai Ram Singh. Projects like modernized drainage and piped water supply for irrigation were also executed during his rule. The museums like Albert Hall which is a mix vocabulary of Islamic and Rajasthani design, later came to be known as Indo-Sarcenic was designed by Samuel Jacobs. The hall was a result of a close collaboration between the architect

Fig 3.35- Viewing deck ‘Suhag Mandir’ above the Ganesh Pol located inside the first courtyard of Amer Fort in Jaipur screens light through the lattice geometry

and the local artisans. Under Jacob’s leadership construction of the Mubarak Mahal, inside the palace complex was also executed.

03 Regionalism in Jaipur

Fig 3.36 The commercial streets of 19th century city, with outward projecting jharokhas responding to climatic needs

The city walls were painted pink during 1873, which is believed to be painted by Maharaja Ram Singh for Price Edwardâ&#x20AC;&#x2122;s visit to the city. Others believe the colour is naturally produced by the use of local materials. The terracotta locally available has a geru shade. The rubble construction out of locally quarried quartzite is rough and cannot be left bare. So paint needs to be applied, making the walls pink in colour. A new palace- Ram Niwas Bagh was constructed later by the Maharaja. The north gate of the city axis was the Tripolia gate, followed on the south by the City Palace and Govind Devji temple on the centre. To the south of temple, Ram Niwas Bagh was constructed, which was followed by the Albert Hall.

Fig 3.37 Ram Niwas Bagh with mughal style gardens and Palace in the back

3.3 Planning and evolution of Jaipur

An important built form of the time is the Indo-Eurpoean styled Naya Mahal built by Maharaja Sawai Man Singh (18801992) under the direction of Jacob. Sawai Madho Singh II was allies with Fig 3.37 Animals as a means of transport in 1920’s of Jaipur, while India was colonized by the British

the British and this resulted in the iconic ‘Jeypore Exhibition’ of 1883 by Thomas Holbein Hendley, at the Naya Mahal. The remarkable exhibition aimed at promoting the arts and crafts of the region, while also depicting the gap between traditional and modern. This program was followed by PWD and Jacob’s project of ‘Jeypore

Portfolio of Architectural Drawings’. Fig 3.38 The busy street of 19th century during a procession carried out with elephants

“Along the broad roads of the walled city, shop facades have a uniform exterior and signage. The design history of the facades go back to at least the 15th century (Sachdev & Tillotson, 2002, p. 50). Shops were lined up alongside a

covered pedestrian pathway, with the first floor of the building held back to allow circulation, and first floor levels, accessed via staircases, served as Fig 3.39 A busy street of the walled city of Jaipur in present times, filled with vehicular traffic. Transition of the street with changes in economy and political status of the city. The streets are still able to withhold the transformations, as an outcome of as futuristic town planning

an excellent vantage point to watch processions.”

(Andhare,

2018)

The

commercial streets were an active part of the city’s bustle. In the 20th century when Ismail Mirza was appointed the Prime Minister of Jaipur, things started taking turns. Ismail regulated a lot of construction outside the walled city of 18th century. In 1923, the tradition of closing the city gates at night had to be terminated because of

03 Regionalism in Jaipur

the travelers arriving late at night by railways into the city. It was also in 1940â&#x20AC;&#x2122;s that the previous ruler, Ram Singh II had moved to the southern outskirts of the city, ie from the City Palace to the Ram Bagh Palace. This soon became a fashion and the nobles started emulating the king, by moving into British style bungalows, vacating the traditional havelis. The new house types like the Chumao house (fig 3.40) and Nayla House gained popularity among the rich. The local elite adopted the western lifestyles and values.

Fig 3.40 The Chumao house built outside the walled city followed a radical approach to the region and promoted British style of residences

It was during independence that Rajasthan was declared a state and Jaipur, bearing the potential for economic and cultural activities along with being the first planned city became the state capital post independence. Ram bagh palace was later converted into a heritage hotel, catering to the national and international tourists who were glorified by the architecture of the historic and traditional city of Jaipur. Currently the economy relies highly on the cultural industries and tourism heritage of the old city.

3.3 Planning and evolution of Jaipur

Later on, B V Doshi was commissioned the plan for a township-Vidhyadhar Nagar in 1984. The first cultural Institution in Rajasthan, post independence and merger

was

Jawahar

Kala

Kendra,

designed by Charles Correa. It uses the geometry from the Navagraha mandala and the planning of Jaipur city. After centuries of regional context built by the city, Jaipur came to be known as one of the classical cities of India, where Fig 3.41 Planning of Vidhyadhar Nagar based on the town planning of Jaipur walled city

the planning holds appropriate even in todayâ&#x20AC;&#x2122;s time. While the debate of response to region is ongoing, the city is attempting to make various contemporary and radical approaches to architecture.

Fig 3.42 Planning of Jawahar Kala Kendra by Charles Correa based on the town planning of Jaipur and Navagraha mandala

Fig 3.43 Imagery of contemporary architecture trying to create a new identity of the city

03 Regionalism in Jaipur

Traditional architecture of Jaipur ORGANIZATIONAL STRUCTURE IN TYPICAL HAVELIS

Fig 3.44 Layout of a typical residential street in the region shows the organic nature of planning

The city is organized in grid layout for the street, yet it allows the residences to grow organically. There is an organic arrangement of houses at places and houses are usually tuck together as clusters, based on various aspects.

Fig 3.45 Layout of Amer Fort with 3 courtyards broken by alternate spaces and gates. The Amer fort Palace uses 3 main courts are builds spaces around it. The courtyards provide symmetry and structure to the palace.

Fig 3.46 The layouts of typical havelis with two and three courtyards

3.4

3.4 Traditional architecture of Jaipur

Most havelis in the city consist of 2 or 3 courtyards, depending the status and size of family. All the other spaces are arranged linearly around the courtyards. This create single loaded corridors on above levels. The corridors borrow light and ventilation from the adjacent courtyard and hence reduce the need for mechanical lighting and cooling. This arrangements is one of the strategies to create passive cooling in the hot regions like Jaipur. Fig 3.47 Layout of Nawalgarh Haveli close to Jaipur city, showing the planning of activities around multiple courtyards

PROFILE BUILD UP The facade of the haveli that faces the street is stepped outward. This practice of cantilevering the jharokhas is seen in many other cities of Rajasthan. The facade is kept such to maximize the shade on the street, keeping the surrounding cool. Also, this protrusion helps in cutting down the direct sun cast on the facade. The stepping profile is an effective response to the climate, present in the traditional space making for centuries.

Fig 3.48 The overhanging stepped profile of typical regional haveli

LAYERING The concept of layering can be seen in many interiors of the built forms. The layering creates depth, while creating hierarchy in the space. Layering is used to frame views, towards courtyard or landscape in palaces.

Fig 3.49 The City Palace of Jaipur uses layered archways to create a sense of entry to the courtyard

03 Regionalism in Jaipur

STEP WELLS Step wells resemble deeply depressed courtyards and are often enriched with stone carvings. They serve as neighborhood gathering places and accommodate the heavy monsoon rains after summer without flooding, while providing access to the water table during the months of drought (3.53). While the well serves a social purpose along with the climatic response, as seen in Sukh Mahal and Panna Miya ki Baoli (fig 3.50) at Amer Fort in Jaipur. Sukh Mahal was designed to draw fresh cool air from the water fountains in the front yard of the building so as to keep the temperature bearable in the summer. Panna Miya ki Baoli was used extensively for social gatherings and events along with fetching water.

Fig 3.50 Panna Miya ki baoli used for storing water traditionally

Fig 3.51 Traditional Rajasthani step well, with layered steps on all four sides

3.4 Traditional architecture of Jaipur

This traditional concept of baori employs earth

sheltering,

thermal

banking

and evaporative cooling to modulate surrounding temperatures. The step wells are in various types like the kund, which is shallow and the deep wells are baolis. Both these types are prevalent in the region of Jaipur. The step wells are an excellent example of climate response in these hot and dry areas. By using heat sink phenomenon, these wells convert the surrounding environment into bearable ambient temperatures.

Fig 3.52 Panna Miya ki baoli in use for socializing by women traditionally, Plan section

Fig 3.53 Women socializing while fetching water from the baori

03 Regionalism in Jaipur

ELEMENTAL ASSEMBLY The walls of traditional havelis deployed Gawaksh or niches into the thicker exterior walls of the house. The niches were commonly found in most built forms of 18th and 19th century. They were used as storages or showcasing valuables in rich houses and to contain lamps.

Fig 3.54 Traditional haveli walls with niches for storage

A typical corridor space in a large haveli had seating provisions of one side and rooms on the opposite sides. These seating elements were used to look through the jali, without compromising on air, privacy or light. They usually borrowed light from the courtyard it overlooks.

Fig 3.55 Corridor of haveli bringing light and visually connecting with the courtyard through jali

3.4 Traditional architecture of Jaipur

SURFACE APPLICATION â&#x20AC;&#x153;Typical finishes of this region include araish (slaked lime smooth finish) on floors and walls. The havelis of Shekhawati, the city palaces and other palaces and temples show excellence in stone work of jharokhas (projected balconies), jaalis (latticed screens) and parapets. Stucco work in lime plaster is also found. Decorative finishes include mirror work, stained glass, mother of pearl inlay and silver inlay work frescoes, pannimeena and dakmeena work.â&#x20AC;? (himalayan-treks.eu, 2018)

Fig 3.56 A highly ornamented interior view of a Shekhawati haveli in the Jhunjhunu district, close to Jaipur

Fig 3.57 Aaraish work done by craftsman at a wall of haveli gate

Case Study 4.1 Parameters for evaluation 4.2 Jawahar Kala Kendra, Jaipur 4.3 Pearl Academy of Fashion, Jaipur

The case studies use these parameters of space making to evaluate regionalism

siting and location

Topography Context Relationship to site

form and massing

Layout Form Degree of Enclosure Massing Void

movement and organizational structure

Circulation Spatial Construct Programmatic Distribution Organizational Structure Profile build up

elemental assembly

Walls Floor Steps Jaali/ Jharokha Furniture Niches

material and technique

Roof Floor Walls Frame structure

surface application

Inlay Mural Painting

04 Case Study

Parameters for evaluation

The two cases, Jawahar Kala Kendra and Pearl Academy of Design are studied using these common parameters. Each parameter is evaluated using itâ&#x20AC;&#x2122;s sub parameters, wherever applicable. These parameters can be used for analyzing any built form. The study focuses on discussing the regional approaches to these parameters, as a common denominator for analysis. After studying the cases, the later part uses the same parameters for a comparative analysis, based on the case study.

4.1

101

4.2 Jawahar Kala Kendra, Jaipur

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Introduction The Government of Rajasthan commissioned Ar. Charles Correa in 1991 to design a cultural institute for promotion and preservation of the arts and crafts of Rajasthan in the old city of Jaipur. The cultural centre is spread across 9.5 acres and took 5 years from the ideation to completion. The centre is dedicated to the memory of India’s first Prime Minister and visionary Jawaharlal Nehru. The cultural centre is significant in the history of architecture and one of the highly discussed work of Charles Correa. The centre is further regarded as JKK or Kendra during the discussion. Kendra was commissioned to Charles Correa in 1986, but it was only in 1991 that the design was executed. The architect has claimed the 18th century original city plan of Jaipur to be the inspiration for the planning of JKK. The original plan of the walled city of Jaipur city consisting of nine squares with centre square left open, was developed by the then ruler, Jai Singh. “The design of JKK comes from the city (of Jaipur) itself, which was based on the nine squares each representing nine planets.” – Charles Correa

Fig 4.1, 4.2 18th century walled city of Jaipur creating a uniform artistic image of the pink city with the even facades of commercial streets, Gate to enter the zones inside the city

4.2 Jawahar Kala Kendra, Jaipur

Siting and Location â&#x20AC;&#x153;Ideas for the building, sited in an open field near the university in a new part of the city, formed in Correaâ&#x20AC;&#x2122;s mind; but it was not until 1986 that the concept for the building was finalized.â&#x20AC;? (Khan, 1987) The Kendra is located on the corner of a T junction formed by two major roads of the new city. Given the insignificant surrounding context of the site, Correa resorted to exclusion of the surrounding views from inside the centre. The built form obtained an introverted planning and character due to this siting, hence creating its own environment. The built form is oriented parallel to the main roads and built on an open plot, with accessibility from two entrances on the main road, and third entrance to the building is from the parking on the internal road.

Fig 4.3 JKK located on a two road corner and flat piece of land outside walled city of Jaipur

The topography of the site is flat and without any undulations. Hence no interventions are made on the land contour. The centre is approached through the main entrance with a large standalone Gate in sandstone, reminiscent of the traditional arches. Landscape surrounds the built form on the front part of the building. The parallel orientation can be understood rationally. The building is divided majorly in two parts. A massive flat facade cuboid on the left side of the gate is complimented by an angularly rotated cuboid on the right. The negative space between these two masses creates an open court and entrances to other spaces

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Form and Massing LAYOUT AS REGIONAL CONNOTATION ...[Jkk] “is double-coded (like the plan of Jaipur city itself), a contemporary construct based on an ancient perception of the non- manifest world, as expressed in the VastuPurush-Mandalas- those sacred Vedic diagrams that have been of seminal importance to Hindu, Buddhist and Jain Architecture over many many centuries.” (Frampton & Correa, Charles Correa, 1996, pp. 28) On discussing the roots of design for Jawahar Kala Kendra, in an interview with RIBA president Angela Brady, Charles Correa describes that “The design of JKK comes from city itself, which was based on the nine squares each representing nine planets. And the ruler who built the city was obsessed with the sky, so on one side he used the oldest myths of the sky which is the ‘Navgrah’ (the nine planets) and then he also is the one who built the newest myths which is science, through astronomical instruments. For example, the Jantar Mantar (masonry tools designed to study the sky), which where way ahead of their time. [...] So, he had these two different takes on the sky, and he brought them together in this city and since it’s a memorial to India’s first prime minister ‘Jawahar Lal Nehru’, nothing better than to bring back the city its past. Nehru wrote a book called ‘The discovery of India’ which was looking backwards deep into the roots of Indian culture, but he (Jawahar Lal Nehru) also commissioned Corbusier to invent a new future through a modern city Chandigarh. Now how do you bring those two visions together? ” (Sharma R. ) Through JKK, Correa tried to integrate the two ideologiesthe Indian cultural values and modernity as seen in the Emperor Jai Sigh through city of Jaipur and that of Jawaharlal Nehru who was a great Indian leader with futuristic vision while being deeply rooted in Indian culture. "Every society has seen architecture as something that transcends its functional role, as a diagram of the cosmos," - Charles Correa

4.2 Jawahar Kala Kendra, Jaipur

The design of JKK invokes two historic layers at once; the Navagraha Mandala and the old city planning of Jaipur based on the Navagraha. â&#x20AC;&#x153; The reference to the mandala is not done merely in an archaeological sense-grave digging! - for it also reflects the contemporary sensibilities. the mandala is timeless and universal form, in fact found in many other cultures around the globe and across history. Perhaps, it is the direct outcome of something physiological in the deep- structure of the human brain.â&#x20AC;? (Khan, 1987, p. 174)

Fig 4.4 Abstraction of the Navagraha as translation to the city plan

Fig 4.5 Abstraction of the nine square grid geometry as translation into the current plan of JKK

The concept of Navagraha or nine house principle of mandala has been used for the overall planning of JKK. The added to this abstraction from ancient Indian architecture, is that of the 18th century city plan of Jaipur. While there is similarity in the square geometry, an added literal translation has been made by pivoting one of the corners of the building. This tilted block creates the entrance for the centre.

Fig 4.6 Actual sketch of the entrance to the Kendra with symbolic cut outs on the facade and tilted block creating the entrance

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Fig 4.7 Alternate plan layouts prepared by Correa during conceptualization

Grid from Jaipur city plan Conceptualized grid for JKK

Conceptualized entrance for JKK Fig 4.8 Conceptual sketches by Charles Correa showing the ideation for the entry and plan

FORM AS REGIONAL CONNOTATION While there is a very specific reference to the city plan, the shift in the block at JKK seems a mere direct translation in the absence of hill on site, unlike the city plan where hill was the decision making element for the dislocated square. This represents a translation without a metamorphosis for the adoption of the cultural symbol. (Righaz, 2020) These disaggregated squares are defined by 8 meter high walls. This invokes a resemblance with the fortification walls of the old city of Jaipur as a measure to secure the city from invaders. (Gangwar & Kaur, 2016)

4.2 Jawahar Kala Kendra, Jaipur

Internal road

Parking

JKK Shilpgram

Main Entry

Entry

Main road

Fig 4.9 Approaches to the centre from the road and orientation parallel to the street

Fig 4.10 Exterior red colored facade as seen from the open field, with the cosmic background formed by the sky

DEGREE OF ENCLOSURE AS REGIONAL CONNOTATION A regional response to the open and enclosed spaces is observed at Kendra. While some activities need to be carried out in the open during the morning and the night, some need to be executed during the day. This sequence of open , semi open and enclosed spaces is addressed using covered spaces and open to sky courts across the Kendra. These varying degrees of enclosures are based on the climatic conditions of the region.

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MASSING AS REGIONAL CONNOTATION

Fig 4.11 Assemblage of Multiple courtyards creating the negative volumes are also prevalent in the traditional Rajasthani architecture

The building centered around the main courtyard could be seen as the major portion; the other addenda have small courts. Many diverse spatial densities contribute to the massing of the Kendra. A major role is played by the courtyards in creating voids against the mass of enclosed spaces. About 40% of JKK is open to sky spaces scattered and tightly nested in between the enclosed spaces acting as the mass. The assemblage of multiple courtyards has also been found in typical havelis of Rajasthan. Climatic and cultural connotations are associated with the courtyards in the traditional architecture. The larger havelis of rich families had more than two courtyards, with one large court and other smaller courtyards. Adding a different character to the massing, the Mangal Mahal at the entrance and geometrical centre of the square employs a domical ceiling, appearing as a strong building element for relating the building profile to the sky.

4.2 Jawahar Kala Kendra, Jaipur

Fig 4.12 The ceiling in the form of a dome, altering the cubiodal massing pattern of the built form

â&#x20AC;&#x153;Enclosed by high parapets, life goes on inside in the numerous demolitions, insertions or reorganizations. But the exterior, irresolute in its material joining â&#x20AC;&#x201C; like the

Fig 4.13 Nine disaggregated blocks of volume separated by 8 meter high walls, resonating with the fortification of the walled city-Jaipur

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wall of the old city – remains undisturbed. Like Jaipur, enclosed by high sandstone walls and approached through framing portals, the Jawahar Kala Kendra relives a more contemporary historical destiny.”(Jawahar Kala Kendra Arts Centre in Jaipur by Charles Correa Associates, 2020) The feeling of boundaries is strengthened by the 8 meter high walls in the structures and centering them with courtyards. The high fortified walls resemble the walled city, strengthening the feeling of enclosure of the site, while the actual boundaries of the plot are set away from the building. At JKK, in terms of employment of formal elements of design, there is a stronger layering of space because of the strong massing and enveloping walls, the building has a strong protective character. VOID AS REGIONAL CONNOTATION The Courtyard that acts as void inside the building form, shows various stances where regionalism coincides with it’s character as an architectural element. i) The central courtyard appears to be an abstraction of the kund type of step well from 800 AD, a concept in traditional architecture of the region. The kund was used to store water by the people of the region, while also being used as a community space for social gatherings and events. “The symbolic central square is left empty and bounded with ghat like- stepped terraces on four sides to create a kund, which in this instance is dedicated to the sun (Surya).”(Frampton & Correa, Charles Correa, 1996, pp. 15-16) The courtyard in the context of JKK is used as a live performance space and the steps on the four sides, converting the space into an ad-hoc open amphitheater. At other times, the steps are used as seating and stimulating interactions for the community, like the traditional kund. Moreover,

4.2 Jawahar Kala Kendra, Jaipur

ii) The second layer of cultural association is given to the suryakund or courtyard, by dedicating it to the Sun. The Vedic Shashtras suggest the central square; here courtyard to be a void, representing nothingness. The void is the true source of all energy sources, where nothingness is everything. Fig 4.14 Central open to sky courtyard bringing in natural light and air inside the building. It also allows the hot air from the narrower volumes adjacent to the court to leave the building

The courtyard is used at a strategy to capatalise on the natural sources available in the hot climate of the region. Through the section, plan and shape of the courtyard, Correa has tried to optimize on the natural light and air, without relying on mechanical devices for these functions. According to him, the courtyards are pleasurable in hot climate of the region, beyond mere photogenic

image-making.

Talking

about the relationship of experience and Fig 4.15 Multiple smaller courtyards on the corners of each square help in ventilating and providing with natural light

air circulation, borrowing of natural light through the multiple courtyards at Jkk, Correa says "It is the quality of light and the ambiance of moving air that forms the essence of our experience." (Khan, Cantacuzino, & Correa, Charles CorreaArchitect in India, 1987, p. 172)

Fig 4.16 Arrangement of courtyards at JKK

Fig 4.17 Section across the courtyard showing the air circulation in the building

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Movement and Organizational Structure CIRCULATION AS REGIONAL CONNOTATION "The other squares or Mahals are each dedicated to a different planet and its attributes. The visitor's itinerary weaving its way through these squares is meant to recall the Vedic ritual of the Pradakshina which is effected here through openings on the central axis of each mahal. However this seemingly circular'' route does not have to be slavishly adhered to and the visitor is free to explore the different sectors of the compound at will." (Frampton & Correa, Charles Correa, 1996, pp. 15-16) While the circulation resonates with the ritual of Pradakshina, it is also similar to the hierarchical movement as seen in the city of Jaipur. The inwardly movement towards the centre is seen as one approaches the fort walls, followed by the chaupars and streets and finally the City Palace, as the heart of the city. Metaphorically speaking, at JKK, the Suryakund acts as the heart of the centre. The experience of the museum begins to redefine the very Secondary Primary

Fig 4.18 The circulation journey through the spaces and its celestial divisions encompass of a variety of spatial densities that allow the visitor to take a meandering path inside the highly structured built environment, breaking free from the grid monotony

4.2 Jawahar Kala Kendra, Jaipur

act of cultural display. Heritage, as the design conveys, is a matter of accidental encounter and discovery – a process that relies on the instincts and inclinations of a person moving through space, between the stage set of walls, past recreated incidents and rituals of art and craft. (Jawahar Kala Kendra Arts Centre in Jaipur by Charles Correa Associates, 2020) Discussing the importance of space for performing

Fig 4.19 Inwardly directed cyclic journey, leading to the Suryakund

arts, as one of the functions of the Kendra, a classical dancer exhibiting an Interactive-Rhythm Perception Exhibition says, “Each square in the architecture is a pattern according to the Mandala Sarvasva. And each pattern denotes a meaning to the space. Moving in the space with this historical time-frame, but still performing in the present , is what the site-specific performance shall entail. Each square emotes a different feeling, for example the symbol of BOW is connected to Mercury which can further emote the Veer Rasa(The brave Rasa). How will the audience emote will be very much dependent on the moment, in the space. The snake Symbol or ketu , can emote Disgust ( Vibhitsa Rasa).” (Bhattacharyya, 2018) It can be understood from this that circulating inside the spaces exhibits the characteristics and evokes the emotions of the planet they are associated with.

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116 04 Case Study SPATIAL CONSTRUCT AS REGIONAL CONNOTATION The plan of JKK resembles with that of the city in terms of massing of volumes. The spatial organization elements like a centre and sub center are common in both the models. The centre of City Palace can be compared with the void of Suryakund and the sub-centers as chaupars can be seen as the geometrical centers of each square appearing to be an open to sky void space, just like the cross roads on city scale.

Fig 4.20 The city plan consists of the city palace as a metaphorical centre of the city, while the Chaupars become the sub-centers of the city.

Fig 4.21 The Kendra is formed of various centre and sub-centers in each square, just like the plan of Jaipur city. Centre of each individual square is a void that metaphorically becomes the genius loci of each space, just as the kund is to the Kendra.

4.2 Jawahar Kala Kendra, Jaipur

PROGRAMMATIC DISTRIBUTION AS REGIONAL CONNOTATION At JKK, an attempt can be seen to invoke the underlying construct of the cosmos, and not just merely representing it symbolically. There is a direct association of the colour and quality of each planet with the spatial construct of the space representing it. The program of the building is disaggregated by creating 9 individual groups. These 9 groups are associated with nine planets (including Rahu and Ketu) from the Navagraha, according to the characteristic of the particular planet and their astrological values and the functionality of each house. All the nine squares represent a planet corresponding to it’s myth form the Hindu ideology of architecture. “This Navgrah concept with its energy values their favorable colour, quality and the favourable functionality to the each planet with square kept in mind while designing and allocation of spaces.” (Gangwar & Kaur, 2016)

2 3

Entry 2

Entry 3

Main Entry 1. Administration 4. Museum I 7. Library 2.Cafeteria 5. Museum II 8. Kund 3. Lok Kala Kendra 6. Documentation 9. Performing Arts Fig 4.22 The nine squares are divided according to their functions associated with the characteristic, quality and color of the planet

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The planet of Mercury, which traditionally represents knowledge, is assigned to be the library. And similarly, the square housing Venus becomes the Performing Arts area to represent Arts for Shukra.

Fig 4.23 Symbolic representation of each planet in itâ&#x20AC;&#x2122;s assigned house Symbol Planet

Color

Quality

Function

Mangal

Mars

Power

Administration

Chandra

Moon

Heart

Cafeteria

Budh

Mercury

Education

Lok Kala Kendra

Ketu

Descending node

Anger

Museum I

Shani

Saturn

Knowledge

Museum II

Rahu

Ascending node

Guru

Jupiter

Knowledge

Library

Surya

Sun

Creative Energy

Kund

Shukra

Venus

Art

Devourer/ Documentation Restorer

Performing Arts

Fig 4.24 Association of the character and functional program of spaces at JKK, based on the quality of their planets

4.2 Jawahar Kala Kendra, Jaipur

ORGANIZATIONAL

STRUCTURE

AS REGIONAL CONNOTATION The plan for Jawahar Kala Kendra invokes directly the original navagraha’. Correa’s ideology was to invoke the underlying construct of the cosmos they are meant to represent, rather than just mere representation. Correa’s interest in the mandala was insomuch as it can be used to “structure the environment”. Hence the primary function of the nine square mandala is “structuring”. However, the question remains why only the nine square mandala was used and not any other. An immediate response would be that the museum centre had to accommodate nine spaces type laid out in the program of the museum. However, this was not the only reason. By using the nine squares mandala, Correa is also imitating the geometry of Jaipur city. In the museum, a direct imitation of the Jaipur city is evident in the displacing of one of its square from the nine square construct to create a main entrance. Hence on a closer examination one could suggest that Correa used the nine square Mandala not only as a structuring device but also to consciously invoke the symbolism of traditional city. Insofar the museum uses it as a structuring principle, “structuring” becomes the primary function and insofar as the museum Primary

Structuring Navagraha + Geometry of Jaipur City Symbolizing traditional

Secondary

city model Fig 4.25 Functions of interpreted regional aspects in structuring the spaces

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imitates the plan of Jaipur city - the symbolism of the â&#x20AC;&#x153;traditional city modelâ&#x20AC;? becomes its secondary function. The spaces at JKK utilize the concept of layering for spatial elements. Framing views and layering is used as a concept in traditional architecture of the region. One of the spaces in the City Palace of Jaipur frame the view towards the courtyard using gated archways. A similar attempt of layering is seen at multiple places in JKK. An abstraction of layering frames can be clearly seen in the Kendra, avoiding the literal imitation of decorated arches, post beam structure is created, with murals painted in the ceiling. The overall Structure of the built form is a composite of mass and frame structure with circular and square columns holding the flat slab and beams. While the outer facades are plain high walls, protecting the centre. The plinths, amphitheater and high walls create strong layering of vertical planes, contributing to inwardly structured spaces. In the Saturn square, the interior streets are created by eliminating the use of large wall planes. These kind of layering of space creates shifting and layering of views.

Fig 4.26 Interior spaces of Chandra Mahal showing layering

4.2 Jawahar Kala Kendra, Jaipur

Fig 4.27 The passage leading to the dome of Mangal Mahal depicting layering as a spatial phenomenon

PROFILE BUILD UP AS REGIONAL CONNOTATION The immediate space from an open to sky courtyard towards the interiors is the semi covered transition space. There is similarity in the nature of this space with the buffer spaces in the traditional architecture. The space acts as a threshold between the indoors and outdoors. The traditional houses of Gujarat and Rajasthan facing street usually have a narrower opening and a semi covered area which is used by the women of the families of certain societies. This transition spaces sets back the entrance, creating a stepped profile, also lifts the entire building to the plinth and provides with security and privacy with the semi covered spaces. These spaces have traditionally been a spill over for activities, to visually connect with the exterior while being physically detached to the outdoors. A similar construct of semi open space is seen at few places across the Kendra.

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In the case of the transition space, it can be seen that there is a processional unfolding of spaces: open, enclosed and some open to sky. This character emerges from the climatic conditions of Rajasthan, as a traditional stepped facade. The warm climate of Rajasthan possesses varying degree of protection and openness, and cuts down the sun at the same time. The boundaries between the whole continuum of zones is not formal and definitive in terms of enclosure. The reason Correa’s approach to enclosures is different in India is because of the difference in climatic conditions between India and the west. In Europe and North America, where the climate is cold, there is a need for weather resistant box or enclosure to protect the life. There are very clearly defined boundaries to their habitats, leaving the users inside or outside the building.

Fig 4.28 Transition space outside the galleries of Budh Mahal, creating a stepped profile with the space between the exteriors and interiors

“Subtle modulations of light, of the quality of ambient air, register each transition on our senses.”(Khan, Cantacuzino, & Correa, Charles Correa- Architect in India, 1987, p. 167)) These subtle modulations are seen in the sequential enfolding of spaces, where the courtyard spaces are led to the semi covered transition space and eventually lead to the interior enclosed spaces. The transition of varying degrees of enclosures is of significance here.

4.2 Jawahar Kala Kendra, Jaipur

This space is a setback of the entrance and helps in cutting down the direct sunlight from entering the building. It is commonly observed in most traditional buildings of the region, where outward projections create a stepping profile. Here at JKK, since just two floors are deployed, it is not very significantly evident.

Fig 4.29 The semi open transition space outside the Shani Mahal, acting as a performative measure in response to the climatic needs

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Elemental Assembly WALL AS REGIONAL CONNOTATION

Performative Aspect The regional architecture heavily employs use of projecting jharokhas or shading element as cantilever on the facades. These protrusions on the above levels respond to the climatic appropriateness. At Jawahar Kala, while the main facades are devoid or any articulation and largely remain plain, some facades see articulation as a facade treatment. The openings jut out of the wall in a modern fashion, with traditional jaali element on the surface. It can be seen as the architectâ&#x20AC;&#x2122;s rejection of traditional articulations, while also not fully adopting the modern style. The imitation of these facade elements seems rather unnecessary, catering to the function of galleries from within.

Fig 4.30 The exterior facade of one of the squares, eliminating all articulation from the traditional facades and replacing with symbolism

Fig 4.31 The internal walls of the free flowing spaces employ protruding elements as a reminiscence to the traditional opening treatment

4.2 Jawahar Kala Kendra, Jaipur

Cultural Aspect

Fig 4.32 All the internal walls of the central court are cladded with the red sandstone, with a cut out symbolic to each planet on the wall. The stones create a harmonious effect with the repetitive grid on the wall.

FLOOR AS REGIONAL CONNOTATION

Cultural Aspect The seating arrangement on the floor in the centre; is similar to that of a â&#x20AC;&#x2DC;baithakâ&#x20AC;&#x2122;, represent mildly the rural and cultural ethics of India. Moreover, the flooring pattern in the central square is a diagram of the lotus representing the sun, from the Vedic Shashtra.

Fig 4.33 Raised centre of the court becomes the baithak for performing artists during an event, exploring the Indian culture as its genesis and the steps on four sides, abstracted from the kund

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STEPS AS REGIONAL CONNOTATION

Cultural Aspect

Fig 4.34 The steps inside the courtyard as used as a community space and to instigate interactions in a public institution like JKK, resembling to the function of steps as traditional baori of the region The form and massing is also similar to the layered formation in baoris, while the proportion is very horizontal at JKK and it being vertical at baoris

Fig 4.35 Layering of steps creating a communal environment around the courtyard, while the solid red facade providing a strong background for the performances in the amphitheater

4.2 Jawahar Kala Kendra, Jaipur

JALI, JHAROKHA AS REGIONAL CONNOTATION The Jaali is the most used form of window as an opening at the Kendra. It used at the Kendra is as a visual simile to the traditional

architecture

rajasthan.

It draws inference from the outward projecting jharokha and jali is embedded to form the opening on the outside.

Performative Aspect The openings look similar to traditional jaali. However, the inside of the opening Fig 4.36 Multiple openings projecting out into the courtyard of Budh Mahal, Creating a visual composition while losing the honesty towards the element

is covered with brick wall. This means that it is just a visual imitation which does not respond to the inherent performative aspects of the traditional element in terms of air, light and privacy. This is because of the function on the interior being a gallery, direct natural light is cut down with it. Also, by the scale of Jali or Jharokha, the opening does not confirm itâ&#x20AC;&#x2122;s coherence with the regional openings.

Fig 4.37 Opening looking towards the courtyard in Shani Mahal acting as a mere reminiscent of the traditional, without serving the actual purpose

Cultural Aspect The patterns of perforation carved out on the jaali screen are influenced from the traditional geometry(Fig 4.38). The surface is painted in red to represent to emotion of Shani in the square. The openings are used more as elements to create a visual composition around the inner courtyard walls. For instance, the openings at the Budh Mahal are painted white according to the emotion. These

Fig 4.38 Opening at the Amer Fort using a similar geometry depicts the literal imitation of the element

appear floating on the walls without achieving its actual function as a jaali.

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Material and Technique There are various types of natural material, indigenous to the region and construction techniques adapted at the Kendra to evoke regional character. The walls form most of the vertical planes at the cultural centre. The nine planets or squares of 30x30 meters

are disaggregated with 8

meter high red sandstone walls. The walls exhibit a high response to regionalism using various means of surface application, color and materials. The roofs are flat slab, dome or paragola. Flat or dome slabs are constructed out of concrete, while paragola are prepared using PVC pipes. The stone that has been used for floor and walls is used keeping in mind the heat it will absorb and reflect. ROOF AS REGIONAL CONNOTATION

Fig 4.39 PVC Pipe Paragola has been used to provide a mild shade, while allowing air and light to freely pass through the open to sky courtyard.

FLOOR AS REGIONAL CONNOTATION

Fig 4.40 Flooring pattern created using yellow sandstone and marble in the Mangal Mahal, both materials indigenous to the region and strips use an inlay technique, predominantly practiced in the traditional flooring systems

4.2 Jawahar Kala Kendra, Jaipur

The flooring system and walls particularly play a large role in this. Earthy materials and colour have been used to keep the spaces ambient and thermally comfortable.

Fig 4.41 The terrace of the building is covered in china mosaic to provide thermal insulation to the roof. This technique has been commonly used in the traditional houses of the region to insulate in the hot climate

The imaginary planet Rahu, symbolizes the solar eclipse. Hence the white and black interlocking circles- and in the centre: The axis of the universe. The intersection of these forms or blocks is determined by the change in flooring material.

Fig 4.42 The two circles depict Rahu as the solar eclipse and black marble flooring determines the intersection

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Fig 4.43 Use of natural stone, locally available for paving in the outdoor open to sky

WALL AS REGIONAL CONNOTATION

Fig 4.44 External Walls of the building and internal wall of the facade use red sandstone as a regional manifestation to the contemporary expression; Steps of the courtyard use the same stone

4.2 Jawahar Kala Kendra, Jaipur

Surface Application A lot of attention has been paid to the surface applications at JKK. The elements like walls and ceilings are employed with paintings, murals and inlay work in response to the regional art and crafts of Jaipur. Aesthetics plays a major role for the element in conveying the stories it is meaning to tell by the spaces. WALLS AS REGIONAL CONNOTATION â&#x20AC;&#x153;Exterior walls of each planet are covered in red sandstone but the interiors are painted in the auspicious colors, emotions, and mythic imagery traditionally associated with that planet.â&#x20AC;? (Frampton & Correa, Charles Correa, 1996, pp. 220) All the external walls and the walls surrounding the central kund are cladded in Red Agra Sandstone. All the walls are topped with a coping of beige Dholpur stone. The same materials have been used in the Observatory of Jantar Mantar, the Red Fort of Delhi and Fatehpur Sikri of Agra. This use of material evokes an association with the region on a deeper level.

Inlay work Stone inlay work goes back to Sheesh Mahal in India, and seen heavily in the Shekhawati havelis belonging to the rich merchants of Jaipur. The inlay craft is used at Kendra in a highly abstracted form, using stone.

Fig 4.45 The 8 meter high external facade of the building inlaid with symbols of Ketu, Shani and Rahu in white marble

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The motifs are replaced with the planetary symbols using black granite, mica slate and white marble, with intricate detailing utilizing local craftsmanship The symbol of each planet is inlaid on the exterior walls as an expression. The inlay or embellishment(where ever necessary) is done using white marble with black granite and mica slate. The precision of these inlaid symbols is recalling again the precisely calibrated surfaces of astronomical instruments at Jantar Mantar observatory (fig x.x)

Fig 4.46 Rahu, the imaginary planet which represents the eclipse of the Sun depicting quite literally, the Sun being devoured by the moon.

Fig 4.47 A drawing of Rahu symbol with precise measurements for the inlay

The interior walls correspond to the character of that planet. For instance, the walls of Mangal Mahal which represents Jupiter, are painted in red to show the power as the quality of the planet, for the director and his administrative offices.

4.2 Jawahar Kala Kendra, Jaipur

Fig 4.48 The use planetary symbols, the stepped wall profile create an expression unique to Jawahar Kala Kendra

Painting and Mural The Mangal Mahal being the entry of the centre, the walls of this space explain Navagraha using various walls as murals. The paintings are from Vedic Shashtras of the Hindu culture, and painted by the traditional local Rajasthani artists.

Fig 4.49 Krishna is Ketu, painted by the traditional local artists of Rajasthan

Fig 4.50 Wall paintings of Hindu mythology against the white backdrop in the Chandra square which is the cafeteria

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Fig 4.51 The mural painted on one of the walls of the courtyard is lit naturally against the white backdrop of Chandra Mahal

Fig 4.52 Study for placing Tantrik drawing

Fig 4.53 The external walls of Budh Mahal are painted in motifs and proportioning systems nostalgic to the traditional Shekhawati Havelis of Rajasthan. The division in 3 parts and bottom band running across, is seen very commonly in almost every built forms of Jaipur. While the level of detailing cannot be replicated, the motifs and proportioning systems of the wall are nostalgic to the Shekhawati Haveli.

4.2 Jawahar Kala Kendra, Jaipur

CEILING AS REGIONAL CONNOTATION The internal surface of Dome at Mangal Mahal is a Jain cosmograph depicting the rivers, mountains, animals and vegetation of the manifest world around us. Since the dome is at the entrance of the centre, it explains the navagraha through the walls and ceilings of the square.

Fig 4.54 Interior surface o f the dome at Mangal Mahal explaining the Jain Cosmograph

Fig 4.55 Bottom of the ceiling of Mangal Mahal is painted at th entrance that depicts the Navagraha as a layout and the associated planets

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4.3 Pearl Academy of Fashion, Jaipur

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Introduction “Architectural gems can be discovered in the most unlikely places. On a normal day on the national highway from New Delhi, one would zip past the Kukas industrial area, which lies about 20 kilometers before the famous walled city of Jaipur. Even the imposing Kukas – a kitschy rendition of Rajasthani classicism – does little to inspire confidence that there is worthwhile architecture nearby. But one is suitably rewarded if driven inside by curiosity or tipped off by an informer. In an expanse of nondescript factories and institutional buildings – a strange mix by any standard – one finds a building that is enigmatically beautiful, a simply symmetrical cuboid, its dappled facade breaking the harsh sun and its whiteness reflecting like marble. In a time when most buildings tend to be self–conscious elaborations of affected intent, the Pearl Academy of Fashion employs an unusual economy of means to restore the gravitas and monumentality befitting an educational institution.” -Shah, J. (2009, April). Domus Italy.

Fig 4.56 Pearl Academy against the Classical Rajasthani backdrop

The rapid development of the urban environment of Jaipur today has left the city with generic modernism and universalist projects. It seems that the sudden development and increment in wealth has destroyed the rich historic architecture and cultural values. The city has witnessed

4.3 Pearl Academy of Fashion, Jaipur

various social and cultural vernacular traditions of the Rajput, Mughal and others. The globalization has led the traditional vernacular practices to danger. The design of Pearl academy was commissioned to Morphogenesis with a need for a progressive campus keeping Fig 4.57 Emerging skyline of Jaipur’s architecture, asympathetic to it’s context

in mind the contemporary needs of new generation of users, while bearing the traditional spirit of place. The

design

the

Academy

has

burrowed roots from the traditional Indian Architecture and Architecture of Jaipur city with interpretations from the regional, ie Rajasthani classicism and Mughal remnants. Fig 4.58 Hawa Mahal of Jaipur using passive cooling strategy

The design idea remained creating low-cost,

environmentally

sensitive,

responding to the local elements of historic context of the city. The traditional Indo-Islamic architectural elements were reinterpreted according to the modern needs, while using traditional passive cooling design strategies. Fig 4.58 Traditional architecture indigenous to the Rajasthan region

Pearl Academy of Fashion is a highly reputed and ranked design institute in the nation. The institute is located in a hot,arid and dry desert

type

climate

on the northern outskirts of Jaipur in the soulless Kukas industrial area, 20 kilometers from the famous walled city. The neighborhood comprises of many other Education Institutes and Hotels, along with the Industries. Discussing Fig 4.59 Location of the Academy in the Kukas industrial area

the situation of Jaipur city’s resources Michael Webb describes “In the desert

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140 04 Case Study state of Rajasthan, summer temperatures can climb to 47Â°C, and the shortage of water has been exacerbated by the exponential growth of Jaipur, which now sprawls 25 km out from the historic core and has a population of five million.â&#x20AC;? (Morphogenesis. Institutional, 2013, p. 6) The city of Jaipur has embedded in itself, the rich layers of culture and tradition inherited by the Rajput, Mughal and others. The city has various vernacular traditions prevalent over hundreds of years of trial and error. There was an urge to design a progressive design institute which responded to the needs of contemporary social culture and the younger generation. While it responded to the contemporary needs, it urged to look back at the rich traditions of the local which could become an inspiration for the modern day design students. Certain cost effective design solutions were governed by the budgetary constraints provided by the client, yet achieved desired functionality and results. Various micro climate strategies were used, to reduce the dependence on mechanical environmental control measures. (Morphogenesis. Institutional, 2013, p. 6) The traditional Indian elements like the open courtyard, water body, step-well or baoli and jali or fretted screen were borrowed from their typical ancient usage but reinterpreted themselves through the built form such that these elements become inclusive of the contemporary lifestyle. â&#x20AC;&#x153;Some of the historical references used from Indian architecture for jaali,

Fig 4.60 Fretted Screens as the elevation strategy

4.3 Pearl Academy of Fashion, Jaipur

step well, courtyard, heat sink & pavilion are Jal mahal, Hawa Mahal, Panna Mian ki Baoli in Amer Fort, Ganesh Pol in first courtyard of Amer fort, Baradhari Pavilion in Amer Fort.” (Bansal & Rastogi, 2012) These Fig 4.61 Interaction of natural elements at the Jal Mahal

traditional

elements

aid

negotiating the large differential between the internal and external temperatures. These modern adaptations from the architectural legacy of Rajasthan’s past create an environmentally and culturally suitable approach that finds its place in the historic continuum of the critically region architecture of this desert region. “Pearl Academy is an attempt to

Fig 4.62 Panna Mian ki Baoli at Amer Fort influencing the heat sink strategy

develop an ‘architecture of somewhere’ at a time when there is a paradigm shift in architecture towards a landscape sprinkled with identity-less models of ‘generic modernism’.” (Morphogenesis: The Indian Perspective. The Global Context., 2017, p. 23)

Fig 4.63 Baradhari Pavilion at Amer Fort influencing courtyard architecture

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The architecture is at the conflux of contemporary interpretations of the traditional regional elements of Rajasthan. The architectural elements like self shading courtyards, water bodies, jaalis and other systems are revisited and reinterpreted according to the contemporary needs of the program. The inspiration from regional can be considered liberal and avoids mimic or literal translation. While it can be said that the institute borrowed regional traditional elements, there can also be seen certain influences of universal architecture in various aspects of the design. A deeper evaluation of these aspects can further enhance the understanding towards the theory of Critical Regionalism in application.

Fig 4.64 Approach to the Institute from the main street parallel to the building

4.3 Pearl Academy of Fashion, Jaipur

Program The Pearl Academy of Fashion, in 2006 commissioned the work of designing the academy in the Industrial area outside Jaipur, Rajasthan to the Delhi based Architecture and Urban Planning firm, Morphogenesis. With 20,000 sq m of floor area above the ground, the construction of the building was completed in 2008. The academy is located in the hotarid dry climate of Rajasthan and houses about 700 users including the students and faculties. The building is 3 stories in height, 21m with the lower ground floor sunken under the ground. The program includes few classrooms, 24 studios, offices, library and auditorium as primary functions. The spatial elements are reinterpreted that the institute creates interactive spaces for a creative group of student occupants to work in various multi-functional zones that harmoniously blend the interior spaces with the exteriors seamlessly.

Fig 4.65 Corridor spaces overlooking the underbelly

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Siting and Location The Academy sits in the middle of an unloved industrial area Kukas, which explains the reason for its introvert character. With an 8 storey hotel with recreated traditional architecture sitting next to the academy, the site response it passive towards the context. The siting and orientation of the Pearl academy are quite banal. The built form is set inside a rectangular plot by a low compound wall defining its premises. This boundary sets the perimeter of the academy in a slightly rigid manner. Looking at the planning of houses and buildings in the region of Jaipur, it can observed that there is a certain organic character associated with the siting. The organic nature of the havelis interacts with the surrounding in a harmony. In case of Pearl Academy, the boundary of site almost cuts the building off with the surrounding area, isolating it like a floating island. The setbacks take care of the parking and landscaping around the built form. The lower courtyard is directly accessible from the exterior walkways around the building. “This building takes an optimized rectangular form derived from Jaipur’s traditional building morphology, which is typically high density, opaque exteriors with more fluid interiors” (Morphogenesis: The Indian Perspective. The Global Context., 2017, p. 23) While there can be seen cues

Fig 4.66 Pearl Academy situated in an industrial area resorts to introverted planning with the building block parallel to the main street

4.3 Pearl Academy of Fashion, Jaipur

of the overall rectangular form of the building from the traditional architecture, The response to the surrounding seems to be very introverted for a campus building catering to the social needs of a large student body. There is a very strong contrast between the outer cubiodal form layered with

Fig 4.67 The contemporary aesthetic of academy against the traditional stylized haveli depicts it’s critic on submission to the regional imagery

Jaali and the Interior fluid, dynamic form around the courtyard. These two very different imageries are unannounced and come as a surprise upon entering inside the building. “Despite its compact, rectilinear external form, Pearl’s internal courtyard shapes provide a sense of the perpetual, infinite – a continuous and fluid space with no end; like a Mobius strip.” (Morphogenesis: The Indian Perspective.

Internal road

Fig 4.68 Free flowing form of spaces in the interiors of the built form

The Global Context., 2017, p. 23)

Entry

Main Entry

Main road

Fig 4.69 The building sits in a regular rectangle inside the compound walled plot showing passive site-built form relationship

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Form and Massing A rectangular volume has been formulated to provide minimize the area of exposure to the exterior, due to the industrial site context and impact of form optimization over the building. A volume of mass has been scooped out to form an underbelly on lower ground floor, creating a natural thermal sink which is cooled by water body with evaporative cooling method. This void keeps the area shaded and thermally comfortable, creating cross ventilation through multiple courtyards. MASS AS REGIONAL CONNOTATION â&#x20AC;&#x153;The haveli typology epitomizes the idea of the building as a device for environment control, where the solid-void balance is calibrated for maximum daylight penetration, minimum heat ingress and the accommodation of multiple functions. Hence, The Design response was an introverted building, given the setting which was largely industrial. A long low-lying two-floored perimeter block pushes the building envelope to the mandatory setbacks, optimizing the exposed surface area to volume ratio of the form and almost seems to float above the land.â&#x20AC;? (Bansal & Rastogi, 2012) The massing of the built form can be interpreted as two distinct blocks with separate long cubiodal volumes. A void, underbelly has been created by excavating 4 meters of land which raises the entire building. This makes the upper long block float, while it is rooted in the land. The raised 2 storeys of block house teaching activities like the classrooms, studios and offices on pilotis above this void. Floating blocks of mass

Fig 4.69 Longitudinal section: Solid blocks of mass appear floating when raised by pilotis in the sunken courtyard

4.3 Pearl Academy of Fashion, Jaipur

“The mass is broken into several courts creating alternative solids and voids which respond to solar geometry... The solids become studios and classrooms, whilst the voids are visual breaks that allow daylight and air through.”(Morphogenesis, 2013)

Void

Solid

Fig 4.70 Ground Floor Plan showing the distribution of teaching spaces as mass broken by the courtyards as voids

The minimal aesthetic has placed the focus on the students who inhabit the space and the activities that bring it to life. “The people-friendly intent is most evident on the lowest level, an excavated ground that steps down from all four sides of the buildings, a grotto-like space containing all the makings of desire: water, plants, food and people. Livening this multi functional and creativity-Inducing space is a gentle breeze that continually flows in all directions, generated by a temperature differential between inside and outside and the cross ventilating through Venturi effect. The traditional courtyards take on amorphous shapes within the regulated form of the cloister-like periphery. This curvilinear geometry is generated through a computerized shadow analysis that tracks the precise movement of the sun through the day and across the seasons.”(Bansal & Rastogi, 2012) The sensuously curved facade and corridor railings try to break free from the monotony the repetitive grid plan is offering. “Fashion is all about adding another dimension to the human body while respecting its shape and movement, and the Pearl Academy is an expression of that artistry.” (Morphogenesis, 2013)

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“Besides having become a very successful model for cost effective passive architecture in desert regions the design and facilities of the campus complement the ideology of the Pearl Academy of Fashion – a cutting edge design institute with a sustainable approach.” (Morphogenesis, 2013)

Fig 4.71 Model showing the optimized building mass floating over the sunken court

Fig 4.72 Using software to derive optimum geometry for the fluid forms

Fig 4.73 Shadow analysis using the software- Ecotect to optimize building envelope and determine the fluid shape of the internal blocks to suit solar geometry

4.3 Pearl Academy of Fashion, Jaipur

VOID AS REGIONAL CONNOTATION The lower ground floor of the building encompasses of multiple shaded courtyards, water bodies and green spaces. When the entire building is raised by 4 meters to form the lower ground floor, a scooped out underbelly forms a natural sink which is cooled by water bodies (fig 4.74). The elements of the volume in the underbelly are derived from the traditional baoli concept of Rajasthan. “The water body works on the basic principle of evaporative cooling and was designed on the format of the “baoli” (step well)” (Bansal & Rastogi, 2012). This traditional method employs earth sheltering, thermal banking and evaporative cooling to modulate surrounding temperatures.

Fig 4.74 Underbelly providing ambient temperatures by evaporative cooling technique of water body

Step wells resemble deeply depressed courtyards and are often enriched with stone carvings. They serve as neighborhood gathering places and accommodate the heavy monsoon rains after summer without flooding, while providing access to the water table during the months of drought. While the well serves a social purpose along with the climatic response, the inspiration for this can be seen in Sukh Mahal and Panna Miya ki Baoli at Amer Fort in Jaipur. Sukh Mahal was designed to draw fresh cool air from the water fountains in the front yard of the building so as to keep the temperature bearable in the summer. Panna Miya ki

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Baoli was used extensively for social gatherings and events along with fetching water. The underbelly is a micro climate generator, and the step well section cools the building from within and the air coming inside. It moderates ambient and comfortable temperatures with water, shade and vegetation on the lower ground floor. â&#x20AC;&#x153;Throughout the day, students spill out from classes, the library and cafeteria onto the walkways and down to the shady underbelly of the building. Dry winds are drawn into the underbelly due to the rise of hot air from the courtyard (fig 4.75). These winds get cooled as they travel over the water body. Cooler air is drawn into this space and steps lead down to a shallow pool of water recycled from the sewage treatment plant and augmented by rain,

Fig 4.75 Diagram showing evaporative cooling through air circulation diagram

which functions as a thermal sink. As temperature drops through the night, water dissipates the heat accumulated during the day. Even in summer, this protected courtyard is an inviting place to gather- for a performance, an exhibition, an alfresco lunch, or a casual encounter with friendsâ&#x20AC;? (Bansal & Rastogi, 2012). Since the underbelly is sunken by 4 meters below the street datum, the cool humidified air is contained within the volume ,as it is heavier than dry and warm air. This sunken space also provides privacy for inner sanctum where the students gather. (Fig 4.77)

4.3 Pearl Academy of Fashion, Jaipur

â&#x20AC;&#x153;Green spaces and water bodies are designed as per orientation to be in shaded areas in order to lower the water evaporation and aid evaporative cooling.â&#x20AC;? (CSE) An area of about 30% is covered with plants, while 4% is covered with water over the site (Bansal & Rastogi, 2012). A matrix of water and greenery creates a micro climate via evaporative cooling and transpiration that is substantially cooler than outside. (Fig 4.76) Hence, it can be seen that the phenomenon from traditional architecture of baoli is reinvented in the institution design according to itâ&#x20AC;&#x2122;s function, making it responsive to the climatic conditions of the region.

Fig 4.76 Cool air drawn into the volume through venturi effect and hot air rising above through the open to sky courtyard

Fig 4.77 The steps around the courtyard become social gathering spaces for students

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Movement and Organizational Structure CIRCULATION AS REGIONAL CONNOTATION The corridors are the circulation spaces for any Institution building just like the Academy. At many places, it can be observed that the passage is not in direct visual connection with the courtyard. This has left the corridors less exposed to direct sunlight and hence resulting in dark underexposed passages. Typically, the haveli architecture, indigenous to the region is directly exposed to the courtyard. It is also covered with Secondary Primary

First Floor

Ground Floor

Lower Ground Floor Fig 4.78 Circulation across the floors in a closed loop manner

4.3 Pearl Academy of Fashion, Jaipur

a jaali at many places to provide privacy, while filtering the light. The corridor or circulation spaces at such are well lit and visually connected to the other parts of the building. While, many parts of the corridor can be seen relying on the courtyard for air and light, This connection seems to be missing at certain places in the Pearl Academy. SPATIAL CONSTRUCT AS REGIONAL CONNOTATION The overall geometry and planning of the Academy can be seen resembling with the traditional haveli planning. This planning can also be seen at a much larger scale in the Amer Fort, with three courtyards planned within the larger rectangular fort and minor activities along the edges. â&#x20AC;&#x153;Learning was derived from the built heritage of Rajasthan, replete with havelis, inward-looking blocks with rooms along corridors and in enfilade, surrounding a single or multiple courtyards.â&#x20AC;? (Bansal & Rastogi, 2012) Fig 4.79 Green spaces contributing to the creation of micro climate and ambient temperatures inside the institute building

The spatial organization is distributed such that the primary activity, ie the classroom and studios are placed at the perimeter of the building, parallel to the length and width. The circulation areas or corridors are right next to the studios and across all the four edges. The vertical circulation across the three floors is through staircases placed at the centre of the edges of the building, creating an

Fig 4.80 Layout of the institute showing the spatial distribution

overall symmetry and ease for a building of institution typology. The secondary

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activities and services take place next to the staircases. The central solid areas are auditorium and library on the ground floor, whereas a studio and gymnasium on the second floor. These activities are connected to the corridors across the width, optimizing the overall movements within the building. The lower ground floor houses the cafeteria and other recreational activities, below and around the auditorium. PROGRAMMATIC DISTRIBUTION AS REGIONAL CONNOTATION On the ground and first floor, the internal courtyards are surrounded by classrooms, labs, and administration office, which are even further broken down to fluid curvilinear forms to house the flexible requirements of the studio. The lower ground floor volume provides functional spaces that operate in a passive environment, which eventually helped in excluding another built volume in the form of a floor without compromising on the program and spaces for required functions. A natural and provisional performance area is created,as the steps on the perimeter of the lower ground floor double up as seats. â&#x20AC;&#x153;The institute creates interactive spaces for a highly creative student body to work in multi functional zones that blend the indoors with the outdoors seamlessly. The underbelly is thermally banked on all sides serving a large student recreation and exhibition zone. It also houses the cafeteria and spill out area thus forming the anchor for the entire project. The ramp is multi functional as a runway during fashion shows.â&#x20AC;? (Bansal & Rastogi, 2012) These flexible and ad-hoc spaces can serve as an inspiration for a design institute. The configurations on the lower ground floor create almost semi open or open to sky spaces that liberate and make the built form breathable

4.3 Pearl Academy of Fashion, Jaipur

Longitudinal section across water body

10 11

10. Studio 11.Faculty room 8

1 9

6 1. Auditorium 6.Reception

7. Admin offices 8. Classroom 9. Library

3 1 2

1. Auditorium 2.Ramp Fig 4.81 Plans and Sections

3. Canteen 4. Shop 5. Exhibition area

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with the courtyards. The accessibility and connectivity of these multi functional spaces have seamlessly combined the functions of a physical space such that, it eliminates the need for separate circulation spaces. The programmatic arrangement of these spaces captivate on one space to cater to multiple functions. The grid layout of the institute allows the built form to grow in the vertical axis whenever required in the future. It is assumed that an additional floor will be built in the future to accommodate studentsâ&#x20AC;&#x2122; residences, thereby becoming a mixture of residence and workspace that will take the building even closer to the archetypal haveli. (Bansal & Rastogi, 2012) PROFILE BUILD UP AS REGIONAL CONNOTATION The exterior form of the building can be perceived as stepping inside across the section of facade. A similar section of the facade can we seen in the traditional Haveli architecture of Rajasthan. The form that steps inside at the bottom and outside at the top is in response to the climatic conditions of the region. As seen earlier, the haveli steps outside in order to cut down on the heat received by the facade. The lower levels remain cooler as a result of lesser exposure to direct sunlight by the steps protruding outside at higher levels.

Fig 4.82 Profile of Facade stepping outside on the above levels

4.3 Pearl Academy of Fashion, Jaipur

Elemental Assembly FURNITURE AS REGIONAL CONNOTATION There are few elements at the spatial scale which can see a resemble with the regional crafts. Like the Element displaying student works placed in the semi open corridor space, which appears to be folding like a partition screen. It is anchored at both ends, the floor and ceiling, but the form is reminiscence of Fig 4.83 Storytelling toy ‘Kavad’ displaying arts and local crafts of the region

the craft Kavad. Kavad is a miniature abstraction

shrine

that

contains

miniature paintings telling a story. “The Kavad looks like a box with a number of

doors,

with

colorful

illustrations

decorating them. As each door opens, a new chapter in the story unfolds. The stories are from the epics like Ramayana and Mahabharata as well as local folk tales about semi-divine heroes.” (Gatha, Fig 4.84 Display unit at the institute displaying students artworks

2010). What needs to be understood from this is that the regional expression is manifested in even smaller scale at the Academy.

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JAALI AS REGIONAL CONNOTATION The jaali (latticed or fretted screen) is a traditional method of fenestration for building facades. This architectural element is clad as a double skin wrapping both the stories along the perimeter of the teaching block, acting as a thermal buffer between the building and its surrounding. It is one of the most indigenous element of Rajasthani architecture that has been interpreted in the Pearl Academy. The screen has various attributes attached to it like cutting down the solar heat gain, without compromising on the air flow or sunlight penetration. The two detached horizontal planes are created using the rectangular perforated planes which create a buffer space. This space helps in protecting the outer walls, while functionally acting as a service corridor that supplies the horizontal pipes, cables and ducts around the building. Each individual plane is assembled using an irregular checkerboard of perforated panels that are attached to a metal frame. The plane is set out by 4 feet away from the inner wall and windows. “The space between jaali and wall acts as a thermal barrier and drip channels running along the inner face of the screen allow for passive downdraft evaporative cooling. That can reduce the interior temperature by as much as 20°C with a minimal use of air conditioning.” (Morphogenesis, 2013)

Fig 4.85- Front facade of the Institute covered in Jaali

4.3 Pearl Academy of Fashion, Jaipur

For these multiple reasons, the articulated facade of the building can be considered regional for cutting the direct sunlight and diffusing the harsh daylight, while it can be seen as contemporary in it’s material and expression. The screen can be analyzed for it’s association with the region, using various attributes associated with it. While Light and Air are the climatic attributes, Privacy is the social attribute, while the expression is the aesthetic components of the analysis. These three parameters help in understanding the influence of regional on the element. PERFORMATIVE ASPECT

Light The jaali makes use of the traditional concept of bringing daylight into the building. It soften the incoming sunlight, which is usually harsh in the region. So as a solution to moderate this extreme light condition, the double skin acts as a thermal buffer between the built form and the context. These skins eventually reduce the direct heat gain through the tiny apertures in the jaali which still diffuse the natural light.

“The porosity of the jaali panels varies with orientation of facade; the greater the solar exposure the more opaque it comes, Fig 4.86- Buffer space cutting sun and allowing air flow, also acts as the service corridor

the variances was made with Ecotect .” (Bansal & Rastogi, 2012)

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When compared with the traditional phenomenon, it can be seen that there was no buffer space between the interior space and the facade. The creation of this new space impacts significantly in controlling the thermal buffer. It can be inferred that the light is much more diffused and softer when it eventually enters the teaching area, due to the double skins. The impact on the interior space can be evaluated by the absence of artificial lights during the day. Also, the use of advanced design tools like Ecotect signifies the contemporary approach to the traditional elements.

Air The jaali plays an important role in letting the outside air inside. There are various phenomenons associated with the design of traditional Jaalis of Rajasthan, as seen in the last chapter. â&#x20AC;&#x153;The best example of intricate Rajasthani carved Jaalis is Hawa Mahal in Jaipur with 953 small Jharokhas or covered windows. This 16th century carved jaali would catch the breeze using principles found in modern airconditioning, offering both security and circulation. Two laws of physics turn jaali into air-conditioners: the principles of Venturi and Bernoulli.â&#x20AC;? (Shome, 2015, p. 16)

Outside Buffer zone External Jaali facade exposed to the sun, blocks direct sun and controls heat gain

Inside

Glazing on the inside layer transmits diffused light Semi open corridor acting as transmission to open courtyard

Fig 4.87- Air Circulation diagram for the Academy facade in section

4.3 Pearl Academy of Fashion, Jaipur

The Jaali at Pearl Academy follows a similar principle to bring in the air. “The wall section is inspired by the Hawa Mahal, an 18th century building with a tapered block with finely screened windows that provide shade and admit cool air.” (Bansal & Rastogi, 2012) .But the form of perforation is such that it is unable to produce the venturi effect (fig 4.88). The cross section of the jaali is constant and different from that of Hawa Mahal (fig 4.89). This does not create as much breeze as the typical regional jali. Outside

Also, the internal openings are glazed, which again restrict the flow of direct air

Inside Fig 4.88- The Jaali at Pearl Academy showing absence of venturi effect due to parallel cross section of perforations in the concrete panel

inside the building (fig 4.87).

Privacy The double skin facade of the Institute takes

Outside

liberal

inspiration

from

the

autochthonous architecture of the region. The element Jaali is a rooted into the

Inside Air flow

Fig 4.89- The cross section of the Hawa Mahal jaali producing the venturi effect

architectural vocabulary and reflected the social life of the Rajasthan. “One of the finest of Jaipur’s 18thcentury buildings is the Hawa Mahal, a tapered block with finely screened windows that provide shade and admit cool air. However, the primary purpose of these grilles was to allow women of the court to observe life in the street without exposing themselves to view.”

(Pearl Academy of Fashion

Jaipur - Architecture & Design Case Study, 2019) This function of privacy seems to be non essential for the Academy of Institutional scale. It does not require the privacy in the

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teaching areas and classrooms. So the quality is addressed by the used of clear glass windows, providing more visual connection with the exteriors. Hence, there can be seen a critical response to the regional qualities according to the contemporary needs of the building.

Expression The expression of the jaali is that of a rectangular grid with modules of varying density. Circles are carved together into a rectangle to from one module. The expression can be seen as an abstraction of the traditional jaali motifs. The motifs used in the Shekhawati traditional havelis of Rajasthan are filigree with Mughal and other cultural influences. Very intricate lattices of Islamic or Hindu geometry are carved onto stone to create these jaalis. The density of the perforated outer skin has been

Fig 4.90- The irregular checkerboard pattern of module repeated in varying density to provide optimum protection from the sunlight

Fig 4.91, 4.92 - Different expressions of paneling used for the Jaali

4.3 Pearl Academy of Fashion, Jaipur

derived

using

shadow

analysis

based on orientation of the facades. (Morphogenesis: The Indian Perspective. The Global Context., 2017, p. 24) The Jaali achieves a contemporary form with the circular pattern, but loses the organic nature rooted in the filigree traditional jaalis. However, there can be seen certain variations in this element in terms of it’s expression (fig 4.91,4.92). The variation in the geometry of the horizontal panel fails to create a unanimous visual language for fenestrations across the built form. FENESTRATION AS REGIONAL CONNOTATION The use of natural light is optimized in the library facade such that it utilizes maximum daylight while minimizing heat gain. The entire library is glazed- the North facing part has French windows since North light is considered best for reading as it does not cause much heat gain. The southern exposed part has shading louvers installed to reduce heat penetration (fig 4.93). The fenestrations are highly appropriate for the region like Jaipur where the summer temperatures rise very high. “90% of the gross space area relies on natural daylight.” (Bansal & Rastogi, 2012)Due to the courtyards, the singlyloaded corridors are naturally lit and ventilated while providing indirect light to the classrooms next to the corridors.

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Fig 4.93 Library facade has glazing on the north to provide reading light and louvers on the south to control heat gain

Fig 4.94 Response to the function of library and climate of the region Classroom

Courtyard

Corridor

Fig 4.95 Corridor receiving natural light and ventilation through courtyards, while providing indirect light inside the classrooms

4.3 Pearl Academy of Fashion, Jaipur

NICHES AS REGIONAL CONNOTATION It can be observed that the corridor walls make use of niches for display or as seating elements. The inference for these niches can be seen in traditional architecture, as seen in earlier, where the corridors served the purpose of seating or storage along the thick stone masonry Fig 4.96 The niches on corridor wall used as displays

walls of the haveli. These walls are usually about a feet and half thick in stone. Here, a similar thickness has been achieved by manipulating the planes.

Manipulation of Wall to achieve thickness for the niches on the outside

Courtyard

Fig 4.97, 4.98 Part plan showing the folding walls being used as niches for sitting and storage on the corridor walls

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Material and technique The material palette used for the construction of the Institute include the natural and locally sourced materials. â&#x20AC;&#x153;The materials used for construction are a mix of local stone, steel, glass, and concrete keeping in mind the climatic needs of the region while retaining the progressive design intent.â&#x20AC;? (Bansal & Rastogi, 2012). No materials are from more than 300km distance to the site. Concrete for the Walls, Pilotis, Slab and Aluminum for window frames comes from with the city limits of Jaipur. While the traditional jaalis were usually carved out of sandstone, the newly interpreted jaali takes shape using concrete and metal. Additive process of manufacturing is used instead of the traditional carving that is subtractive process. The construction also deploys some local craftsmanship for casting of concrete jaalis on site. The matkas or earthen pots used for insulated slab construction are sourced from the local markets of Jaipur.

Concrete Jaali casted on site by local craftsmen 30km Aluminum, Concrete, Matka from Jaipur

300km Kota stone, Granite, slate quarried from within Rajasthan

Fig 4.99 Locally sourced materials used for construction make the institute regionally responsive to the climatic needs

4.3 Pearl Academy of Fashion, Jaipur

FLOOR AS A REGIONAL CONNOTATION Kota Stone, Granite and Slate are quarried from within the state. These local stones and mosaic tiles in the checker pattern of pavement inside the courtyard enhance the contrast of the extensively glazed concrete-frame building. Kotastone

Slate

Granite

Fig 4.100 The natural stones used for flooring materials are sourced in Rajasthan, reflect the progressive design intent aesthetically, while bringing down the cost of construction

FRAME STRUCTURE AS A REGIONAL CONNOTATION The entire building is structured in a 9m grid, single bay of corridors and classrooms, naturally lit and cross-ventilated by the courtyards in the centre. The configuration of this

Fig 4.101 The 9M x 9M structure grid of columns on the perimeter of the building accommodates the classrooms and studio, while the column grid for the free form solids emerges out of the geometry for optimum evaporative cooling effect

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grid provides with day lighting, ventilation and along with a flexible system of partitioning for the years to come. The floor plate is less than 9 meters wide at all points for the courtyard plan. Also, the grid is divided such that at all points an occupant is less than 4.5 meters away from a window or opening. The beam column structure is constructed in concrete, as one of the contemporary materials of the time. The postbeam geometry of frame structure is followed by the material of construction as well as the result of need for scale of an institution typology. ROOF AS REGIONAL CONNOTATION

Fig 4.102 Filling the sunk slab below the corridor with matkas to insulate the edge of slab, using traditional insulation technique of the region Finished Floor Welded wire mesh Concrete Matka filling for air insulation Brick bat Fig 4.103 Cross section of sunk slab filled with inverted Matkas for air insulation, deflecting the direct heat over the edge of slab

4.3 Pearl Academy of Fashion, Jaipur

To cut down heat absorption, traditionally inspired

low-cost

method

for

roof

insulation had been adopted at the institute. This technique is traditionally used to deflect the heat in extreme climatic conditions. Matkas or Earthen pots are traditionally handmade mud vessels used for storing water. These matkas have been sourced from the local Fig 4.104 Hundreds of earthen pots being sourced locally from the city market

markets in Jaipur city. â&#x20AC;&#x153;Hundreds of 35cm wide matkas were placed 2.5 cm apart, the gap was filled with sand and broken bricks, and then cast over with binding layer of concrete. The sandwich of trapped air is applied to horizontal surfaces that are exposed to the sun, becoming a barrier that limits solar heat transmission. The fill and the air within the mutkas provide insulation.

Fig 4.105 Preparation for placing the pots over the slab, on site

Matkaâ&#x20AC;&#x2122;s (earthen pots) were inverted and placed along the terrace creating an air cavity that thermally insulates the roof.â&#x20AC;? (Bansal & Rastogi, 2012) The pots have been placed over the sunk slab of Corridor spaces, on the outermost edge, receiving maximum direct sunlight and heat. Rest of the slab, below the classroom has not received this insulation treatment.

Although

the

technique

benefits in reducing the heat gain, it is Fig 4.106 Actual placement of inverted pots on the slab to air cavity, insulating the room

not used in the entire slab area, like the traditional technique over the roof.

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Surface Application COLOUR AS REGIONAL CONNOTATION “The exterior is painted orange to set off the jaalis, but the interior surfaces are white, to reduce heat absorption and create a cool backdrop for the bustle of activity and the brilliant colors of women’s saris.” (Pearl Academy of Fashion Jaipur - Architecture & Design Case Study, 2019)

Fig 4.107 Smaller patch walls of warm orange colour creating a backdrop for the highly busy activities

The Jaali has been colored white to reflect the sunlight and create a contrast with the orange wall in background. The warm colour palette is seen at many places across the building.

Fig 4.108, 4.109 - Contemporary Aesthetic palette created by the Jaali envelope with orange colour as the backdrop

4.3 Pearl Academy of Fashion, Jaipur

Most of the walls of the institute are painted white, to reflect the heat received by the surfaces. It is only one wall on the lower ground floor that is painted with circle as a motif and colored in warm colors with a triangular pattern. This application of paint is a contemporary way of finishing, while the region has various traditional methods of surface application that have evolved by the local craftsmen and resources.

Fig 4.110 The canteen wall painted with circular geometry in warm color

171

Summing Up 5.1 Comparative Analysis 5.2 Conclusion 5.3 Endnote

5.3.1 Way Forward to Interiors

5.3.2 Post- Covid 19

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05 Summing Up

Comparative Analysis Both, Pearl Academy and Jawahar Kala Kendra try to avoid a nostalgic and sentimental return to the traditional. The use of interpretive elements from the traditional suit the time, program and context in effort towards a regionally responsive Indian architecture. Pearl Academy shows climatic concern at the root of itâ&#x20AC;&#x2122;s design, purely by drawing ideas for micro-climate development from the traditional regional architecture of Baoli, Jaali and courtyards for the hot and dry climatic region. JKK draws from the mythical values or Vedic shashtra for cultural transmission of the region. The comparison seems unreasonable here, as one building offers more concrete lessons of contextual reference in terms of form and climate, while other in terms of organization and materiality. However, both take lessons from the traditional architecture for incorporating climatic design features. Both buildings show the dialectic of culture versus nature with appropriate response to the local light, climate and materials. Pearl takes an approach of a shaded retreat as a response to the hot and dry climate, compared to the open spiritual quality found in the Kendra. Since the building was completed in 2008 when most of the buildings were heavily influenced by International Style, Pearl Academy shows a concern and quest towards form and style. Hence, To come up with a restrained and sensitive solution at that time can be considered commendable. While, JKK was completed in 1991 when there was already a wave of regionalism resurgence in the country. Because Correa had already seen the efforts of modern movement first hand, he was barely tempted to follow the western ideas in India. This is understood when he rejects the idea of making a monumental statement for JKK. Pearl Academy building has used a certain kit of parts in the form of spatial elements as an appropriate climate response.

5.1

5.1 Comparative Analysis

SITING AND LOCATION The

topography

offer a

much

major

both

terms

topographic

the

buildings

undulations.

intervention

does At

not

pearl,

made

excavating a floor for the creation of micro-climate. As a climatic response at JKK, the idea of creating multiple courts among the square modules is used. This helps in creating a micro-climate inside the building.

Fig 5.1- Jawahar Kala Kendra locating itself in an insignificant surrounding context of late 1980â&#x20AC;&#x2122;s with approach from the parallel main road.

Fig 5.2- Pearl Academy situated in an industrial area resorts to introverted planning with the building block parallel to the main street

Both the institutes are rationally oriented parallel to their main streets. While the approach for Pearl Academy is from the centre of the building, the access to Kendra is from a corner of the building, created in response to the city planning of Jaipur. At the time of construction in late 1980â&#x20AC;&#x2122;s, Kendra was located in an open field with insignificant surrounding context. In response to this, the surrounding

175

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05 Summing Up

views were excluded and the building created an introverted planning. A similar approach to introverted planning is seen at Pearl Academy, owing to the soulless industrial context. This shows how both the institutes respond to the siting and location through topography, access, orientation and planning. FORM AND MASSING The facades of JKK and Pearl, both do not reveal much about the interiors, with an introverted planning and rely on sequential unfolding of spaces. The building of Kendra, centered around the main courtyard could be seen as the major portion; the other addenda have smaller courts. The feeling of boundaries is strengthened by the 8 meter high walls in the structures and centering them with courtyards. The high fortified walls resemble the walled

Fig 5.3- Nine disaggregated blocks of volume separated by 8 meter high walls, resonating with the fortification of the walled city-Jaipur

5.1 Comparative Analysis

city, strengthening the feeling of enclosure of the site even when the actual boundaries of the plot are set away from the building. At JKK, in terms of employment of formal elements of design, there is a stronger layering of space because of the plinths, steps acting as amphitheater. Because of strong massing and enveloping walls, the building has a strong protective character.

Floating blocks of mass

Fig 5.4- Thermal heat sink massing strategy adopted by Pearl Academy where the block of mass appear floating on being raised by pilotis

At Pearl Academy, the ground and first floor of the building are raised by excavating the lower ground, making the mass on top appear to float. The sunken courtyards dominate the larger volume, with fewer spaces open to sky and lack of boundaries around the lower ground floor, the protective layer is missing. Pearl offers a simple rhythm and tries not to be distracting and asking too much attention from the user. While JKK employs a domical ceiling near the entrance, and geometrical centre of the square, appearing as a strong element for relating the building profile to the sky. The central courtyard at Kendra contributes to the major void formation. While the central courtyard or Suryakund at JKK does not confirm the climate by itâ&#x20AC;&#x2122;s proportion, it might have associational value with the traditional architecture. Hence, although the scale and proportions of the Suryakund at Jawahar Kala Kendra do not respond significantly to the climatic conditions of the building, it certainly does respond to the social and contemporary functional needs by providing an interactive environment through stepped plinth analogous to the traditional kund of the region. Therefore as an external cultural place in a non-harsh climatic condition,

177

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Fig5.6- The horizontality of the courtyard at Kendra, performing the cultural associations with traditional kund

Fig 5.7- The courtyards at Pearl Academy confirm the verticality as a climatic phenomenon borrowed from the regional architecture

it does behave as an outdoor community space or an amphitheater. Meanwhile, the courtyards at Pearl Academy are vertically suited for climate as well as the programmatic need for the community space in assertion with the cultural associations of the traditional architecture of the kund and courtyard. At Kendra, the stepping sectional form of semi covered spaces at entrances are referring to the typical setback entrances of Rajasthani Shekhawati havelis. Thus, at the level of form and massing, both the institutes adhere to the regional characteristics with various responses.

Fig 5.8- The sectional stepped profile of typical regional haveli in response to the climate

Fig 5.9- The overhanging stepped profile of typical regional haveli

5.1 Comparative Analysis

MOVEMENT AND ORGANIZATIONAL STRUCTURE One approaches the Kendra from a dusty, busy traffic road of the city and is taken into the entrance courtyard surrounded by walls on three sides after passing the arch-like gateway. The building is organized, offers a range of choices in terms of the path one can choose to experience the building. The meandering route analogous to a typical village layout helps unravel the varied hierarchical spatial sequences throughout the complex. One goes from the noisy road to the structured varied spaces in the centre to the meandering path leading to the central courtyard. Secondary Primary

Fig 5.10- The journey through the spaces and its celestial divisions encompass of a variety of spatial densities that allow the visitor to take a meandering path inside the highly structured built environment, breaking free from the grid monotony

Correa uses disaggregated architectural form as an articulated response to the modular units for making bounded domains, centers and sub-centers and paths in the design for JKK, hence transforming it into a place instead of a space. This is one of the key aspects for any critically regional built form, as discussed earlier by Noberg Schulz in the phenomenon of Place. This kind of planning is emulation of the Jaipur city plan, where the City palace creates a centre

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and the chaupars create sub-centers of the haveli. JKK has Central courtyards or voids in each square, where the City of Jaipur has chaupars or open cross roads as sub centers. The main theme in JKK is the grouping of cosmic modules in an orthogonal grid but yet in a casual, meandering pattern so as to create place patterns analogous to one's found in the City of Jaipur, and evenly broadly in the region of Rajasthan. In the Pearl Academy, the courtyards attempt to serve as a system of centers and sub-centers tightly integrated within the structure. The larger volume is punctured from within to merge with the landscape. The landscape and communal activities are wedged inside the building. The plinths around kund and courtyard are used for communal interactions. The stepped plinth forms a metaphorical domain and spaces seem to flow inside, towards the courtyard. The organization is quite linear, leading a visitor to see the entire building. The meandering quality seen in JKK seems to be missing at Pearl Academy. The programmatic distribution of spaces at Kendra is based on the association of each space with itâ&#x20AC;&#x2122;s planetâ&#x20AC;&#x2122;s characteristics. The rotated square for entrance eludes from the City plan of Jaipur. This invokes multiple layers of cultural influence along with space planning based on the Navagraha Mandala.

While, Pearl Academy seems

to set itâ&#x20AC;&#x2122;s base for space planning on the traditional planning of Haveli, with multiple courtyards and corridors arranged adjacent to them. The classrooms are placed analogous to rooms in parallel aisle manner, like in a haveli . Along with the physical movement, the air movement through the building, the acoustics, ambient temperatures and smell; all are important factors which affect the experience of a space and enrich the tactile expression. The organization of the multiple courtyards around the building at JKK helps to get the tactile elements like the wind, and the rain and the visual elements in the form of sky into the

5.1 Comparative Analysis

building. The building uses a combination of both plastered and exposed sandstone finishes and this varied materiality of the finishes reveals the play of visual and tactile dimension. The humanly scaled section and nature of openings also suggest strategies for enriching the tactile component in the building. The central courtyard has lawns, while the other smaller courtyards have vegetation in the form of flowering shrubs and trees in the Rahu court and Chandra court, which help in circulation of sweet and fragrant aroma around the building. At Pearl Academy, the breeze blowing from the street enhances the cooling of the underbelly, when it flows over the water stored in the Kund. The courtyards help to get the tactile essence of nature in the Kendra, in the form of a waft of falling rain, patterns of light and shadow, changes in humidity, acoustics with change in volumes and so forth. The building complex offers various sounds to muse over, like laughing of the group of students at the cafeteria or an artist playing guitar at the stepped courtyard and little girls decorating the courtyard with rangoli or attending workshops.

Fig 5.11- Movement of air within the courtyards that creates a heat sink, allowing the lower ground floor to act as a communal space

The building is laid back as to create a forecourt. The courtyards again bring in the elements of nature in the form of rain, light and shadow patterns of the jaali and humidity. The elements like the plinth,steps and platform invite students to sit and spill over during the breaks to interact and thus making the environment communal. The spill over canteen area, the shaded spaces below amphitheater and corridors provide

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areas for discussion or quiet moments of contemplation giving

student

shared

and

collective

experiences.

The difference in the nature of the program of the two buildings also has an effect on the experiential dimension. JKK being a cultural centre, is a public building and therefore offers a more public experience. The academy on the other hand, being an institutional building offers more semi-private and private experiences. ELEMENTAL ASSEMBLY While most of the walls at JKK are plain, few variations are seen at the gallery spaces. The protrusions at certain walls seem an imitative yet resisting response to the traditional architecture. Openings in the form of a combination of Jaali and Jharokha are deployed at the internal facades. The galleries by function repel the use of direct natural sunlight. Hence, here the jaalis are non- performative of their original function, unlike in the traditional architecture. But at same time the Jaali facade at Pearl Academy is used to reduce major heat gain by cutting down direct sunlight, and still allow air circulation inside the building, just like the traditional jaali of the region.

Outside Buffer zone External Jaali facade exposed to the sun, blocks direct sun and controls heat gain

Inside

Glazing on the inside layer transmits diffused light Semi open corridor acting as transmission to open courtyard

Fig 5.12- Air Circulation diagram for the Academy facade in section

5.1 Comparative Analysis

The floor platform and the steps around the central courtyard at Kendra have high cultural associations by acting as communal spaces. Similar connotation is seen at the plinths around the underbelly, forming an interactive zone by the contemporary function in a traditional manner of Kund. At both the buildings, a lot of landscape elements are used in the form of steps, plinths, seating spaces and green spaces as a response to the climate. At Pearl, added response to regional elements is seen as the display units at the niches in the corridor associating with the gokhlas of regional interiors. Also, the immovable display unit in the corridor resembles with the craft element of Kavad imposing another dimension of simile on the furniture scale.

Fig 5.13- Display unit at the institute displaying students artworks

The lower ground floor at Pearl Academy reveals the play of light and shadow. Play of light reveals the tectonic and textural quality of the construction. This can be seen in the detailing of flooring, the organization of circular columns and shade from the above levels. The play of light and shadow is beautifully demonstrated through pergolas at various spaces in the Kendra. Creating linear patterns with the overhead pergola, the tectonics are revealed in layers within the building.

183

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MATERIAL AND TECHNIQUE The use of materials can be understood rationally at Jawahar Kala Kendra. Kendra employs the local sandstone as cladding material for expression in response to regionalism. Pearl Academy does not resort to a literal imitation of traditional material for cladding as a local expression and uses concrete for structure as well as expression, owing to the modern technological developments and material of the time. However, the flooring at both the institutes still uses local materials inspite of being 20 years apart. At Pearl Academy, the use of few local, earthy and natural materials keep the built form associated to the local. The polished Kota stone flooring in the lower ground floor courtyard space, the cool breeze emanating from the Kund and passing over the flooring generates thermal ambiance inside the building. The shaded spaces near courtyard Kotastone

Slate

Granite

Fig 5.14, 15, 16,17 - The use of locally sourced materials for flooring and cladding, while reflect the progressive design intent aesthetically

5.1 Comparative Analysis

encompass of soft scape elements which create a coolhumid temperature and fragrance with the earth close to the water in kund. This composition of these natural materials enriches the tactility of the building naturally. The open courtyards expose the sky intermittently enhancing the visual component in the building. Thermal insulation is provided at the slabs by use of earthen pots. Most of the materials employed in the building are thermally conductive to cut the heat off in the hot and dry region. The mosaic tile flooring at Kendra, has psychological and symbolic connotations too. Walking over relatively cooler flooring, one is reminded of Nehruâ&#x20AC;&#x2122;s life and quest for a better nation. The complex has tactile presences in the form of varied flooring- the mosaic tiles, the sandstone paving, hard scape with earth and soft scape with grass and so on. SURFACE APPLICATION

The Kendra uses local techniques for surface application, especially the planetary symbols on the facade, using the inlay technique which was prevalent widely as a surface treatment in the traditional architecture of the region. The detailed drawings and execution of the inlay- work on facade symbols depicts the use of skilled craftsmanship, along with the art work on mural-walls. A spatial narrative is woven by the use of murals on walls and ceilings. These murals create the mythic environment by enveloping the spaces with cosmic diagrams. Also, Proportion system and motifs are borrowed from the Havelis. The murals and inlay work are executed by the local artists as a resource to build on Regionalism at another level. The symbolism is highly expressed in the walls as a reminder of the two dimensional plan concept into the third dimension. Whereas, at Pearl Academy not much of craftsmanship is employed and relies on contemporary expression. Thus, varying degree of responses to regionalism can be seen.

185

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Conclusion

5.2

WORLD THEORY After understanding and evaluating the theory of critical regionalism, it is understood that the theory encouraged an association to the culture, geography and local context, towards an architecture, sympathetic to the history and memory of its place. However, on critically analyzing the principles and theory of Critical regionalism, as suggested by various historians like Curtis, Frampton, Mumford, Ricoeur, Tzonis and Lefaivre certain questions remain unanswered. Critical Regionalism is always discussed as a method or process rather than a product. This process varies widely according to particular situations and hence it becomes difficult to define the theory beyond a point and eventually lacks in stylistic unity. Another ambiguity is the lack of definition of region or place. “Theoreticians speculate whether place is defined by its geography (topography, landscape, materials, light and climate) or perhaps by the culture of the local residents (their dwellings, urban scale, beliefs and professional skills).” (Shadar, 2010) Also, while discussing works of the archetypal models of the theory, Curtis and Frampton have often ignored or distorted the architecture’s primary content or character to fit it into the critical regionalist paradigm. Regardless of the theory’s incompetence with these questions, it still seeks answers to the question of how to become modern and continue the tradition, while trying to revive an old dormant civilization as a part of universal civilization (Ricoeur, 1965). Ambiguity in definition of Region Distortion in the primary Intent Lack of one framework

Interpretations and approaches with varying degree of response

Fig 5.18- Drawbacks of the theory and it’s impact on the approaches

5.2 Conclusion

APPLICATIONS IN INDIA On looking at the state of architecture post Independence, it found that the architecture was influenced by various aspects which gave rise to the critically regional approach in India. With many milestones of political, economic, cultural and social impacts, the application of theory of critical regionalism saw it’s formal application much later compared to other nations but at a similar time in other colonized countries. Although, the early sparks of critical regionalism were seen around 60’s with the use of technological advances in construction methods, it formally gained popularity in the 80’s with the state of emergency. There was resistance towards both, India’s own history and the foreign influences. On looking at the masterpieces from early PostIndependence, it can be seen that they were mostly state sponsored public buildings, like the universities, embassies, institutions, government or public housings. All of these were during a time when Nehru’s modern project was being challenged. It was during these times that a resistance to modern and support to the highly regional projects was offered by the nation. These building programs were not provided by the village or pre-colonial towns. The institutions were built and functioned with the local programming in the urban cities. So this leaves a question as to for whom was the regional identity being created ?

Fig 5.19- The complex relationship of urban and rural efforts

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During this time, when the conventional discourse of design remained occupied with consciously bracketing efforts into themes like ‘internationalist’ or ‘nationalist’ and ‘global’ or ‘regional’, either through development of glass boxes, hoardings and high rises or local festivals, use of vernacular and ancient building techniques. “The search for roots” and “looking ahead in time” were the very clear and binary positions architects were trying to take. This is when, the new category of Critical regionalism tried to mediate the impact by looking for contextual inspiration along with celebrating the progressive modern. However, a very different perspective to look at the entire debate of purely local versus global would be too abandon the reductive binary and focus on the multiplicity of simultaneously fluid identities in the nation. On broadly analyzing this architecture and identity, it can be seen how the multitudinous efforts were tactfully negotiating with the complex contemporary Indian cultural landscape. This also leads us to the query of how does one try to define Indian-ness in architecture. With the diverse cultural and geographical landscape, the regional responses are so unique, that it is difficult to identify the common characteristic that can define national architecture, even after decades of Independence. APPLIED REGIONALISM IN JAIPUR As discussed earlier, since the theoreticians have not been able to define ‘regional’, this results in speculating region for the case of Jaipur as well. The region could be limited to the geographical city limits or the Rajput Architecture or even the state of Rajasthan. This ambiguity is addressed vaguely in the study with the use of the word regional. At the Jawahar Kala Kendra, Charles Correa’s approach to critical regionalism can be defined in site planning principles,

climatic

consideration,

cultural

context,

5.2 Conclusion

appropriate use of local building materials and crafts. The project takes an attitude of mythological response to the region by using the syntax of city planning to even the smaller elements like jaali, jharokha and application of local crafts in an contemporary expression and function at Jawahar Kala Kendra. Also, the ancient diagrams of Navagraha and cosmic directions lead to planetary representation in the spatial make up. While the centre is claimed to be designed in response to the region, it is not very certain of its relationship with the building typology of a cultural centre. The Kendra was built for a completely new set of programs and sponsored by the state. Such a centre dedicated to promoting the arts and crafts of the region was never found in the traditional architecture of the region. Although the Naya Mahal was built in Jaipur for promoting the arts and crafts of the region at the ‘Jeypore Exhibition’ of 1883, it was designed by the British executive engineer Samuel Jacob in a Neo-Classical style. (Sachdev & Tillotson, 2002, p. 102) Hence this allowed the centre to create an entirely new identity with some associations of space planning from the city planning and Hindu mythology, with no associations from the typology for form or function. It instead manifests the Hindu Vedic Shashtra’s which are quite independent of its location and embedded in the Hindu culture of India, generally speaking. At Pearl Academy the response to critical regionalism can be defined in the climatic considerations and cultural context by the appropriate use of traditional building elements like courtyards, kund and jali for the contemporary functional needs of the users. The project takes an attitude to climatic response to the region by using the syntax of micro- climate responsive elements, material and techniques from the regional architecture. As the theory discussed earlier, it does not get nostalgic to the traditional expressions, but is instead sympathetic towards the phenomenons, using

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a contemporary material and expressions. However, the academy responds very mildly to the interiority of the building. The use of rich methods of surface application and crafts can be seen as a missed opportunity to come full circle with the regional response. Nonetheless, It portrays a fine balance between the contemporary and regional architecture at the core of Critical Regionalism. The academy deploys the courtyard for the use of better natural lighting, ventilation and thermal comfort. Along with this, it also creates a multipurpose space for social gatherings, as a cultural derivative from the traditional architecture. While the traditional Jaali could serve the purposes of light, ventilation and privacy at the same time, the modern materials like glass fail to do so. Jaalis can effectively replace glass for a transparent view and yet appear useful than glass by controlling glare and heat and also allowing movement of air. This shows the incompetence of the modern material over the traditional element and jaali can achieve the same with better aesthetics as well as better climate response performance with added privacy and security. Also, in the contemporary times, looking at the upsurge in demand for the ancient technique of Vastu Shashtra in designing buildings and their interiors, the inclination towards resurfacing the traditional seems highly evident. This clearly shows the ability of the ancient Indian techniques to absorb influences from the world, while retaining their own identity.

Fig 5.20- Comparing performance of Jali with the modern glass

5.2 Conclusion

Having analyzed all the different functions of the these traditional yet versatile elements it can be seen that the elements and techniques can be easily infused with our contemporary built forms. It can be interpreted from the two case studies that with the change in technology, the structure and expression had changed, however the ethos, construct of space making and elemental associations had remained intact in both cases with a varied degree of response. This shows how although with change in time and technology, material usage may change but the ethos or spatial construct of regional architecture may stay relevant for many more centuries. The regional spatial elements and techniques can be reconfigured in infinite variations and employed with contemporary expressions to achieve subtle changes in the quality of light and air which can apparently change the entire ambiance of the space. Thus, the ancient people invented building methods which along with their comfort also harmonize with nature. But in this century,building methods invented are according to comfort of the human beings but not to nature as it is rightly said by Mahatma Gandhi “The Earth provides enough to satisfy every man’s needs, but not every man’s greed.”

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End Note. In India, what we see around us today, are the limitless IT parks of Bangalore, Luxury hotels and Shopping complexes in Delhi, Gated communities or townships of Adani and Apple woods outside the city of Ahmedabad, Employment enclaves in the IT parks of Goregaon in Mumbai. These appear as “Global follies” designed as alluding contemporary pieces of International design, exclusive of their local context.

Fig 5.21- An illustration depicting the transformation in the regional identity, from regional architecture to global architecture

“Design is viewed as a process that is a resultant of different stimuli, ranging from climatic conditions, financial and market forces, globalization, local conditions, prevalent traditions and technologies, and the community.” (Rastogi & Rastogi, 2017) Region responsive architecture cannot just remain an added ‘layer’ to the design of a building; it has to become inherent and integral to the process of design. The most effective approach to critical regionalism would be to build with local materials in a way that responds to the local climate while remaining economically viable and globally pertinent with the contemporary needs of the users.

5.3

5.3 End Note

Addressing the drawback of the theory with the ambiguity in defining Region, there is a need for designers to understand what context means in today's time. If context is about the circumstances that form the setting for an idea, a process or a building and their relational dynamics, in our increasingly networked world, what really remains non contextual? There is a need to develop a framework for what each architect or designer decides as context for the project.

Fig 5.22- Redefining the idea of region in todayâ&#x20AC;&#x2122;s highly networked world

Climate is one the strongest components to recognize as the local or regional. However ongoing climate change, there is a need for even these regional types to be able to adapt to this flux. Architecture of the future can successfully reduce the load on the environment by itâ&#x20AC;&#x2122;s construction strategy (assembly), material resource utilization (transportation), spatial allocation (area optimization), energy consumption (passive methods) which are inspired from the regional. If the future design environments are developed from localities, responding to the particular landscapes and climates it may also lower the energy use caused by transportation of universal construction materials. Passive Design and Micro Climate Creation are two major methods to improve the efficiency of the built form naturally, as they reduce the need for mechanical equipments and are commonly seen in traditional Indian architecture. Also, the contemporary design technologies can play a major role in the future of designing. BIM allows hyper-

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detailed planning and execution to decrease waste, lower costs, improve sustainability. BIM designers are already using the energy modeling software to design built forms with maximum energy efficiency. One such application was seen in the design of pearl academy where the form of courtyard and density of perforations in Jaali were determined using Ecotect software, to optimize energy efficiency. The integration of these efficient technologies with the rich regional architecture can create harmonious impact on the society. The new approaches that I am advocating, will look at new architecture between the modernist ideals and the imperfect local contexts. It suggests that no one perspective will suffice for interpretation in the contemporary built environments. So designers will have to consider several perspectives in order to formulate appropriate strategies for space making. For this new critical regionalism 2.0 needs to be seen as a little more than the other, and itâ&#x20AC;&#x2122;s presence is only acknowledged in the opposition to the Architectural mainstream.

Fig 5.23- Consideration of several perspectives to formulate appropriate space making strategies of the future

5.3 End Note

5.3.1 WAY FORWARD TO INTERIORS After looking at the applications of the theory into Architecture, one would try to look at it from a purely Interior discourse. Like it was quoted by Shashi Caan,

â&#x20AC;&#x153;Interiors most closely define human beings, our behavior and emotions, within our built world in a way no other discipline does.â&#x20AC;? (Rethinking design and Interiors, 2011) Interior is a part of architecture and exterior is equally a part of the Interior in the space making. The thresholds, openings and staircases are as much a part of interiors as much as that of architecture. Hence, while they are distinctly inseparable, certain applications of critical regionalism have been infused deeply into the interior design too. The interiors when responding to critical regionalism, can give recognition to the culture, memory and geographical characteristics, hence evoking a sense of contexualism. The kind of openings and the way the local light is received by the Interiors, the use of a geometry inherent to the region, the colour and texture of material, technique of construction, the local arts and crafts, the local textile (furnishings) and furniture, the use of local vegetation, or even space planning by ethos indigenous to the region like Vastu Shashtra are few ways in which regionalism can be employed in the Interiors. The approach to these aspects should not mimic the traditional, but sympathize towards it by integrating it with the contemporary expression or assembly. One such contemporary example is The Dasavatara Hotel- a luxury hotel design in the Tirupati Temple region designed by the practice of Shimul Kadri Jhaveri in 2015. At the hotel, the approach to critical regionalism can be defined in the space planning, craft, mythology and symbolism that take inspiration from the context of Tirupati temple. As claimed by the designer, the classical temple architecture takes

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a contemporary form at the hotel, with a mythological association of Lord Vishnu into the spatial make up. The interiors of all public spaces are designed to represent the ten avatars of Lord Vishnu, using the spatial character, colour and symbolism, very similar to the planetary associations at the Jawahar Kala Kendra. The symbols associated with the ten avatars are used in the interior elements like door handles, geometry and colour for wall artworks and contemporized traditional crafts into the interior furnishings. The Lotus cafe symbolizes Lord Vishnu floating in the pond. These mythological associations with the history of the place evoke regionalism on both architecture and interior scales. Such examples of Interior Design show how one must learn to find balance between the issues that the modern technology and society have created while honoring primeval desires and traditions, between the external world and the inner self, and between function and beauty. The study of Critical Regionalism is unprecedented in the purely Interior discourse and provides a scope for further research in continuation to this study. 5.3.2 POST-COVID 19 The world is facing some huge unprecedented and unforeseen situations with the COVID-19 pandemic. None of us have ever faced this kind of a situation before. While the economies around the world are crashing, each country is trying relentlessly to sustain their economy and India is no different. India declared the biggest stimulus package towards reviving the itâ&#x20AC;&#x2122;s economy. Although, I feel that India has witnessed a similar crisis in it's history. The State of Emergency of the 1980's was one of the many political milestones in the history of Post- Independent India. It was 25 years post Independence and the nation was struggling with the economy. It was then, that the people, including architects had started looking inwardly for the

5.3 End Note

Fig 5.24- A news article discussing the use of local in the Indian Economy

answers. This was the time when Critical Regionalist efforts had reached their peak, towards using local resources and methods in the quest for a local approach. 2020 is offering India with yet another challenge and the answers seem to lie within. The reason we refer to the history is because it keeps repeating itself in different forms. This could be another awakening for the nation, to turn back to the local resources just like the prime minister mentioned in his address. Self reliance with the use of local- regional or traditional values in architecture could become a way towards dealing with these difficult times. If the pandemic could bring about Critical Regionalism 2.0 is something that leaves me to ponder upon.

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vi Bibliography vii Illustration Credits viii Glossary

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Illustration Credits CHAPTER 0 Fig 0.1-Author CHAPTER 1 Fig 1.0- Author Fig 1.1-Retrieved from https://theconstructor.org/concrete/slab-casting-work-procedure/1656/ Fig 1.2- Author Fig 1.3- Retrieved from https://www.slideshare.net/anlak2/farnsworth-house-41914542, https://en.wikiarquitectura.com/building/neue-nationalgalerie/#4-nationalgalerie Fig 1.4, 1.5, 1.6- Author Fig 1.7- Retrieved from https://www.economist.com/special-report/2012/09/29/ concrete-jungles Fig 1.8- Retrieved from https://www.archiweb.cz/en/b/kaple-vody Fig 1.9, 1.10- Retrieved from https://worldarchitecture.org/architecture-news/efzpe/a-brick-sculpture-to-work-in-satish-gujraldesigned-embassy-of-belgiumnew-delhi.html Fig 1.11- Retrieved from https://www.re-thinkingthefuture.com/article/interning-at-sangath-some-experiences/ Fig 1.12- Retrieved from https://www.re-thinkingthefuture.com/article/interning-at-sangath-some-experiences/. Illustrated by Author Fig 1.13- Retrieved from https://www.teriin.org/interview/my-whole-effort-makemud-viable-material-says-revathi-kamath Fig 1.14 Author CHAPTER 2 Fig 2.1-Retrieved from https://countercurrents.org/2018/08/pages-from-history1947-august-15-some-documents-that-explain-the-transfer-of-power Fig 2.2- Retrieved from https://www.news18.com/photogallery/india/in-pics-100years-of-delhi-as-indias-capital-816131-36.html Fig 2.3- Retrieved from https://www.google.com/search?q=vistara+architecture+exhibition&hl=en&sxsrf=ALeKk00NDakQ2UB2spsqoi2WB_F7eEfHFA:1585666902219&source=lnms&tbm=isch&sa=X&ved=2ahUKEwj0-MDD_ cToAhWiW3wKHf_rCS0Q_AUoAnoECAwQBA&biw=1536&bih=674#imgrc=W2UPiFoibKhjZM&imgdii=F7P2rXtpoJc74M Fig 2.4- Retrieved from https://architecturelive.in/vistara-architecture-india-charles-correa/

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Fig 2.5- Retrieved from https://www.archdaily.com/781892/the-state-of-architecture-in-india-an-interview-with-rahul-mehrotra-ranjit-hoskote-and-kaiwan-mehta Fig 2.6- Retrieved from http://dome.mit.edu/bitstream/handle/1721.3/58385/150031_sv.jpg?sequence=2 Fig 2.7- Retrieved from https://www.theguardian.com/cities/2015/nov/19/inside-lavasa-indian-city-built-private-corporation Fig 2.8- Retrieved from https://www.hiranandani.com/hiranandani-gardens.aspx Fig 2.9-Retrieved from https://www.akdn.org/architecture/project/palmyra-house Fig 2.10- Retrieved from http://amudu-gowripalan.blogspot.com/2014/05/ kailash-temple-ellora-cave-temple.html Fig 2.11- Retrieved from https://archello.com/project/shiv-temple Fig 2.12- Retrieved from https://www.google.com/ imgres?imgurl=http%3A%2F%2Fwww.designlabinternational.com%2FABSPublication%2Fimages%2Fstories%2Fmaterial%2Fbg_material_matters. jpg&imgrefurl=http%3A%2F%2Fwww.designlabinternational.com%2FABSPublication%2Fmaterial-matters%2F121-from-dust-to-stone&tbnid=26UzKDTFzTAQeM&vet=12ahUKEwitj9eKhe_oAhXbTn0KHeJMBjUQMygkegQIARBS..i&docid=5pTlA-N0QXeglM&w=760&h=300&q=Chapel%20of%20our%20Lady%20of%20 Perpetual%20Succour%20in%20Goa&ved=2ahUKEwitj9eKhe_oAhXbTn0KHeJMBjUQMygkegQIARBS Fig 2.13- Retrieved from https://frontline.thehindu.com/the-nation/article25402011. ece Fig 2.14- Retrieved from https://www.researchgate.net/publication/263271174_ Maxwell_Fry_and_Jane_Drew%27s_early_housing_and_neighbourhood_planning_ in_Sector-22_Chandigarh/figures?lo=1&utm_source=google&utm_medium=organic Fig 2.15- Retrieved from https://archeyes.com/jawahar-kala-kendra-charles-correa/ Fig 2.16- Retrieved from http://www.bollylocations.com/movies/Main-Prem-Ki-Diwani-Hoon?referral=PM Fig 2.17- Author Fig 2.18- Retrieved from https://www.brigadegroup.com/gift/portfolio-brigade-rubix.html Fig 2.19-Retrieved from https://www.designboom.com/architecture/cadence-architects-india-clinic-kymf-bangalore-07-27-2016/ Fig 2.20-Retrieved from https://skyrisecities.com/database/projects/lokhandwa-

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la-minerva Fig 2.21- Retrieved from https://urbannext.net/anupamakundoo/wall-house/ Fig 2.22-Retrieved from https://adff.ca/films/2017/uncommon-sense-the-life-andarchitecture-of-laurie-baker/ Fig 2.23- Retrieved from http://www.hunnarshala.org/ Fig 2.24- Retrieved from https://indianexpress.com/article/express-sunday-eye/ building-blocks-a-look-at-public-spaces-built-after-1947-5555327/ Fig 2.25, 2.55- Retrieved from http://www.abindesignstudio.com/projects/details/121-gallery-house Fig 2.26- Retrieved from https://frontline.thehindu.com/the-nation/article25402011. ece Fig 2.27- Retrieved from https://architexturez.net/doc/az-cf-177919 Fig 2.28- Retrieved from https://www.zingyhomes.com/latest-trends/indian-architecture-after-independence-history/ Fig 2.29- Retrieved from https://archeyes.com/sabarmati-ashram-museum-gandhi-residence-charles-correa/ Fig 2.30- Retrieved from https://twitter.com/hashtag/kanvinde Fig 2.31- Retrieved from https://www.sangath.org/projects/electronics-corporation-of-india-ltd-ecil-hyderabad/ Fig 2.32- Retrieved from https://www.indiatvnews.com/news/india/40-years-of-emergency-when-newspaper-published-poems-52026.html/ page/2 Fig 2.33- Retrieved from https://www.booking.com/hotel/in/itc-mughal-agra. en-gb.html?aid=356980;label=gog235jc-1DCAsobEIPaXRjLW11Z2hhbC1hZ3JhSDNYA2hsiAEBmAEJuAEXyAEM2AED6AEBiAIBqAIDuAKZm4v1BcACAQ;sid=5885ec8fb42bb06baaa353e282830d86;dist=0&keep_landing=1&sb_ price_type=total&type=total& Fig 2.34- Retrieved from https://www.archdaily.com/912048/vitra-design-museumexplores-the-work-of-balkrishna-doshi Fig 2.35- Retrieved from https://www.sciencedirect.com/science/article/pii/ S2095263518300530 Fig 2.36- Retrieved from https://www.flickr.com/photos/doctorcasino/6015297878 Fig 2.37- Retrieved from https://www.flickr.com/photos/arnout-fonck/8553680691 Fig 2.38- Retrieved from https://www.google.com/search?q=vistara+architecture+exhibition&hl=en&sxsrf=ALeKk00NDakQ2UB2spsqoi2WB_F7eEfHFA:1585666902219&source=lnms&tbm=isch&sa=X&ved=2ahUKEwj0-MDD_ cToAhWiW3wKHf_rCS0Q_AUoAnoECAwQBA&biw=1536&bih=674#imgrc=W2UPiFoibKhjZM&imgdii=F7P2rXtpoJc74M Fig 2.39- Retrieved from https://twitter.com/reynaersi/status/1055315135986835456

207 Fig 2.40- Retrieved from https://archnet.org/sites/859/media_contents/15421 Fig 2.41- Author Fig 2.42- Retrieved from https://architexturez.net/pst/az-cf-190222-1545465305 Fig 2.43- Retrieved from https://www.archdaily.com/882188/2018-world-monuments-watch-lists-50-cultural-sites-at-risk-from-human-and-naturalthreats/59ee2ecbb22e3808ae0001a9-2018-world-monuments-watch-lists-50cultural-sites-at-risk-from-human-and-natural-threats-image Fig 2.44- Retrieved from https://blogs.wsj.com/indiarealtime/2016/08/01/architects-of-indias-1991-liberalization-look-back-on-its-successes-opposition/ Fig 2.45- Retrieved from https://www.indiatvnews.com/lifestyle/news-this-fourday-exhibition-unveils-events-in-delhi-during-partition-458216 Fig 2.46- Retrieved from https://ccba.in/project/cdsa/ Fig 2.47- Retrieved from https://en.wikiarquitectura.com/building/vidhan-sabhabhopal/ Fig 2.48- Retrieved from https://en.wikipedia.org/wiki/Virasat-e-Khalsa Fig 2.49- Retrieved from https://www.zingyhomes.com/project-detail/skdas_33572/civil-servants-housing/ Fig 2.50- Retrieved from http://www.rajrewal.in/projects/Public-parl-lib.htm Fig 2.51- Retrieved from https://www.sjkarchitect.com/karur Fig 2.52- Retrieved from https://www.devalt.org/OurBuilding.aspx Fig 2.53- Author Fig 2.54- Retrieved from http://www.archidust.com/Home/project_details/Dilli-Haat-113 CHAPTER 3 Fig 3.0- Author Fig 3.1- Retrieved from https://trell.co/tale/jodhpur-sudip-adhikary-c6064212b75 Fig 3.2- Retrieved from https://www.flickr.com/photos/23239528@N00/5743297176 Fig 3.3, 3.5- Retrieved from Khan, H. U. (1987). Jawahar Kala Kendra. In H. U. Khan (Ed.), Charles Correa (pp. 142-143). Singapore: Concept Media. Fig 3.4- Retrieved from https://www.business-standard.com/article/beyond-business/house-of-history-116022601104_1.html Fig 3.6, 3.24- Retrieved from Jain, S. (2010). Jaipur As A Recurring Renaissance. In D. Prashad (Ed.), Traditions, New Architecture and Urbanism- Development of Indian (pp. 60-69). NewCastle Upon Tyne: Cambridge Scholars Publishing. Fig 3.7-Retrieved from https://udaipurtimes.com/administration/udaipur-white-cityafter-ghantaghar-now-surajpole-to-go/c74416-w2859-cid110205-s10702.htm Fig 3.8- Retrieved from https://in.pinterest.com/pin/346847608795713149/ Fig 3.9- Retrieved from https://www.livehistoryindia.com/photo-essays/2017/06/29/ magnificent-jaipur

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Fig 3.10- Retrieved from http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/ other/largeimage60678.html Fig 3.11- Retrieved from http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/ other/largeimage60673.html Fig 3.12- Retrieved from https://www.worldtravelgateway.com/blog/amer-fort Fig 3.13- Retrieved from https://royaljaipur.in/index.php/the-history-of-jaipur/. Illustrated by Author Fig 3.14, 3.17, 3.18- Retrieved from https://www.academia.edu/30954088/JAWAHAR_KALA_KENDRA?auto=download Fig 3.15, 3.16- Retrieved from Khan, H. U., Cantacuzino, S., & Correa, C. (1987). Charles Correa- Architect in India. London: Butterworth architecture. Fig 3.19- 3.23- Retrieved from Sachdev, V., & Tillotson, G. (2002). Building Jaipur: the making of an Indian city. London: Reaktion books. Fig 3.25- https://royaljaipur.in/index.php/the-history-of-jaipur/ Fig 3.36- http://www.cityofjaipur.com/jaipur-local/about-jaipur/12-photographsthat-will-take-you-back-to-the-old-jaipur/?platform=hootsuite Fig 3.27-3.29- Retrieved from Sachdev, V., & Tillotson, G. (2002). Building Jaipur: the making of an Indian city. London: Reaktion books. Fig 3.30- Retrieved from https://www.oldindianphotos.in/2011/10/jantar-mantar-astronomical-instruments.html Fig 3.31- Retrieved from https://www.reddit.com/r/HistoryPorn/comments/2l51ld/ procession_in_front_of_hawa_mahaljaipur_india/ Fig 3.32, 3.33- Retrieved from https://issuu.com/tanvi_sanghvi/docs/_schinefinal_ thesisprepbook_opt.s Fig 3.34- Retrieved from https://ifonlypolyglotwasajob.wordpress.com/2013/04/24/ march-5-8-jaipur/ Fig 3.35- Retrieved from https://www.asisbiz.com/India/Amber-Fort/pages/Rajasthan-Jaipur-Amber-Fort-compound-architecture-India-Apr-2004-03.html Fig 3.36- Retrieved from https://www.oldindianphotos.in/2010/04/view-of-streetsof-jaipur-1926.html Fig 3.37- Retrieved from https://royaljaipur.in/index.php/explore/ Fig 3.38- Retrieved from http://www.cityofjaipur.com/jaipur-local/about-jaipur/12photographs-that-will-take-you-back-to-the-old-jaipur/?platform=hootsuite Fig 3.39- Retrieved from https://www.fotolibra.com/gallery/505971/chand-pol-bazaar-jaipur/ Fig 3.40- Retrieved from Jain, S. (2010). Jaipur As A Recurring Renaissance. In D. Prashad (Ed.), Traditions, New Architecture and Urbanism- Development of Indian (pp. 60-69). NewCastle Upon Tyne: Cambridge Scholars Publishing. Fig 3.41- Retrieved from https://www.sangath.org/projects/vidyadharnagar-city-jai-

209 pur/ Fig 3.42- Retrieved from https://archeyes.com/jawahar-kala-kendra-charles-correa/ Fig 3.43- Retrieved from https://www.youtube.com/watch?v=lgDGVTvWgIc Fig 3.44- Retrieved from http://idamindia.org/measured-drawings/bundi-haveliplan-ground-floor/ Fig 3.45- Retrieved from https://www.airpano.com/360photo/Jaipur-India/ Fig 3.46- Retrieved from https://www.slideshare.net/lakshyapandit/jaipur-evolutionof-an-inid. Illustrated by Author Fig 3.47- Retrieved from http://www.ceptarchives.org/items/nawalgarh-havelis-62. Illustrated by Author Fig 3.48- Retrieved from https://www.tripadvisor.in/Attraction_Review-g297667d3765852-Reviews-Nathmal_Ji_Ki_Haveli-Jaisalmer_Jaisalmer_District_Rajasthan. html. Illustrated by Author Fig 3.49- Retrieved from https://www.skyscan.org/jaipur-pink-city. Illustrated by Author Fig 3.50- Retrieved from https://www.samanyagyan.com/famous-things/jal-mahaljaipur-rajasthan-gk-in-hindi.php Fig 3.51- Retrieved from https://www.viator.com/en-IN/tours/Jaipur/Day-Trip-toHaunted-Village-in-Bhangarh-and-Stepwells-in-Abhaneri/d4627-8215P5 Fig 3.52- Retrieved from https://www.google.com/imgres?imgurl=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fba%2F0d%2F31%2Fba0d31ebc9dcc2f008b97a1ed9d398b1.jpg&imgrefurl=https%3A%2F%2Fwww.pinterest. com%2Fpin%2F386042999287919082%2F&tbnid=iHz_lB7B0bO5mM&vet=12ahUKEwivsMOFpcXoAhVPTSsKHf8YBCUQMygAegUIARDtAQ..i&docid=qrYi0eyxDzhq7M&w=683&h=960&q=chand%20baoli%20section%20drawing&ved=2ahUKEwivsMOFpcXoAhVPTSsKHf8YBCUQMygAegUIARDtAQ Fig 3.53- Retrieved from https://www.istockphoto.com/in/photo/indian-women-carrying-water-from-stepwell-near-jaipur-gm492540200-76355313#/close Fig 3.54-Retrieved from http://www.baadalmusings.com/albums/shekhawati/slideshow#29 Fig 3.55- Retrieved from https://delectablereveries.com/2018/07/29/narendra-bhawan-the-saga-of-contemporary-royalty/ Fig 3.56- Retrieved from https://in.pinterest.com/pin/114841859227405179/ Fig 3.57- Retrieved from http://www.himalayan-treks.eu/jaipur-the-ancient-pinkcity-of-rajasthan/. Illustrated by Author

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CHAPTER 4 Fig 4.1, 4.2- Retrieved from https://www.academia.edu/30954088/JAWAHAR_ KALA_KENDRA?auto=download Fig 4.3, 4.66- Retrieved from https://www.google.com/maps. Illustrated by Author Fig 4.4,4.5- Author Fig 4.6- Retrieved from https://www.archinomy.com/case-studies/jawahar-kala-kendra-jaipur-india/ Fig 4.7, 4.8, 4.10, 4.14, 4.32, 4.34, 4.44, 4.45 - Retrieved from https://archeyes.com/ jawahar-kala-kendra-charles-correa/ Fig 4.9- Author Fig 4.11, 4.12- Author Fig 4.13- Retrieved from Khan, H. U. (1987). Jawahar Kala Kendra. In H. U. Khan (Ed.), Charles Correa (pp. 142-143). Singapore: Concept Media. Illustrated by Author Fig 4.15- Author Fig 4.16, 4.46, 4.47, 4.52, 4.54- Retrieved from Khan, H. U., Cantacuzino, S., & Correa, C. (1987). Charles Correa- Architect in India. London: Butterworth architecture. Fig 4.16- 4.19-Author Fig 4.20- Retrieved from https://issuu.com/tanvi_sanghvi/docs/_schinefinal_thesisprepbook_opt. Illustrated by Author Fig 4.21- Author Fig 4.22- Retrieved from https://archeyes.com/jawahar-kala-kendra-charles-correa/. Illustrated by Author Fig 4.23-4.31- Author Fig 4.33, 4.49- Retrieved from https://www.researchgate.net/publication/295909556_Charles_Correa_Seeking_new_Identity_of_Indian_Architecture_ through_Critical_Regionalism Fig 4.35- 4.37- Author Fig 4.38-Retrieved from https://commons.wikimedia.org/wiki/File:Amber_Fort_ Screen_(6652771501).jpg Fig 4.39- 4.43- Author Fig 4.48- Author Fig 4.50, 4.51 -Author Fig 4.53-Author Fig 4.55, 4.56- Author Fig 4.57- Retrieved from https://www.justdial.com/photos/world-trade-park-malviya-nagar-jaipur-malls-fe8qdz-pc-31711413-sco-304zkvhk Fig 4.58- https://www.hellotravel.com/india/hawa-mahal Fig 4.59- Retrieved from https://www.archdaily.com/40716/pearl-acade-

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my-of-fashion-morphogenesis/5011e9d728ba0d5f4c0003e0-pearl-academy-of-fashion-morphogenesis-site-plan Fig 4.60- Author Fig 4.61- Retrieved from https://www.samanyagyan.com/famous-things/jal-mahaljaipur-rajasthan-gk-in-hindi.php Fig 4.62-Retrieved from https://www.samanyagyan.com/famous-things/jal-mahaljaipur-rajasthan-gk-in-hindi.php Fig 4.63-Retrieved from https://commons.wikimedia.org/wiki/File:Amber_Fort_-_ Baradhari_Pavlion.jpg Fig 4.64-4.70- Author Fig 4.71, 4.73- Retrieved from Bansal, N., & Rastogi, M. (2012). Pearl Academy of Fashion- An Environmentally Responsive Passive Habitat. (pp. 1-6). Lima, Peru: PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture. Fig 4.72, 4.77, 4.86, 4.103- Retrieved from Rastogi, S., & Rastogi, M. (2017). Morphogenesis: The Indian Perspective. The Global Context. Melbourne, Victoria, Australia: The Images Publishing Group. Illustrated by Author Fig 4.74- Author Fig 4.75- Retrieved from http://1.bp.blogspot.com/--j-oxRr09Dc/UVcx5-b53kI/ AAAAAAAAc1U/Pb_CAkiuyhs/s1600/Pearl+Academy+of+Fashion+by+Morphogenesis16.jpg. Illustrated by Author Fig 4.76, 4.102- Retrieved from Bansal, N., & Rastogi, M. (2012). Pearl Academy of Fashion- An Environmentally Responsive Passive Habitat. (pp. 1-6). Lima, Peru: PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture. Illustrated by Author Fig 4.78-4.82- Author Fig 4.83- Retrieved from https://eyeburfi2.tumblr.com/post/12059497768/kavad-portable-painted-shrine-from-chittorgarh Fig 4.84, 4.85- Author Fig 4.87- 4.98- Author Fig 4.99- Retrieved from https://www.google.com/maps. Illustrated by Author Fig 4.100, 4.101- Author Fig 4.104-4.106, 4.108, 4.109- Retrieved from Rastogi, S., & Rastogi, M. (2017). Morphogenesis: The Indian Perspective. The Global Context. Melbourne, Victoria, Australia: The Images Publishing Group. Fig 4.107,4.110- Author

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CHAPTER 5 Fig 5.1, 5.2- Retrieved from https://www.google.com/maps . Illustrated by Author Fig 5.3-Retrieved from Khan, H. U. (1987). Jawahar Kala Kendra. In H. U. Khan (Ed.), Charles Correa (pp. 142-143). Singapore: Concept Media. Illustrated by Author Fig 5.4- 5.7- Author Fig 5.8- Retrieved from https://www.tripadvisor.in/Attraction_Review-g297667d3765852-Reviews-Nathmal_Ji_Ki_Haveli-Jaisalmer_Jaisalmer_District_Rajasthan. html. Illustrated by Author Fig 5.9, 5.10- Author Fig 5.11-Retrieved from Bansal, N., & Rastogi, M. (2012). Pearl Academy of FashionAn Environmentally Responsive Passive Habitat. (pp. 1-6). Lima, Peru: PLEA2012 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture. Illustrated by Author Fig 5.12- 5.16- Author Fig 5.17-Retrieved from https://archeyes.com/jawahar-kala-kendra-charles-correa/ Fig 5.18- 5.20- Author Fig 5.21-Retrieved from https://www.instagram.com/p/B_IDxCcjtAI/?utm_ source=ig_web_copy_link Fig 5.21- 5.23- Author Fig 5.24-Retrieved from https://gallery-repo.inshorts.com/gallery/view/d02b18ab0a36-4ecb-a337-4ae90851389d

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Glossary

Glossary Araish- An age old rajasthani technique used to create smooth surfaces Aravalli- A mountain range in the north west of India Baithak- A low seat or pedestal Bangaldar- Curved roof element in traditional architecture Baoli/ Baori- Step well Bazaar- Local Market Brahmin- A Hindu priestly caste Budh- The planet Mercury Chabutra- A tower like structure at the entrance of streets serving as bird-feed in rural areas Chandra- The Moon Chaupar- A large public square in the centre of the city Chhatris- A canopy depicting pride and honor in the Rajput architecture Chowk- An open crossroad Chumao house, Nayla house- Names of mansions built on the outside of walled city Dholpur- A city in eastern-most parts of the Rajasthan state of India Ecotect- an environmental analysis tool that allows designers to simulate building performance Filigree- Ornamental work of carving formed into delicate tracery Gawaksh- A niche inside the wall Geru- An earthy red color, used in India Govid Devji temple- Temple of the Hindu Lord Krishna Guru- The planet Jupiter Haveli- A mansion Hawa Mahal- The Palace of air Jaali/ Jali- Perforated screen Jaigarh, Nahargarh- Forts around Jaipur, built by the emperor Jantar Mantar- The Sanskrit word for a calculating instrument(sundial) Jharokhas- Outward projecting balcony in traditional architecture Johari- A Jewelery merchant Jyotish Shashtra/ Jyotish Vidya- Hindu astrology Kachhwaha- Warrior rulers of the historical region of Rajputana Kala Kendra- Arts Centre Kavad- A craft of miniature abstraction of shrine that contains miniature paintings telling a story Ketu- The descending lunar node in the Hindu astrology Kund- A tank or small reservoir in which rainwater is collected for drinking

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Mangal- The planet Mars Mahal- Palace Maharaja- Emperor Matka- Earthen Pot Mehrangarh- 15th century fort of Rajasthan Mukut Mandir- Temple at the top of the City Palace Navgrah/ Navagraha- Nine square gird plan based on the Hindu Architecture Nawalgarh Haveli- A historic mansion located in the region Nivas- Residence Panna Miya ki Baoli -A step well inside Amer Fort Pannimeena, Dakmeena- Local arts of the region Pol- A residential housing Cluster Pradakshina- The action of walking clockwise round a person or deity as a mark of respect Radha-Krishna- The couple: Lord Krishna and wife Radha in the Hindu mythology Rahu- A shadow entity according to the Hindu astrology, one that causes eclipses Rajput/ Rajputana- A sub caste of the Kachhwaha caste in India Sanganer- Historic town in the suburbs of Jaipur Shamiana- An Indian ceremonial tent or shelter commonly used for outdoor use Shani- The planet Saturn Sheesh Mahal- Palace of mirrors Shekhawati- A semi-arid historical region located in the northeast part of Rajasthan Shukra- The planet Venus Sukh Mahal- A palace at the Amer Fort Surya- Sun Tantrik- Ancient Indian scripture Vaishnav- The devotee of a Hindu Lord Vishnu Vastu Vidhya- The knowledge of Hindu Architecture Vastu-Purusha-Mandala- A metaphysical plan of a building that incorporates the course of the heavenly bodies and supernatural forces. Purusha refers to energy, power, soul or cosmic man. Mandala is the generic name for any plan or chart which symbolically represents the cosmos, based on the Hindu Architecture Vedic Shashtra- Ancient Hindu Architecture Veer Rasa- The heroic emotion Venturi, Bernoulli- Scientific principles relating to the flow of air Vibhitsa Rasa- The emotion of Disgust Zenana- The part of a house for the seclusion of women

Appendix

VASTU SHASHTRA The ancient science of architecture in India which identified the relationship of forces of nature with living in a space can be understood as Vastu Shashtra. It is to ensure a harmonious living with the natural forces. Vastu Shashtra rests on the following basic influences: â&#x20AC;&#x153;Cosmic influence: The heavily bodies in the celestial space influences the activity on the surface of the earth. Solar energy: Energy levels and radiations from sunrays is not the same all over the surface of the earth. Geo-magnetic fields: The magnetic field between the North and the South poles of the earth affects the bio-organisms. Geology of the crust: Materials used for the construction and otherwise which an be extracted from nearby. Hydrology and Eco-systems: Habitable regions depend on perennial sources of water and the types of supportive vegetation. Socio- cultural beliefs: Emergence of the human society from primitive to tribal to organised levels of a structured society.â&#x20AC;? (Sharma R. )

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