Legacy of Sub ground Architecture: 'its endowment to Indian Urbanism' by Mayank Garg

Master Dissertation Title: Legacy of Sub Ground architecture its endowment to Indian Urbanism Dissertation Period : December 2017- August 2018 No of Pages : 98 Mayank Garg mayankgarg416@gmail.com +44-7466128168, +91-9410891257 Mentor Team Eamonn Canniffe, David Chandler, Claudio Molina Camacho MA Architecture + Urbanism 2017/2018 Manchester school of architecture Manchester, August 2018 Cover image by author

Table of Contents Preface

Acknowledgement

III

List of Figures

Chapter 1

Prologue

Abstract

Research Problem

Aims and Objectives

Scope and Limitations

Exploration

Diagnosis

Chapter 2

Ancient subterranean heritage of India

Introduction

Stepwells

Stepped Ponds or Kunds

Cave Architecture of India

Chapter 3

Modern Subterranean Assets of India

Introduction

Doshi Hussain Cave

Bharat Bhawan ‘India House’

Chapter 4

Role towards Cities

Introduction

General Taxonomy

Major Application in urban cities

Universal Obstacles

Eliminating the Obstacles

Chapter 5

Cross Cultural Context: The case of Acrosanti

Introduction

Architecture of Acrosanti

Architecture of Cosanti

Learnings for Indian Context

Chapter 6

Conclusions and Dialogues

COnclusion

Bibliography

Appendix

Preface Architects and planners are always considered as constructive intellectuals. But, this does not seem in the reality while investigating the situation of the Indian cities. New cities are converting into the powerful empire of concrete constructions by overpowering the elements of nature to fulfill the requirements of the billions of population. Therefore, this approach, at the one end, involves a lot of construction and development, but on the other hand, it is destructive to nature. The actual need at this stage is to reconstruct nature by coming close to it. Thus, the possible key is to go down the earth to interact with the elements of it. This dissertation will help the readers to understand the advantages of sub ground constructions and will remove their misconceptions about the fear in developing them. The spaces which are below the ground are not considered as habitable in the latest tradition. While designing any projects in architectural offices, the basements are just used for providing services and parking. Whereas, they have plenty of potential to entertain the requirement of space for different habitable activities. The negligence of below the ground level results in the multi-floor buildings which became the overscale boxes of concrete and glass. I realized that the clients and investors does not want to accept the subterranean spaces as they believe that it will be hidden and out of their control. This is true as they are designed like the walled basements, which are damp and smelling. At the same time, the cities of India are filled up numerous below the ground ancient architectural marvels in the form of stepwells, ponds and rock cut temples which are genuinely accepted by the people who keep them as part of their life. These variation in thoughts led me to research about the notions of these spaces to recognize the spirit of space hidden in them so that it could be reinterpreted in the contemporary world. The understanding of existential space through the relationship of man and nature is developed in this book. Being exposed to the western world, I realized that the situation is again not far different in relation to the acceptance of sub-ground architecture. But, it has been experimented in large number of projects in UK, Europe and USA as a masterly piece of engineering, which sometimes lacks the vehicle of spatial narratives. Thus, the present examples are discussed in the book, to envision the sense of public spaces, which will be derived by using the western skills with the local architecture. I

The overall vision of this book is to develop the futuristic vista for the subterranean architecture to overcome with the various issues faced by the present cities of India. The impression is to interpret the existential abilities of these spaces which speaks about their character. According to ancient Roman belief every â&#x20AC;&#x2DC;independentâ&#x20AC;&#x2122; being has its genius, its guardian spirit. This spirit gives life to people and places, accompanies them from birth to death, and determines their character or essence (Schulz,1984, pp.18).

Acknowledgement I take the opportunity to thank the Manchester School of Architecture to give me the opportunity to be a part of this interesting program, Architecture and Urbanism. I express my gratitude to Eamonn Canniffe and David Chandler, whose valuable suggestions and diverse ideas support me to advance my efforts throughout the sessions. Lastly, I would like to acknowledge my family, friends and valuable seniors for their constant encouragement and trust in me.

III

List of Figures Figure 1: Goda, A. (No date) ‘Open air submerged public place’, The Queen’s stepwell in Gujarat. Retrieved from Pinterest [Online Image] [Accessed on 12th January 2018] https://in.pinterest.com/pin/550072541961489942/ Figure 2: ‘Rhythm of frames through column and beams, Stepwell at Adalaj, Gujarat.’ Author’s own image Figure 3: ‘Classification of stepwells (a) Nanda, (b) Bhadra (c) Jaya, (d) Vijaya.’ Author’s own image Figure 4: ‘Structural system of columns and beams to strengthen the retaining walls’, General exploded view of a stepwell. Pandya, Y. (2005) ‘Concept of space in traditional Indian architec ture’, Ahmedabad, India, Mapin Publishing Pvt.Ltd, pp.21 (Edited) Figure 5: ‘Enclosed social space yet part of the landscape’, The Queen’s stepwell, Gujarat. Author’s own image Figure 6: ‘Symbolic sculptures carved out on the retaining walls’, The Queen’s stepwell, Gujarat. Author’s own image Figure 7: ‘Octagonal entrance area controlling the vision for the next movements’, Adalaj stepwell, Gujarat. Author’s own image Figure 8: ‘Going down away from the sky to reach the sky’, General section of a stepwell, Gujarat. Author’s own image Figure 9: ‘The first pause point for orientation’, Entrance at the Adalaj Stepwell. Author’s own image Figure 10: ‘Connection of fire and water inside a octagonal funnel’, Adalaj stepwell, Gujarat. Author’s own image Figure 11: ‘Cone of vision around the rows of columns and beams’, Adalaj Stepwell. Author’s own image Figure 12: ‘Symbolic illustrations on the retaining walls while moving down to the stepwells’, Section of Stepwell. Author’s own image Figure 13: Kerth Redorn (May,2015) ‘Thirteen storey deep gathering space’, Step pond at Abhaneri, Rajasthan, Retrieved from Imgur [Online Image] [Accessed on 14th January 2018] https://imgur.com/gallery/7AnKB/comment/408072123 Figure 14: ‘Geometry in design of step pond at Hampi.’ Author’s own image Figure 15: ‘Square shape kunds, Chand Baori, Rajasthan.’ Livingston, M. (2002) ‘Steps to water: The ancient stepwells of India’, New York, Princeton Architectural Press IV

Figure 16: ‘Connection of sub-shrine in the kund with the main shrine and the star form’, Sun temple, Modhera. Author’s own image Figure 17: Kamiya, T. (1993-94)‘Cross-section of the Cave (32) at Ellora, India, 9th Century’, Retrieved from Jaina architecture in India [Online Image] [Accessed on 15th January 2018] http://www.kamit.jp/03_jaina/2_ellora/ell_eng.htm Figure 18: ‘Prime ancient cities where rock-cut architecture was flourished.’ Hardy, A. (2007) ‘The Temple Architecture of India’, England, John Wiley & Sons Figure 19: Neilsatyam (January,2008)‘Courtyard of Dhaulagiri Viharas’, Retrieved from wikimedia [Online Image] [Accessed on 15th January 2018] https://commons.wikimedia.org/wiki/File:Dhaulagiri_viharas.JPG Figure 20: ‘Chaitya hall of Bhaja Cave’, Author’s own image Figure 21: Tangopaso (June, 2015)‘Classification of different parts of Hindu Temple’, Retrieved from Features of Hindu architecture [Online Image] [Accessed on 15th January 2018] https://www.ancient.eu/image/3975/ Figure 22: ‘Excavation process of Ellora caves in plan and section’, Soundara, KV (1988), ‘The Ellora monoliths: Rashtrakuta architecture in the Deccan’, Delhi, Gian Pub. House Figure 23: Muesse, M. (August, 2015) ‘Plan of Vastu Purush Mandala with 64 grids.’ Retrieved from Wikimedia [Online Image] [Accessed on 15th January 2018] https://commons.wikimedia.org/wiki/File:64_grid_Manduka_de sign_Hindu_Temple_Floor_Plan_Vastu_Purusa_Mandala_An cient_Architecture.svg Figure 24: ‘Extended gnomon method, a. basic sketch, b. generating nested squares and circles, c. showing diagonal squares, d. showing the inherent 12-point star’ Hardy, A. (2007) ‘The Temple Architecture of India’, England, John Wiley & Sons, pp.138 Figure 25: ‘Continous increase in level to reach the ultimate sky’, Pandya, Y. (2005) ‘Concept of space in traditional Indian architec ture’, Ahmedabad, India, Mapin Publishing Pvt.Ltd, pp.21 (Edited) Figure 26: ‘Optical illusions in cave 2 at Ellora’ Pandya, Y. (2005) ‘Concept of space in traditional Indian architecture’, Ahmedabad, India, Mapin Publishing Pvt.Ltd, pp.26 V

Figure 27: ‘Eventful control of the visual imagery through dark spaces’, Ellora caves, India. Author’s own image Figure 28: ‘Movement along the Kailasa temple with number of pauses’, Site plan of Kailasa temple. Author’s own image Figure 29: ‘Cross section of temple showing the series of transition which terminates into the sky’, Author’s own image Figure 30: ‘Blank wall Entrance with a small opening conceal the spaces behind and brings the excitement’, Author’s own image Figure 31: ‘Freestanding elements in the form of pillars and elephants helps to oriente the visitors’, Author’s own image Figure 32: ‘Rough-chopped roofs are the menifestation of the duality’, Author’s own image Figure 33: ‘the first pause point where the images of gate keepers are provided to welcome and give the orientation to move to other direction’, Author’s own image Figure 34: ‘The freestanding carved element and Sculpture of River God gives the symbol of purification and notionally cleans the thoughts’, Author’s own image Figure 35: ‘This diagonal path through the low height monolithic stairway leads the visitor from open lit space to the dark and enclosed sacred area of temple’ , Author’s own image Figure 36: ‘Hall of Main temple area guiding the way to the deity through the rows of low height columns’, Author’s own image Figure 37: ‘The temple complex compliments the context instead of overpowering it’,Overview of Kailasa temple, Author’s own image Figure 38: ‘The golconde’: first modern building in India’ Dilwali, A. (2010) ‘Golconde : the introduction of modernism in India’, New Delhi, Urban Crayon Press Figure 39: ‘New Bagalkot Town Centre denoting the Shunya or Blank/ Non-building centre through a step-pond’ Correa, C. (1996) ‘Charles Correa: with an essay of Kennath Frampton’, London, Thames and Hudson Figure 40: AD Editorial team (March, 2018)‘BV Doshi with Le Corbusier’, Retrieved from archdaily [Online Image] [Accessed on 25th January 2018] https://www.archdaily.com/890128/who-is-balkrishna-bv-doshi12-things-to-know-about-the-2018-pritzker-laureate VI

Figure 41: Aga Khan Trust for Culture (No date) ‘Sangath: Submerged studio of Doshi with the blessings of nature’, Retrieved from Archnet [Online Image] [Accessed on 30th January 2018] https://archnet.org/sites/191 Figure 42: ‘Experimental mix of art and architecture, Doshi-Hussain Cave’ , Ahmedabad, India, Author’s own image Figure 43: ‘Shells with the covering of mosaics and artwork of Hussain’ , Author’s own image Figure 44: ‘Cross-section of the earth protected cave with the transitional elements such as skylights, colour paints of Hussain, columns’ Author’s own image Figure 45: Vastu Shilpa Consultant (1994) ’Shells are constructed through chicken wire mesh and ferroconcrete layers by un skilled labour’, Retrieved from Architexturez South Asia [Online Image] [Accessed on 3rd Febuary 2018] https://architexturez.net/doc/az-cf-168125 Figure 46: ‘Movement and transitional pauses around the space, Plan of the Cave’, Author’s own image Figure 47: ‘The main entrance is hidden with a low height blank wall similar to blank entrance wall of Kailasa atemple’, Author’s own image Figure 48: ‘Entrance to the dark sacred space through a transitional stairways’, Author’s own image Figure 49: ‘Leaf shaped motifs at the entrance’, Author’s own image Figure 50: ‘The unusual shaped columns bisecting the spaces’, Author’s own image Figure 51: ‘Ceilings are decorated with Hussain Paintings’, Author’s own image Figure 52: ‘Central hall as the resting spot’, Author’s own image Figure 53: ‘Elliptical gateways’, Author’s own image Figure 54: Vastu Shilpa Consultant (1994) ’MF Hussain drawing the snake images on the shells of the cave’, Retrieved from Architexturez South Asia [Online Image] [Accessed on 3rd Febuary 2018] https://architexturez.net/doc/az-cf-179686 Figure 55: Charles Correa Foundation (August, 2016)‘‘Non-building’ technique in the project’, Retrieved from Archdaily [Online Image] [Accessed on 7rd Febuary 2018] https://www.archdaily.com/791942/ad-classics-bharat-bhavancharles-correa VII

Figure 56: Charles Correa Foundation (August, 2016)‘Series of green terraces becomes the public spaces of the city’, op. cit. Figure 57: Charles Correa Foundation (August, 2016)‘Cross-section of the project which terminates into the water through a ritualistic pathway’, op. cit., Edited by Author Figure 58: Charles Correa Foundation (August, 2016)‘Combinations of courtyards and adjacent spaces, Site plan’, op. cit., Edited by Author Figure 59: Charles Correa Foundation (August, 2016)‘Open-air court yards became the transitional pause points’, op. cit. Figure 60: Charles Correa Foundation (August, 2016)‘Coffer slabs to support the bigger spans of slab’, op. cit. Figure 61: Charles Correa Foundation (August, 2016)‘Murals on the skylights as a symbolic narratives’, op. cit. Figure 62: Charles Correa Foundation (August, 2016)‘Connecting bridges controlling the vision similar to stepwells’, op. cit. Figure 63: Charles Correa Foundation (August, 2016)‘Sectional detail showing the social and existential connections’, op. cit., Edited by Author Figure 64: Charles Correa Foundation (August, 2016)‘Main Entrance with the unobstructed view of the lake at the back’, op. cit. Figure 65: Charles Correa Foundation (August, 2016)‘Courtyards as a conversational or resting points shielded with the trees’, op. cit. Figure 66: Charles Correa Foundation (August, 2016)‘Each landing is designed with landscape features to develop a point of pause’, op. cit. Figure 67: Charles Correa Foundation (August, 2016)‘Open air spaces giving potions of life to the covered spaces’, op. cit. Figure 68: Charles Correa Foundation (August, 2016)‘Open air theatre with the backdrop of lake’, op. cit. Figure 69: ’Rock cut caves are completely submerged spaces’, Hardy, A. (2007) op. cit., pp.77 Figure 70: ‘Stepwells are partially submerged and have strong connection with the above ground’ Livingston, M. (2002) op. cit. Figure 71: ‘Nehru Pavilion, Delhi is an example of earth covered space’, Author’s own image

VIII

Figure 72: Shah, D. (February,2017) ‘Sequences of triangular cut-outs to activate the below ground spaces, Nehru Pavilion, Delhi’, Retrieved from Architexture & Design (AD) [Online Image] [Accessed on 13th Febuary 2018] https://www.architecturaldigest.in/content/emerging-inter est-modern-heritage/ Figure 73: Vir. Mueller Architects (2015) ‘Underground museum at Humayun Tomb, Delhi activates the urban space near the heritage site’, Retrieved from Archnet [Accessed on 23rd Febuary 2018] https://archnet.org/authorities/3177/publications/10085 Figure 74: Vera 10 (November, 2017) ‘Delhi haat Sunken Plaza as a main spine of the traditional sense of city, New Delhi, India’, Retrieved from TW Audio [Accessed on 3rd March 2018] https://www.twaudio.de/en/references/vera10-covers-dil li-haat-janakpuri/ Figure 75: Tegar, A. (January, 2015)‘Service tunnel across the city, Gift city, Ahmedabad, India’, Retrieved from wikimedia [Online Image] [Accessed on 5th March 2018] https://commons.wikimedia.org/wiki/File:Utility_Tunnel_GIFT_ City.jpg Figure 76: Dashputre, V. (September, 2017)‘Gumpha House, Nasik (Primitive Future)’, Retrieved from archdaily [Online Image] [Accessed on 5th March 2018] https://www.archdaily.com/878874/primitive-future-gum pha-house-within-n-without Figure 77: Studio Archohm (August, 2016)‘Utilizing the underground medium to establish a connection with the context, Museum of Socialism, Lucknow, India’, Retrieved from archdaily [Online Image] [Accessed on 9th March 2018] https://www.archdaily.com/794277/museum-of-socialism-jay aprakash-narayan-interpretation-center-archohm/ 57c53873e58ece9a7300009c-museum-of-socialism-jay aprakash-narayan-interpretation-center-achohm-section Figure 78: ‘Two thresholds controlling the harsh sunlight,New Library, Cept, Ahmedabad, India’, Author’s own image

Figure 79: The Times of India city (December, 2012)‘Article about the disadvantages of subways in newspaper’, Retrieved from TOI Bangalore [Online Image] [Accessed on 16th March 2018] https://timesofindia.indiatimes.com/city/bengaluru/Sub way-No-way-for-pedestrians/articleshow/17471737.cms Figure 80: Lopez, O. (September, 2011)‘Master Plan, Acrosanti, Arizona’, Retrieved from Archdaily [Online Image] [Accessed on 4th March 2018] https://www.archdaily.com/159763/paolo-soleris-arcosanti-thecity-in-the-image-of-man Figure 81: Gannet/Acrosanti (April, 2013) ‘Organic skyline of the city which sometimes went below the ground’, Retrieved from USA Today [Online Image] [Accessed on 5th March 2018] https://www.usatoday.com/story/news/nation/2013/04/10/obitpaolo-soleri/2072443/ Figure 82: Wainwright, O. (May, 2016) ‘Community spaces inside the concrete vault which is surrounded with landscape’, Retrieved from The Guardian [Online Image] [Accessed on 5th March 2018] https://www.theguardian.com/cities/2016/may/04/story-cit ies-35-arcosanti-paolo-soleri-desert Figure 83: Peterson, B. (April, 2013) ‘Workshop submerged into the earth and carved with earth moulds’, Retrieved from The Guardian [Online Image] [Accessed on 6th March 2018] https://www.theguardian.com/artanddesign/gallery/2013/apr/10/ architect-paolo-soleri-in-pictures Figure 84: Horton, G. (November, 2013) ‘Connection to the sunken courtyard with a glass window panel in the form of pumpkin apse’, Retrieved from Design within reach blog [Online Image] [Accessed on 6th March 2018] http://blog.dwr.com/2013/11/26/giving-thanks-for-paolo-soleri/ Figure 85: Jappy, P. (2015) ‘Human scale walkways connected with the organic nature of the context which are sometimes sunken’, Retrieved from Dear Susan [Online Image] [Accessed on 6th March 2018] https://www.dearsusan.net/2015/08/10/389-phoenixs-franklloyd-wright-legacy/

Figure 86: Licata, D. (September, 2009) ‘Merging into the nature, Dome house by Soleri taken inspirations from Frank Lloyd Wright’, Retrieved from A Lifes work [Online Image] [Accessed on 6th March 2018] http://alifesworkmovie.com/2009/09/paolo-soleri-at-domehouse-a-clip/ Figure 87: Shulman, J. (April, 2013)‘Entrance to the Dome house’, Retrieved from archdaily (the dome in the desert by Wendell Burnette [Online Image] [Accessed on 7th March 2018] https://www.archdaily.com/359748/the-dome-in-the-desert-by-wendellburnette Figure 88: ‘Below the ground levels for public transport in the city centre to develop the open green spaces at the ground level’, Le Corbusier (1929), ‘Urbanisme’, Paris, Groupe Flammarion (Image edited by Author) Figure 89: MVRDV (No date)‘Underground shopping experience in the lush green, Green Shopping Centre, Barcelona, Spain’, Retrieved from MVRDV website [Online Image] [Accessed on 9th April 2018] https://www.mvrdv.nl/projects/green-shopping Figure 90: Ronka, K. (1998) ‘Feasible depths of different activities in the urban structures’, Retrieved from ‘Underground space in land-use planning’ journel [Online Image] [Accessed on 9th April 2018] https://www.sciencedirect.com/science/article/pii/ S0886779898000297 Figure 91: Guzman, M (June, 2012)‘Activating the urban space with submerged spaces,Underground Leisure Lair, Teruel, Spain’, Retrieved from Domus [Online Image] [Accessed on 16th April 2018] https://www.domusweb.it/en/news/2012/06/11/mi5--pkmn-un derground-leisure-lair.html Figure 92: KMD Architects (No date)‘Retail and entertainment experience merging into the landscape, Garden Santa Fe, Mexico’, Retrieved from KMD Architects website [Online Image] [Accessed on 16th April 2018] http://www.kmdarchitects.com/garden-santa-fe/ Figure 93: Sanjay Puri Architects (No date) ‘a) Reservoir: The Office building Complex following the principles of stepwells as a submerged space, b) Section’, Retrieved from The Plan [Online Image] [Accessed on 16th April 2018] https://www.theplan.it/eng/project_shortlist/76 Figure 94: ‘Possible general section of the city which can brings a huge green spaces well connected to the human scale buildings’, Author’s own image XI

Chapter 1: Prologue

Abstract Urbanism in India shares a duality in developing the concept of cities. Modern urbanism started with the Nehruvian vision of new India after independence which led to the development of Chandigarh. Afterwards, a few more cities developed with the Utopian vision as New Delhi, Ahmedabad and Mumbai which became the power centers of politics and economics. A lot of known architects had worked in these cities by developing the new traditional modern architecture in India. There is one more flipside of this evolution, which are the cities like Hyderabad, Chennai, Bangalore, Gurgaon, Pune boomed with the architecture of impatient capitalism. These are the non-contextual settlements decorated with the high-rise IT towers of glass which contrast with the architecture and climate of the country. Now around 300 cities in the country have been established with an urbanism of confusion to cater for 400 million people (Mehrotra,2011). Present architects and planners in India are facing a threat of these upcoming new cities which are increasing at a faster rate without any context and relation to the traditions of India which holds a history of 3000 years. The cities are witnessing a huge migration of resources and populations all around the country in search of food and shelter, which results in a formation of crowded lands full of unhygienic situations. The pitiful reality is that the cities are facing the scarcity of land and we must accept it. More and more constructions by removing the green areas are disturbing the balance of nature and transports the atmospheric abnormalities. This is common for the western countries, who are also struggling to overcome the requirements of the new overcrowded generations seeking new opportunities in the cities. Planners in these countries have explored every possibility and started developing the spaces underground which is itself a new type of concept at the start of the twenty-first century. However, this was never a new concept in India as the land of India is filled with numerous astonishing sub-ground architectural marvels. But, these innovations are never exploited popularly at urban scale by now because designers always look up, but never looks down for cityscape. Since the land is less and global warming is a threat, this is the time to go back and understand our precious historic civilizations in detail which has a lot of existential meanings in subterranean spaces for gatherings. 1 Prologue

Research Problem The inattention to the sub ground architecture in India acting as a barrier to their usability at urban level. Lack of knowledge brings the misconceptions in the society towards the capacity of the sub ground. Therefore, this problem is addressed with the interrogations to find the answers for their positive upbringing. What are the principles of sub-ground traditional architecture in India and their reinterpretation in modern architecture? What are the consequences of the neglect of working on sub-ground spaces by Indian architects and planners and how can these obstacles be fixed?

Aims and Objectives The aim of this research is to develop a platform for further discussion on the possibilities of designing the modern public spaces by taking forward the principles of traditional stepwells and famous rock-cut temples of India which could give the identity to the cityscape of Indian cities and control the green versus-built ratio.

Scope and Limitations The objective of this study is to explore the principles and notions of various traditional sub-ground or underground structures available in India and then understand the present architectural interpretations of these public spaces by modern architects and planners. This will be done through understanding the scenario of underground architecture in the context of different countries. In the proposed study, the probability of sub-ground structures in public spaces through the various examples of ancient constructions in India will be investigated. Also, this study will be limited to the understanding of architectural perspectives of such structures and will not drive into the engineering and conservation related to it.

Prologue 2

Exploration The superstructures and substructures are the two types of structures. Nonetheless the major focus is always made on superstructures and substructures are left to fulfill the bylaws of the place. The maximum effort made is to provide a parking space in the underground. Designers are struggling for building sustainable cities and keep looking for earthy materials, but they do not want to build sub-ground. The history of India has a lot to explore about this terminology. The initial settlements in India such as Hampi, Warangal, Ellora are some inspiring examples of sub ground architecture. There are around three thousand stepwells present all over the country of which most of them are even yet to identified by archeologists. There are a lot of underground constructions founded in the most astonishing forts of India by ancient rulers. These constructions have meanings which are related to the spirituality and myth of culture contributing towards the most generous spaces in terms of climate and security. These spaces share a concept of duality i.e. a world within a world. We are living in the three-time zones in India, the anchors of past, desires of future and truth of present (Pandya, 2005). So, our architecture should celebrate all of them. Le Corbusier wrote: ‘The purpose of architecture is to move us. Architectural emotions exists when the work rings within us in tune with the universe whose laws we obey, recognize and respect.’ (Versune Architecture, 1923) This study will focus to develop the parameters based on the literature study of principles and stereotomy of these ancient timeless spaces. Then the modern architecture of public spaces of India and other countries with similar context like the city of Acrosanti will be examined based on these parameters, taking forward this to analyze the modern physical form and an image of the successful underground public spaces.

Diagnosis

The term ‘underground’ is sometimes misjudged as an ‘underworld’ which is the symbol of undesirable ambiances and criminal world. This makes such spaces isolated from the above world. The learnings from this research will help to examine the causes which result in the neglect of working on sub-ground architecture by architects and planners as there is hardly any modern urban spaces created in modern India based on this valuable heritage. 3 Prologue

Chapter 2: Ancient Subterranean Heritage of India Introduction Stepwells Stepped ponds or Kunds Cave Architecture (Rock cut Temple Architecture) Kailasa Temple, Ellora Caves, India Linking the Rock cut architecture of India and Euthopia

Introduction The medieval architecture of India is saturated with copious examples of sub-ground public spaces, which has a massive significance towards the environment and religious beliefs. The most famous spaces can be found during the Buddhist (B.C. 250-A.D. 750) and Hindu (A.D. 600- A.D. 1750) architecture majorly during the Dravidian period (A.D. 1350- A.D. 1750) in the form of rock-cut temples and caves, which were considered the major community centers of that time. The temple at Ellora, Ghats near the rivers, Tanks (Kund) in Hampi caves and stepwells in various locations of India were astonishing creations during these periods. These spaces were erected from the solid rocks or earth, which became the medium of cultural and religious attraction and helps them to blend the life-creating energy with the spirit of earth (Meijenfeldt, 2002, pp.21). These ancient sub ground spaces establishes a relationship in a physical and emotional sense.

Ancient subterranean heritage of India 4

Stepwells Known as ‘Baori’ or ‘Baoli’ in Hindi and as ‘vav’ in Gujarat, stepwells are the mastery creations of engineering and local architecture which fuses the form and function together with the spirit of existence. These fifteen-hundred-year-old structures generally found in western parts of the country are approachable through a series of steps into the earth to reach the stored water level. They were made to fulfill the water requirements of people for irrigation, bathing, drinking, social gatherings and sometimes as a cooling resting venue for the travelers mainly in the arid regions (Gujarat and Rajasthan) of the country which faces the dry spell. Women used these places to collect the water for the household, though they spent a lot more time in stepwells to perform rituals and to interact with other females. But, regardless of area, there are around three thousand stepwells all over the country which established the centers of socio-religious society. These stepwells are broadly three to nine storey below the earth to reach the water which varies with the amount of rainfall in an area (Fig.1). Even though these structures were created by Hindus (during A.D. 900- A.D.1200) as a charitable gift to their kingdom, Islamic (1206-1526) rulers also retained them during their rule. They built the stepwells by removing the floral ornamentations of Hindu architecture close to their precious bath houses for ceremony and relaxation, which reflect their social customs and aesthetic sensibilities (Livingston,2002, pp.xix). The Mughals (1526-1857) also drew the inspiration from these water monuments which can be clearly seen in their use of water wells and fountains in the famous Mughal gardens located in various parts of the country.

5 Ancient subterranean heritage of India

1. ‘Open air submerged public space’, The Queen’s Stepwell in Gujarat/Photo by Goda, A. (No date) (Online Image)

2. Rhythm of frames through column and beams, Stepwell at Adalaj, Gujarat /Photo by Author

Ancient subterranean heritage of India 6

(a)

(c)

(b)

(d) 3. Classification of Stepwells (a) Nanda, (b) Bhadra (c) Jaya, (d) Vijaya /Image by Author

4. â&#x20AC;&#x2DC;Structural system of columns and beams to strengthen the retaining wallsâ&#x20AC;&#x2122;, General exploded view of a stepwell / Source: Pandya, Y., 2005 / Edited by Author 7 Ancient subterranean heritage of India

Classification There are diverse forms of stepwells present in different parts of the country in relation to their scale, materials (stone, bricks and mud) and shapes (rectangular, square and circular). They are broadly divided into four categories as per their design form. First, the Nanda (Fig.3a) has straight forward steps in one axis which ends into the shaft. Second is the Bhadra (Fig. 3b), which is composed of two flight steps opposite to each other in one axis. Its intersection point is a shaft with water. Jaya (Fig.3c) is the third which has three flights of stairways perpendicular to each other arranged around the shaft in three directions. Last is Vijaya (Fig.3d) which have four flights perpendicular to each other that give access to shaft from all four sides. (Indiaâ&#x20AC;&#x2122;s Invitation, 2016, Online).

Construction Techniques These open to sky structures are scooped out from the earth in the form of inverted pyramid or triangle. There are two parts of stepwell such as staircases and a vertical well or shaft in the end. Generally built in the trabeated method with the use of decorated stone columns and beams which controls the thrust of earth towards them. Since the available stones lengths were restricted in earlier times, intermediate rows of columns and beams are provided which creates a spatial rhythm in the form of threedimensional lattice along the staircases (Fig.4). Every flight of staircase carries approximately six to twelve steps so that platforms can be generated at every interval which holds the retaining walls tightly as lateral braces. These platforms or pavilions are covered with stone roofs which break down the whole of the structure into the group of frames and gave balance to the inclined void. At the bottom, the funnel like shaft rested on a square stepped floor which has a backdrop of columns and beams

Ancient subterranean heritage of India 8

and sometimes arched openings. This shaft is sometimes partially open to the sky with an octagonal cut out tubular space (Jabs, 2002, Online).

Spatial Renderings

The stepwells were created for the congregation of the gods and the humans to drink the potion of life-water. These underground spaces have furnished themselves with time and space, which can be experienced through the movement inside them. During the journey, the indications for movement are innovatively expressed by one of the other concealed space, which creates a sense of curiosity among the people for discovery. Each landing confirms that every flight reveals itself and concealed the part coming next through the rows of columns and beam which controls the cone of vision (Fig. 11). However, the design is quite straight-forward where the eye vision spreads to the length of the well, but visual frames are kept reforming because of the inclined movement through the steps. In this way, the landings became the timeless thresholds which control every movement through them and became the important notion of kinesthetics. The retaining walls articulating the clear boundaries and edges of the space gives a strong sense of enclosure that creates a delicacy of inside-outside (Fig.5). The path of sun movement plays a major role for the playful light and shadow in stepwells as the morning and evening sun rays fall on these shoring walls and the afternoon sun rays fall on the passage filtered from the series of columns and beams. After every movement towards the water, the intensity of light reduces which enhances the quality of enclosure and added the notion of bipolarity. This dynamism of sunrays renders its quality of survival and timelessness.

9 Ancient subterranean heritage of India

5. ‘Enclosed social space yet part of the landscape’, The Queen’s stepwell, Gujarat /Photo by Author

6. ‘Symbolic sculptures carved out on the retaining walls’ The Queen’s stepwell, Gujarat/Photo by author

7. ‘Octagonal entrance area controlling the vision for the next movements’ Adalaj, Stepwell, Gujarat /Photo by Author

8. ‘Going down away from the sky to reach the sky’, General section of a stepwell, Gujarat /Photo by Author

Ancient subterranean heritage of India 10

9. ‘The first pause point for orientation, Entrance at the Adalaj Stepwell /Sketch by Author 10. ‘Connection of fire and water inside a octagonal funnel’ /Sketch by Author 11. ‘Cone of vision around the rows of columns and beams’ / Sketch by Author

12. ‘Symbolic illustrations on the retaining walls while moving down to the stepwells’ Section of Stepwell /Image by Author 11 Ancient subterranean heritage of India

When the sun meets the water in the shaft of stepwell framed through an octagon by myriad storeys of balconies (Livingston, 2002), two different worlds of fire and water becomes attached to each other (Fig. 10). It is the intersection point of the vertical and horizontal axis of the stepwell which is converted into the cosmological axis to bind the earth and sky together (Jabs, 2002, Online). At this point well and sky are presented twice, one is through its design due to a partial covering of well and other is the reflection of the sky in water which makes the scene mesmerizing and explains the legibility of these constructions. Since the water level keeps changing in stepwells due to the amount of rainfall, these wells sometimes submerged the adjacent stairs and trabeated elements inside it, which again creates a mystery with different perception to the visitors. Considerably the Hindu stepwells showcase their ability of semiotics in these underground spaces. For them, stepwells have the relationship to the ablution by the holy dip in the water as well as the connection to netherworld, thus, they used the language of symbols to replicate their thoughts with water-related motifs such as churnings of the ocean, images of fish, water pots and images of water god Vishnu carved on the shoring walls on frequent intervals (Fig. 12). This converted the mood of the perceiver with peace and stillness and when he reaches near the water it is converted into a shrine for him. By introducing the layer of symbols and metaphor renderings, perfect associational meanings are established within the same space. This way stepwells have a duality of existence which is reflected beyond its physical and functional aspects. The overall journey is the totality of the receptive and spiritual power which has its own denotation (Pandya, 2005. pp.46).

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13 Ancient subterranean heritage of India

“For their pensive stillness and silent collection, still waters have traditionally represented the contemplative and pervasive ‘indwelling spirit’ of nature.”- Charles Moore (Livingston, 2002, pp. 5)

13. ‘Thirteen storey deep gathering space’, Step pond at Abhaneri, Rajasthan / Photo by Kerth Redorn (May,2015) (Online Image) Ancient subterranean heritage of India 14

14. ‘Geometry in design of step pond at Hampi’ /Photo by author

15. ‘Square shape kunds, Chand Baori, Rajasthan’ /Source: Livingston, M., 2002

15 Ancient subterranean heritage of India

Stepped Ponds or Kunds Stepped ponds are the open-air square water bodies accessed through the zigzag series of steps with steep slope. They were always built near the temples and turns into a main social plaza for interactions among the users. Every flight of stairs was placed adjacent to each other which is half of a corresponding pair to form a triangle (Livingston, 2002). This again brings an intersections of the two different means of fire and water through inverted triangles (Fig. 16).

16. â&#x20AC;&#x2DC;Connection of sub-shrine in the kund with the main shrine and the star formâ&#x20AC;&#x2122; Sun Temple, Modhera /Photo by Author

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Cave Architecture (Rock-cut Temple Architecture) The cave architecture of India is the most profound construction in the world. More than fifteen hundred rock-cut structures exist in the country which were made during Buddhist, Jain and Hindu era (Fig. 18). These structures were generally made for the accommodation and religious purposes which were scooped out from the rocks or earth to create the monolithic sculpted masses. The earliest cave construction was built between the 1st and 2nd century by Buddhists, who used their wooden engineering skills for the crafting of stones. The early monasteries and stupas are examples of this typology. Jains also built many temples based on rock-cut architecture such as the Hathi Singh Jain Temple in Ahmedabad to expand their religion throughout the country. From the Gupta period, Hinduism started flourishing in India which led to the construction of Hindu temples on the same scale as the cathedrals in Europe between 6th and 13th centuries (Hardy, 2007, pp.13). So, these temples became the social and educational centers for people where they spent a lot of time connecting with God and establishing social relationships with each other. Mircea Eliade writes: “The most primitive of the ‘sacred places’ we know of constituted a microcosm: a landscape of stones, water and trees.” (Eliade, 1963, pp.269)

17. ‘Cross-section of the Cave (32) at Ellora, India, 9th Century’ /Source: Kamiya, T. (1993-94) (Online Image)

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18. â&#x20AC;&#x2DC;Prime ancient cities where rock-cut architecture was flourishedâ&#x20AC;&#x2122; /Source: Hardy, A., 2007, pp.6 Ancient subterranean heritage of India 18

20. (Above left) ‘Chaitya hall of Bhaja Cave’ / Photo by Author

19. ‘Courtyard of Dhaulagiri Viharas’ /Photo by Neilsatyam (January, 2008) (Online Image)

21. (Above) ‘Classification of different parts of Hindu Temple’ /Source: Tangopaso (June, 2015) (Online Image)

22. ‘Excavation process of Ellora caves in plan and section’/ Source: Soundara, KV (1988) The Ellora Monoliths 19 Ancient subterranean heritage of India

Classification There are three major classifications. The first is the Chaitya hall (Fig. 20), which is a sacred scooped out space for worship on monastic site. The halls, which were approximately constructed in 1st and 2nd Century AD, can be found in western hills in Maharashtra. Generally, they are barrel-roofed and apsidal with aisles (Hardy, 2007, pp.76). There are Viharaâ&#x20AC;&#x2122;s (Fig.19), a Buddhist monastery with a square hall for shelter, dark and echoing with an open-air courtyard space for pleasure and entertainment. The last is the Hindu Cave temples (Fig.21) which are further composed of five elements as per their order. Gopuram is the entrance to the templex complex. Mandapa is the audience hall of the Godâ&#x20AC;&#x2122;s place which maybe enclosed with walls or left open. Vimana is the vertical tower which holds the shrine. Garbha-griha is the innermost square womb chamber where resides the deity. And the Shikhara is the top of the Vimana which take the forms of Latina, Sekhari and Bhumija.

Construction Technique The actual engineering involved in these constructions is still unknown to the world, but these spaces were carved out from the rocky slopes by thousands of workers involved in that time. For instance, in the Kailash Temple in Ellora caves, 400,000 tonnes of rock were removed to create the 30m deep voids with freestanding monolith masses which became the spaces for worship and entertainment. However, there is a hypothetical method predicted by the scholar KV Soundra, who stated that the rock should have been cut downwards into three parts and further crafted to develop the spaces as desired (Fig.22) (Dayalan, 1995, pp.240-242).

Ancient subterranean heritage of India 20

Organisation and Geometry The plans of the Hindu temples were generally based on the concept of ‘Vastu Purusha Mandala’. The creation of this Vastu Purusha Mandala has a fascinating story which concludes with the general square grid layout for the planning of Hindu temples. It is composed of an 8x8 square mandala grid, which has four parts (Fig. 23). First and the innermost part is called the Brahma Padas where the main shrine is located. Second is Devika Padas, next to Brahma Padas where the God reside. The Manusha Padas where human beings live or walk and symbolically make a choice between God and evil as they lie in between them. Last and outermost is Paisachika Padas where evil resides. These medieval temples were associated with the human body as the connection to Vastu Purusha which is itself a human God. In addition, various parts of temples have similar names to the human body such as Garbha-Griha which refers to womb which is the lower part of the human body. This connection can also be experienced through the movements along the visual axis of the temples (Hardy, 2007, pp.36). They were generally oriented towards the east-west direction where the deity was placed eastwards on the cosmic visual axis so that the morning sun can pass through it and the entrance was provided from west direction. These directions were determined through the method of orientation known as the ‘Indian circle Method’. This tool was the small vertical pole which was erected on plain ground and then the circle was drawn through its chord. The morning and evening sun cast shadows of this pole, which touches the circumference twice in a day. This helped them to determine the east-west directions to place the temple main axis (Ohashi, 1994, 168). Then they also developed the extended gnomon system (Fig.24) which was used in geometric carvings on the exterior facades mainly visible through roof plans of the temple (Meister, 1985, pp.255).

21 Ancient subterranean heritage of India

23. ‘Plan of Vastu Purush Mandala with 64 grids’/Source: by Muesse, Mark (August, 2015) (Online Image)

24. ‘Extended gnomon method a. basic sketch b. generating nested squares and circles c. showing diagonal squares d. showing the inherent 12-point star’ /Source: Hardy, A., 2007, pp.138

Ancient subterranean heritage of India 22

25. ‘Continous increase in level to reach the ultimate sky’ Exploded view of Temple /Source: Pandya, Y., 2005 /Edited by Author

26. ‘Optical illusions in cave 2 at Ellora’ /Source: Pandya, Y., 2005 23 Ancient subterranean heritage of India

Spatial Renderings Cave architecture can entertain the visitors emotionally and spiritually. The devotee enters the temple complex though Gopuram proceeding to the series of ascending stairs and platform and then to the semi-open mandapa and finally to the enclosed garbha-griha where the deity is placed (Fig. 25). This transition of spaces from bright to the dark, open to the enclosed helps the devotee to meditate and connect with the God. This is enhanced by the movement of the horizontal plane to the vertical through the plinth of the Mandapa and Vimana which finally moved vertically to reach the shikharas which symbolically connects with heaven. This is comparable to the Egyptian’s ‘artificial pyramids’, constructed to develop the intentions of real mountains, which builds the connection of earth and the sky through the cosmological vertical axis and unifies it with sun-god Ra. The early cave temples intelligently acquire the usage of optical illusions (Fig.26) and visual imagery (Fig.27) in their spaces at human eye level, which helps to reveal the spaces after the pauses and conceal the rest. This makes the movement through them eventful and sometimes helps to maintain the relationship between the two contrasting spaces (Pandya, 2005, pp.26).

27. ‘Eventful control of the visual imagery through dark spaces’ /Photo by Author Ancient subterranean heritage of India 24

Kailash Cave Temple, Ellora Caves, Maharashtra (757-773 AD) This cave temple is the biggest monolithic temple of the Dravidian style of architecture in India, which was carved out from the rock with an enclosure of about 100x75m. It contains both freestanding masses of Mandapas and Vimana and scooped out spaces for circumambulations around the deity. There is one more circumambulation path around the main deity ‘Lord Shiva’ at ground level, which holds the houses of five secondary deities. The temple is oriented towards east-west with rocks on three sides and a wall on the fourth side, which marked the entrance of the c omplex. At the rear edges, rocks are further scooped beyond the enclosure line to create the colonnade corridor. Despite every part of the complex has its own qualities and notions, they are united together in terms of materials and overall visions of Hindu architecture. They depict the duality of existence, such as a world within a world (Pandya, 2005, pp.60) , which is one of the important principles of Hinduism. Every element of the complex narrates the movements and pauses, which helps to give the directions to the perceiver periodically through visual frames designed with optical illusions and crafted symbols (Fig.28). The entrance of the temple is through a small doorway on a blank wall called Gopuram, which doesn’t reveal the space inside(Fig.30). The gopuram is a two-storey mass which has the resting space on the ground and viewing pavilion on the upper level. This entrance leads to the single storey vertical mass with sculptures of Lord Laksmi and Nandi. The next visual frame, towards the left, in the form of free standing elephant sculpture and the Goddess of water gives the notion of purity and the entry to the sacred world (Fig.34). At this point, the temples reveal its massive glorified spaces full of sunlight and invites the devotee to explore every detail (Fig.31). Then, the carved staircases take to the more sacred plinth of Vimana by crossing the Nandi and Maha mandapa away from the realm of earth (Fig.29). The Vimana holds the garbhagriha (the shrine), the darkest enclosed space, giving the devotee a chance of self-exploration and to establish an one-to-one connection with the deity. The rough-chopped treatment near the rear enclosure above the passages stands as a juxtaposition to the nicely crafted freestanding structures (Fig.32). However, both symbolize the home of the God as the mountaintop and a space inside a rough cave is always considered sacred for residing deities. This is another outlook of duality of existence. The ‘marriage of heaven and earth’ which was the point of departure for ancient cosmogonies was thus concretized in built form (Norberg-Schulz, 1980, pp.52). 25 Ancient subterranean heritage of India

28. ‘Movement along the Kailasa temple with number of pauses’ Site plan of Kailasa Temple /Image by Author

29. ‘Cross section of temple showing the series of transition which terminates into the sky’ /Image by Author

Ancient subterranean heritage of India 26

30. ‘Blank wall Entrance with a small opening conceal the spaces behind and brings the excitement’ /Photo by Author

31. ‘Freestanding elements in the form of pillars and elephants helps to oriente the visitors’ /Photo by Author

32. ‘Roughchopped roofs are the menifestation of the duality’ /Photo by Author 27 Ancient subterranean heritage of India

33. (A) ‘the first pause point where the images of gate keepers are provided to welcome and give the orientation to move to other direction’ /Sketch by Author

34. (B) (left page) ‘The freestanding carved element and Sculpture of River God gives the symbol of purification and notionally cleans the thoughts’/Sketch by Author Ancient subterranean heritage of India 28

35. (C) ‘This diagonal path through the low height monolithic stairway leads the visitor from open lit space to the dark and enclosed sacred area of temple’ /Sketch by author

D C

36. (D) ‘Hall of Main temple area guiding the way to the deity through the rows of low height columns’ /Sketch by Author 29 Ancient subterranean heritage of India

The overall experience through variation of movements, contrasting spaces, change in illuminations, combination of solids and voids, ascending form to the vertical connection, that is the heaven helps in the timeless conditioning of the mind of the perceiver. The vital importance of architecture is to give man an existential foothold (Norberg-Schulz, 1980, pp.52).

37. â&#x20AC;&#x2DC;The temple complex compliments the context instead of overpowering itâ&#x20AC;&#x2122;, Overview of Kailasa Temple /Photo by Author

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Linking the India’s rock cut architecture and Ethiopia’s Lalibela

The mastery skills of India in terms of cave engineering and water architecture became the inspiration for the Ethiopia cave architecture. The Ethiopians borrows the skills from the India with the intention to develop their ancient complex of twelve churches and sacred water bodies of Lalibela and Libonos. There are several evidences to understand this relationship in between the two. The city of Lalibela was the hydro-engineering mastery assuring the financial existence of the city because the water elements were a feature of spiritual symbolism (Jarzombek, 2010). The city is the one of the prominent pilgrimage site which caters around 50,000 pilgrims in twelve churches (during twelfth century) which were carved downwards into the solid rock. Apart from the exteriors, interiors were also carved using the same method, which is developing the space downward to the floor. This unconventional technology is like the technology which was used in building the cave temple at Ellora in India. Therefore, there is a strong possibility of shifting the ideas from India to Ethiopia. Lalibela sits on the top of the plateau above the river. The reason behind choosing this location was the water availability at the mountaintop of the city. Thus, they develop the artesian pressure system in coordination to the location of their churches to use the water and finally merges into the river Jordan. This has similarities with the water system developed in one of the ancient cities of India called Mahabalipuram, where a series of rock-cut temples were constructed. Then two artesian tanks were designed to coordinate the flow of river ‘Ganges’, coming down from the hill, according to the location of temples. Therefore, in both the places artesian water system were used to irrigate the symbolic river (Jarzombek, 2010). Both the water bodies were considered as sacred and have religious notions. This can be concluded that in ancient times, there must be the exchange of thoughts through the connecting sea in between the two countries for economic and cultural reasons.

31 Ancient subterranean heritage of India

BOOK REVIEW:

“Concepts of space in traditional Indian architecture” by Yatin Pandya published by Mapin Publishing Pvt. Ltd, Ahmedabad, India, 2005 Yatin Pandya is an architect dedicated to the sustainability of cities in India. In this book, he tries to bring out the exact understanding of the origins of traditional architecture in India under the parameters of time, space and existence. His study interprets these concepts as universal truth which should be restored in current periods. The author demonstrated the spatial narratives of the Indian traditions in their physical forms. He introduced the various meanings of Indian culture which are still logical in contemporary times. The people following these traditions renders them as the living past and establish the connection between the past and present such as cultural associations at various old monuments. For instance, he narrates the cyclic phenomena of time which effect the physical community spaces of Indian cities like the famous public square – ‘Manek chowk’ in Ahmedabad which performs different functions at different time. In the morning, the space becomes the play area or cow-grazing ground, which then converts into the intense business place for the rest of the day and then during the night, the square converts into the outdoor eatery. The understanding of duality and bipolarity properties through the ‘Indian vegetable Thali’ (different varieties of vegetables and chapatti) or the ‘Men’s turban’ (used to wear on head and cover the body in the night) establish a strong connection of Indian culture and its spaces, which also has varieties of activities and multi-functional. In this context, the author tests various ancient constructions of India with respect to its principles and context. He tries to take the reader on a guided tour around the heritage buildings to recognize the kinesthetics and thresholds hidden in these traditional spaces. In the latter part, he relates this kinesthetics with modern geometric coordination which can be seen in the works of Le Corbusier in India. To conclude, Pandya derives the outcomes which prove the duality of a timeless architecture of India. They are time and space, mind and matter, notions and reality, microcosm and cosmos, and conceptual and perceptual. The various illustrations and comparison provide a virtuous background to look deeper into this subject for the discovery of footprints of traditional spaces which collectively contribute to build the futuristic cities with the living past. Ancient subterranean heritage of India 32

Chapter 3: Modern Subterranean Assets of India Introduction Doshi- Hussain Cave- BV Doshi Bharat Bhawan ‘India House’- Charles Correa

Introduction The previous section showcases the origins of the sub-ground architecture in India along with its major principles and values. The notions related to it successfully solidifies the connections between humans and nature with the kinesthetics of these timeless public spaces. This section analyzes the progression of this heritage expertise in modern India with respect to the public architecture of the country. The modern architecture in India was pioneered by the first Prime Minister of India, Pt. Jawahar Lal Nehru, who invited Le Corbusier and Pierre Jeanneret during 1950s for the planning of Chandigarh. This step leads to the new India with modern architecture which was replicated throughout the next thirty years in different parts of the country. However, this was not the first modern construction in India; a little-known project in Pondicherry (the French colony during pre-independence)- ‘The Golconde’ (Fig. 38), was constructed by Japan-based architect Antonin Raymond with his colleague George Nakashima in 1945. Raymond, who was known for interpreting his modern architecture expertise with the traditional Japanese aesthetics, exploited this chance to test his exposed concrete skills in India in response to the context and the climate of the city. During the 1980s, a group of young architects in India found this modernism inadequate in the context, which always has a sense of duality of existence in its spaces. Consequently, architects like BV Doshi, Anant Raje, Charles Correa, Raj Rewal and many others started looking after the idea of ‘Modern Indian Architecture’ by interpreting the principles of Indian ancient constructions (Gast, 2007, pp.7). They also tried to interpret the meanings hidden in ancient sub-ground constructions through their modern mediums of existence responsive to the climate and vernacular in nature. This section discusses the notions of these modern sub-ground public projects in different scales.

33 Modern subterranean assets of India

38. ‘The golconde: first modern building in India’ /Photo by Dilwali, A., 2010

39. ‘New Bagalkot Town Centre denoting the Shunya or Blank/ Non-building centre through a step-pond’ /Source: Correa, C., 1996

Modern subterranean assets of India

40. ‘BV Doshi with Le Corbusier’ /Source: AD Editorial Team, Archdaily (March, 2018) (Online Image)

41. ‘Sangath: Submerged studio of Doshi with the blessings of nature’ /Source: Aga Khan Trust for Culture (No date) (Online Image)

35 Modern subterranean assets of India

Doshi Hussain Cave (1995), Ahmedabad, India Doshi- Hussain Cave, commonly known as ‘Amdavad ni Gufa’, is an underground art gallery designed by BV Doshi for his friend MF Hussain who was the most famous artist of India. The site of the gallery is situated inside the campus of the school of architecture in Ahmedabad, which was also started by Doshi. The footprint of the building is about 280 sqm.

Balkrishna Vithaldas Doshi (1927-present) BV Doshi is one of the pioneers of Modern architecture in India who established his firm ‘Vastu Shilpa’ (environmental design), Ahmedabad in 1955. He had worked for Le Corbusier in Paris during 1951-54 which had a huge influence on his modern reflections and thoughts through design. He also worked closely with Louis I Kahn in the project of IIM, Ahmedabad which was the transitional period in the architectural vision of the country. Doshi’s work combines the values of modern architecture with the substructures of Indian tradition architecture responsive to the environment. Some of his famous projects such as Sangath (own office), CEPT campus, IIM Bangalore, Doshi Hussain Gufa and the Gandhi Labour Institute are the most profound evolutions of modern Indian architecture. He also tried to explore his modern skills by constructing below the ground in his favorite projects: ‘the Sangath’; which means ‘moves together with participation’ (Fig. 41), and the famous ‘Gufa’ in Ahmedabad. He derived these constructions through the study of ancient Indian caves and underground spaces, which were highly responsive to the harsh climate of India.

Modern subterranean assets of India

37 Modern subterranean assets of India

“Give time a break” -Doshi

42. ‘Experimental mix of art and architecture, Doshi-Hussain Cave’, Ahmedabad, India /Photo by Author

Modern subterranean assets of India

43. ‘Shells with the covering of mosaics and artwork of Hussain’ /Photo by author

44. ‘Cross-section of the earth protected cave with the transitional elements such as skylights, colour paints of Hussain, columns’ /Sketch by author

45. ‘Shells are constructed through chicken wire mesh and ferroconcrete layers by unskilled labour’ / Photo by Vastu shilpa consultant 39 Modern subterranean assets of India

Visions Towards the Doshi Hussain Cave “In true architecture, one must experience joy and celebrations, it must affect our inner self. It cannot be distinguished separately either as modulation of light or surfaces or supporting system. On the contrary, a good design merges floors, walls, ceilings into one contiguous whole and creates an organic space almost like a living being. It then becomes a small universe, a microcosm which we can call paradise.”- BV Doshi (Vastu Shilpa Foundation, 2014) Ahmedabad has a hot and dry climate during most part of the year so the Doshi and Hussain mutually decided to position the gallery below the ground to use the earth enclosures for protection against the harsh climate (Fig. 44). Doshi tried this sub ground construction earlier in his own office ‘Sangath’, which has its own notions and traditional attachments with the glimpses of Corbusier modernism. He derived the concept of this gallery through learning from the ancient cave constructions of Ellora which have a spirit of timelessness. Further, he also tried to use the qualities of the paintings of Hussain, which are famous for its curves and movements through out the world. Therefore, this project is the perfect blend of art and the architecture.

Construction Techniques The unusual shape and form of the building was handled by the computer aided techniques to control the scales and proportions. This organic fluidity was achieved by making the whole structure, light and self-supporting with the use of frames made from wire meshes covered by the one-inch thick layers of ferro-cement (Fig. 45). The floor was again derived from the traditional foundation means of wire meshes and mortar. Inclined irregularly shaped columns were provided at the junctions of varying shape domes. Waste tiles were cladded on the top of the domes to reflect the sunlight falls on it.

Modern subterranean assets of India

Organisation and Geometry The plan was developed with the mix of intersecting ellipses and circles arranged in a manner to produce the divisions among the functions of the interiors following the ‘Blobism’ (Fig. 46). The cave achieved its form, the mythical multi-headed tortoise, which is poised between earth and sky. A black serpentine cobra image twist around the creature to balance it on the ground (Archtitexturez South Asia, 1994, Online). The circular openings were derived through the domes with the shafts to provide the diffused light inside the cave (Fig. 43).

Spatial Renderings “Underground, dimly lit, and unfathomable space is what Gufa or cave means. Its fluid space, which has now become a natural garbhagriha, or “golden womb,” is where one is able to discover previous births and reincarnations. Such unexpected experiences make one ask: Who am I? Where do I come from? What time is it? How much and whose time do we have? Yet these questions become irrelevant as one delves deeper, as in a yogic trance. In the Gufa, the past, present, and future are fused into a seamless continuum. There is no beginning and no end: in that space, time stands still”- BV Doshi (Doshi, 1998, Online) The journey to this astonishing marvel begin with the hidden entrance through the steps downwards behind the brick parapet wall, which does not reveal its magnificence from outside (Fig. 47). The circular shape glass entrance door marks the first threshold and takes the perceiver from bright space to the enclosed semi-lit space, which is cooler than outside due to the protection of the earth enclosure (Fig. 48). The leaf shaped motifs (Fig. 49) can be seen on the entrance to the cave, which discloses the space of the first shell. Rather unexpectedly the visitor views a painting of Hussain on the facades, which uses the vibrant curves to create a scenic amalgam with the curve of the structure. This becames a first pause and the perceiver starts developing the visual frame for the next movement inside the cave, which takes him to the large open space lit down through a shaft cut out from the dome which notionally connects the sky to the earth. Everything remains constant except the sun, so this light coming 41 Modern subterranean assets of India

46. ‘Movement and transitional pauses around the space, Plan of the Cave’ / Image by author

47. ‘The main entrance is hidden with a low height blank wall similar to blank entrance wall of Kailasa temple’ / Photo by author

48. ‘Entrance to the dark sacred space through a transitional stairways’ / Photo by author

Modern subterranean assets of India

49.’Leaf shaped motifs at the entrance’ / Photo by author

50. ‘The unusual shaped columns bisecting the spaces’/ Photo by author

51. ‘Ceilings are decorated with Hussain Paintings’/ Photo by author 43 Modern subterranean assets of India

from the snout keep changing its path according to the direction of the sun and conditions the mind of the humans. The connection is established between the human and the elements of nature, which is one of the principles of the traditional architecture of India. Robert Venturi said: “Architecture occurs at the meeting of interior and exterior forces of use and space” (Venturi, 1966, pp.88). Looking forward, the visitor discovers the unusual shaped inclined columns like a stem connecting the floor to the shell. This acts as a protection tool which controls the vision and conceals the rest of the space. This excites the visitor to discover the next parts of the cave. At one point, when this cave structure reminds the visitor of the cave civilizations, these paintings, which were also inspired by the carvings in ancient caves, stimulates the imagination (Fig. 51). Therefore, it connects the three-time spans such as past, present and future together like a river and enriches its feature of timelessness and symbol of existence. This project, with the contribution of the architect and the artist, comfortably evolves the binary function, which can also be found in every ancient construction. The regular fluidity in terms of shape and forms results neither the start nor the end and encourages the visitor to continue through them. The overall schemes bind the modern architecture with the principles of the traditional architecture of the country.

52. ‘Central hall as the resting spot’/ Photo by author

53. ‘Elliptical gateways’/ Photo by author Modern subterranean assets of India

45 Modern subterranean assets of India

54. â&#x20AC;&#x2DC;MF Hussain drawing the snake images on the shells of the caveâ&#x20AC;&#x2122; / Source: Vastu Shilpa consultants (1994) (Online Image) Modern subterranean assets of India

55. ‘Non-building technique in the project’ / Photo by charles correa foundation (August, 2016) (Online Image)

56. ‘Series of green terraces becomes the public spaces of the city’/ Photo by Charles correa Foundation (August 2016) (Online Image)

47 Modern subterranean assets of India

BHarat Bhawan “India House” (1982) Bhopal, India Bharat Bhawan is the public Art Centre designed by Charles Correa and financed by the Government of Madhya Pradesh as an idea to nourish the culture and artistic values of the state. The site, with an area of about two acres, is located on a mildly sloping hill overlooking the lake of Bhopal. The architect utilized the contour and built the project below the ground with a progression of terraced gardens and recessed courtyards, which can be accessed through the descending staircases and ramps by following the slope. He used the main urban elements: centres as the pavilions and the path as the staircases.

Charles Correa (1930-2015) Charles Mark Correa was one of the greatest architects of India who contributed regularly towards the establishment of Indian modern architecture after independence. As every other architect of his generation, Correa was highly influenced by the works of Le Corbusier in India. He presented his contemporary thoughts, which were rooted in the space, where it stands in the form of building and landscape. He introduced the ‘open-to-sky’ images and climate responsive spaces in contemporary architecture of India, which he compares numerous times with the Mughal Architecture specifically the complex of Fatehpur Sikri and Red Fort. His designs and various town planning projects reflected the astonishing creations and methodologies of the past which he reinvented in his own way to make them the part of modern India. Therefore, he was highly motivated to design the structures, which borrowed principles from below ground creations of ancient India. Predominantly, the meanings related to the stepwells, caves and mandala which gave him direction to assemble his principles to evolve the local architecture of his time. His few cardinal principles such as incrementality, identity, pluralism, income generation, equity, open air spaces and disaggregation are strongly reflected in his famous projects.

Modern subterranean assets of India

49 Modern subterranean assets of India

57. ‘Cross-section of the project which terminates into the water through a ritualistic pathway’ / Photo by charles correa foundation (August, 2016)

58. ‘Combinations of courtyards and adjacent spaces, Site plan’ / Photo by charles correa foundation (August, 2016) (Online Image)

“At the deep structural level, climatic conditions culture and its expressions, rites and rituals. In itself, climate is the source of myth: thus the metaphysical quantities attributed to open-tosky space in the cultures of India and Mexico are concomitants of the warm climate in which they exist: just as the films of Ingmar Bergman would be inconceivable without the dark brooding Swedish winter”Charles Correa (Poovaiah, A., (2017) Charles Correa poetry in Concrete, Online) Modern subterranean assets of India

59. ‘Open-air courtyards became the transitional pause points’ / Image by charles correa foundation (August, 2016) (Online Image)

60. ‘Coffer slabs to support the bigger spans of slab’ / Photo by charles correa foundation (August, 2016) (Online Image)

61. ‘Murals on the skylights as a symbolic narratives’ / Photo by charles correa foundation (August, 2016) (Online Image)

62. ‘Connecting bridges controlling the vision similar to stepwells’ / Photo by charles correa foundation (August, 2016) (Online Image) 51 Modern subterranean assets of India

Visions Towards the Bharat Bhawan Charles Correa attempted to develop a modern building which merges into the roots of the vernacular discoveries of ancient India. He developed this scheme following his “non-building” vision (Correa and Frampton, 1996, pp.25) in the Indian context which he derived from the understanding of ancient caves of Ajanta and many others. These caves were constructed following the ambiguity and simplicity as they dissolve in the context of the area without empowering them. Therefore, this building is like a landscape of “old pleasure gardens” (Correa and Frampton, 1996, pp.26) in which the art and cultural activities run (Fig.59).

Construction Techniques

The structure of the overall project is very simple and human scale so that local masons could construct it without any major requirement of machinery. Retaining walls were provided to avoid the landslides due to the slope of the site towards the lake. The art spaces were covered with coffered slabs to avoid the intermediate columns, and terrace gardens were made on top of it at the ground level (Fig. 60). The sunken spaces were lit with RCC skylights taken out of the trabeated structure. Exposed brick and stone is used for the partition walls which were 340-380mm thick.

Oraganisation And Geometry

The overall scheme is developed to merge the development into the natural slope of the site. Therefore, Correa develops the series of descending steps and platforms which connect to the sunken enclosed spaces following the desired functions of the Art Centre such as a museum, restaurant, exhibition area, auditorium, indoor theatre, workshop, library and amenities. Every facility is connected to the sunken courtyards to double the public space for visitors (Fig.59). The geometry is kept to basic shapes of squares and rectangles which are sometimes covered or left open.

Modern subterranean assets of India

Spatial Renderings In this project, Correa tests his major principles with simple techniques which the spaces themselves express while moving around them. The sense of enclosure and extension is developed through the culmination of habitable spaces and landscape. The entrance is marked on the road top level with a human height gateway which further connects to the terrace flower gardens and an unobstructed view of the lake in the background (Fig. 64). This view frame marks the first threshold point for the visitors to decide if they want to explore the terrace gardens or to descend through staircases and ramps to reach nearer to the lake, hypothetically, the lake itself becomes the part of the project. The activities below the platforms do not disclose themselves until the visitor reaches them. This recalls the inclined movements in the ancient stepwells where each platform has its own meaning (Fig.62). Similarly, every descended level of this project has its own notions, and it keeps flowing into another through meandering routes without any major efforts. Every facility of the project is coupled with the sunken courtyards (Fig. 63) inspired by the famous Mughal forts in which the rulers made the sunken courtyards or gardens which were connected to the sub-ground space. These sub-ground spaces, then trapped the cool air through sunken courtyards and maintained the temperature of the rooms. Thus, these folding and unfolding of spaces through the “maze or puzzle” movements throughout the building which are sometimes open to the sky or covered create an effect of surprises and pleasure. Correa tries to resemble these spaces as part of the old traditional village of India which used to have simple and free flow layout. Therefore, this shows another aspect of duality in this project. Moving forward, each exhibition space is lit with skylights which project out from the flat roofs and brings the diffused light inside the dark space which continuously changes during the movement of the sun. These skylights are again wrapped with the modern and traditional architecture together as on the one hand, it resembles the “Chattri” used in much Rajasthani traditional architecture and on the other hand, it is identical to the skylights used by Le Corbusier in his modern designs. Furthermore, these RCC skylights also establish the connection between the sky and the earth through a vertical cosmological axis (Fig.63). Every courtyard acts as a resting place for the visitors and a space to contemplate the visual story which they have seen through exhibitions and performances (Fig.65). The connected enclosed spaces have glass walls in-between 53 Modern subterranean assets of India

63. ‘Sectional detail showing the social and existential connections’ / Photo by charles correa foundation (August, 2016) (Online Image) (Edited by Author)

64. ‘Main Entrance with the unobstructed view of the lake at the back’ / Photo by charles correa foundation (August, 2016) (Online Image)

65. ‘Courtyards as a conversational or resting points shielded with the trees’ / Photo by charles correa foundation (August, 2016) (Online Image) Modern subterranean assets of India

66. ‘Each landing is designed with landscape features to develop a point of pause’/ Photo by charles correa foundation (August, 2016) (Online Image)

67. ‘Open air spaces giving potions of life to the covered spaces’ / Photo by charles correa foundation (August, 2016) (Online Image)

55 Modern subterranean assets of India

the courtyard and the hall to develop a dialogue between the two with the overall movement through the steps around these courtyards (Fig.67). Correa describes this movement as “ritualistic pathway” (Fig.57) which gives overall conditioning to the perceivers through open and closed spaces. The ritual of following a sacred pathway is, he asserts, “a universal impulse, found in all cultures and religions.” This movement is also evocative of the sacred spaces of India called “Ghats” which merges into the holy river. The journey finally terminates at the lowest level where the amphitheater is provided to enjoy the performances with a backdrop of the lake (Fig.68). The overall human scale development, with the use of local and earthy materials and the various connections to the traditions and villages of India, helps the development to be used by every human being without any discrimination. To conclude, this project creates a healthier platform to develop a dialogue for the success of sub-ground “non-building” spaces.

68. ‘Open air theatre with the backdrop of lake’/ Photo by charles correa foundation (August, 2016) (Online Image)

Modern subterranean assets of India

BOOK REVIEW:

“Modern Traditions: Contemporary Architecture in India” by Klaus- Peter Gast published by Birkhäuser, Germany, 2007 Klaus-Peter Gast is a German architect and building historian based in Kerala, India who had published numerous writings on Indian architecture. His book describes the stages of architectural developments from the time of Hindus to the latest modern constructions in India. He tries to touch the importance of every influential imperial power and their architectural developments which blends with the local traditions to create a new architectural language of India. The author shares his understanding by comparing the western and eastern architecture style. He asserts that, on the one hand, western architecture stands strongly without any significant history and on the other hand, eastern architecture is evaluated with the connections of past and its necessity. He depicted the theory of plurality in the Indian context through several establishments of the different powers in terms of religion and spirituality. Therefore, the core of Indian architecture which was started with the Hinduism adds the architectural layers of Persian invaders and then European colonialists. The resultant derives with the combinations of all of them. This book also portrays the expansion of Modernism after the independence in 1947 with the works of Le Corbusier and Louis Kahn in India. However, the Europeans bring the idea of modern architecture with their constructions in 1930s as at that time every British import was considered as modern. Influences of “Art Deco” and “International style” mixed with regional applications were noticed in the colonial buildings in Calcutta and Delhi to give beautiful ornate facades. Then in the 1980s Indian architects stood and start developing the modern Indian architecture following the principles of traditions and spirituality. They were the first post-independence architects which include BV Doshi and Charles Correa. This book displays various approaches of these architects towards the modern traditions following the ecology and sustainability by discussing their projects under many themes. All in all, the author magnifies the ideal modern architecture of India which has its roots in the context and nature and also establishes a contrasting statement against the ongoing architecture in India based on ‘liberalization’. This reveals his futuristic expectations to follow the events of past in physical upbringing of the modern cities of India. 57 Modern subterranean assets of India

Chapter 4: Role Towards Cities Introduction General Taxonomy of Sub Ground Architecture Major Applications in the Urban cities of India Universal Obstacles for Urban Public Spaces Eliminating the Universal Obstacles

STUDY NATURE, TO

NATURE, STAY

NATURE,

NEVER

LOVE CLOSE

FAIL

- Frank Lloyd Wright

WILL YOU-

Introduction In the previous section, the latest interpretations of the ancient submerged spaces are discussed in public buildings. These spaces are contextual and responsive to the climatic conditions of India. In this section, their relevance with respect to the modern urbanism of Indian cities will be discussed. Previous examples and the latest perceptions of human beings towards the sub ground architecture will be diagnosed and their solutions will be addressed. This will create a future dialogue to raise the principles and thoughts related to such spaces.

General Taxonomy of sub ground architecture To complement the principles and poetic illusions related to the sub ground structures of India, their physical forms are important to understand. This will help to explain the possible connections which can be established between the above and below ground spaces. Based on the previous examples discussed, their physical forms can be divided into three major categories. Firstly, the spaces which are entirely under the ground are considered as completely submerged spaces. They do not have any contact with the outside world. The ancient caves can be listed in this category, which were excavated from rock masses (Fig.69). These spaces are also comparable to the modern underpasses and metro rail stations, which do not have any physical contact with the upper world apart from the entrances. Secondly, the spaces which have some physical contact with the above ground world are listed as partially submerged spaces. They can be excavated deep into the earth or just below the ground level, but there is always some source of connection between the two. The â&#x20AC;&#x2DC;stepwellsâ&#x20AC;&#x2122;

Role towards cities 58

Completely submerged space

Partially submerged space

Earth covered space 69. ’Rock cut caves are completely submerged spaces’ /Source: Hardy, A., 2005 70. ‘Stepwells are partially submerged and have strong connection with the above ground’/Image by Livingston, M., 2002

71. ‘Nehru Pavilion, Delhi is an example of earth covered space’ /Image by Author

59 Role towards cities

or ‘Kunds’ and ‘Kailasa Temple’ are the examples of these spaces where natural light plays a major role throughout the movement along these constructions (Fig. 70). Charles Correa ‘Bharat Bhawan’, which is well connected to the above world through sunken courtyards, is comparable in this category. Lastly, the earth covered spaces, which may be partially submerged or above the ground plane, covered with earth to establish a connection with the world above. This category is developed in the modern world as a principle towards sustainability. The Nehru Pavilion (Fig.71), Delhi by Raj Rewal is an example of this type in which the architect designs a series of terraces at the upper ground level, which descended into the various spaces associated with the overall program.

Major applications in the Cities of India

The applications of subterranean mediums are very disjointed in India. But majorly it has been practiced in public buildings and urban public spaces. However, there should not be any major boundaries between the two. Apart from the Correa and Doshi experiments on submerged spaces, a few more architects tried to exploit this medium in their projects. For instance, the library design by Rahul Mehrotra in the CEPT campus can be considered as partially submerged construction as the architect developed several levels below the ground to generate the third layer and to control the overall scale of the building according to the context of the campus. The light wells are created around the whole structure which is reminiscent of the old traditional ‘haveli’ verandah around the main space to add the extra layer of protection and light (Fig.78). There are other examples like Humayun Tomb complex underground museum by Vir Muller Architects, sunken plaza at Delhi Haat (Fig.74) and the Museum of Socialism (Fig.77) by Sourabh Gupta which establish a relation among the below and above the ground. Looking into the urban canvas, this architecture is least practiced and is very uneven. Sub ground spaces are used to develop the underpasses or the metro rail stations in the smart cities such as in New Delhi.

Role towards cities 60

72. â&#x20AC;&#x2DC;Sequences of triangular cut-outs to activate the below ground spacesâ&#x20AC;&#x2122;, Nehru Pavilion, Delhi / Photo by Shah, D., (February,2017) (Online Image)

61 Role towards cities

73. â&#x20AC;&#x2DC;Underground museum at Humayun Tomb, Delhi activates the urban space near the heritage siteâ&#x20AC;&#x2122; / Source: Vir Muller Architects (2015) (Online Image)

Role towards cities 62

74. ‘Delhi haat Sunken Plaza as a main spine of the traditional sense of city’, New Delhi, India / Photo by Vera 10, (November, 2017) (Online Image)

75. ‘Service tunnel across the city’, Gift city, Ahmedabad, India / Photo by Tegar, A. (January, 2015) (Online Image) 63 Role towards cities

76. ‘Gumpha House, Nasik (Primitive Future)’ / Photo by Deshputre, V., (September, 2017) (Online Image)

77. ‘Utilizing the underground medium to establish a connection with the context’, Museum of Socialism, Lucknow, India/ Source: Studio Archohm (August, 2016) (Online Image)

78. ‘Two thresholds controlling the harsh sunlight’,New Library, Cept, Ahmedabad, India / Photograph by Author Role towards cities 64

However, these urban mobility tools are completely mundane, which are in juxtaposition to the above ground landscape. Jan Gehl also mentioned about underpasses: “conflicts with the basic premise for good pedestrian landscapes” (Gehl, 2010, pp.132) . Sometimes it is used for the underground market places and parking in the public areas such as the famous Palika market in Rajiv Chowk, New Delhi, which again had faced a huge critism in terms of security and connection to the above areas. Other than this, the underground spaces are used to provide the basic services like electrical, sanitation, sewerage and plumbing through tunnel systems mostly in the newly developed smart cities like GIFT city, Gujarat. Modern planners and designers do not consider this third dimension as a positive approach for public spaces after analyzing the situation of underpasses and stations.

Universal Obstacles for Urban Public Spaces This least countable approach had faced a lot of criticism throughout the world to produce a lively environment. The underground is always listed as a concealed space which lost its contact with the world above.

79. ‘Article about the disadvantages of subways in newspaper’/ Source: The times of India city, (December, 2012) (Online Image)

65 Role towards cities

There are several complications which are against the development of these constructions. First the cost of construction is high, which is the major cause of the neglect of these constructions as it is said that the cost of constructing a single floor in sub structure is double the cost of constructing the floor of a super structure. Sometimes the massive structure of retaining walls are provided to control the thrust of the earth, which increase the overall cost of the construction. The next is regarding the natural light and ventilation. It is often conceived that below the ground spaces are inferior in ventilation and light due to their enclosed nature. Therefore, these spaces require a special virtualtreatment to overcome this issue. In case of wet soil conditions, adjacent structure receives a dampness to the internal walls which makes it unhygienic. The next issue is regarding the concealed building image. Below the ground constructions forms no image in the overall skyline of the city. Thus, it is hard to recognize or accept them. Additionally, this concealed character results in the feeling of being trapped inside them, which evokes the concern of security. Lastly, there are no visible clues. The variation in the levels to reach the bottom are often hidden. Human beings responded well in stretched visual connections, which are considered vague in sub ground spaces. Hence, the visitors remain in the situation of alertness throughout their movement in these spaces. This results in the unacceptance of the space and subsequently â&#x20AC;&#x153;must take extra effort to get their bearingsâ&#x20AC;? (Meijenfeldt, 2002, pp.168). The analysis of these general complications helps to understand that the maximum trouble is about the mental perception towards these spaces, which is quite negative among the people. Therefore, this should be diagnosed carefully for the improvement of the subterranean constructions in India.

Role towards cities 66

Eliminating the obstacles of sub-ground spaces The universal complications are examined through the previous projects discussed in section A and B. This may help to derive the general principles of sub-ground design through which these obstacles can be resolved and results in a more effective medium of urban public spaces. The first issue of the cost of construction should be discussed more in detail. As, the overall cost of any development includes the capital spent on structure, mechanical, plumbing and electrical services. Though the structural cost is higher for subterranean constructions, the mechanical cost reduced to a higher extent as the internal spaces obtains the insulation from the hot climate of India through earth masses. For instance, in Bharat Bhawan, there are no mechanical services provided for ventilation or insulation. The architect used the sunken courtyards and skylights as a medium to narrate the sensorial perception and develop a connection between inside and outside. This also helps to overcome the difficulty of dimly lit and poorly ventilated spaces. The next concern is regarding the concealed character and invisible spaces. It can be seen throughout the ancient constructions of India such as Kailasa Temples, Kunds or Ponds that the building image does not try to overrule the context of its surroundings, rather it enhances the beauty of nature by dissolving into it. Visitors constantly responded to this quality of constructions. Further, the playful natural light used in the ancient constructions to balance out the visible and invisible frames, which allows the perceivers to connect easily. The connection to the earth and sky at regular intervals is established, which eradicates the feeling of trapped inside them. For illustration, the stepwells, which terminates to the open-to-sky wells, establishes a vertical cosmological axis reaching to the sky. Giedion said: â&#x20AC;&#x153;Monumentality springs from the eternal need of the people to create symbols for their activities and for their fate or destiny, for their religious belief and for their social convictionsâ&#x20AC;? (Giedion, 1958, pp. 127)

67 Role towards cities

The traditional architecture has always existed as a bipolar element in nature where the opposites counterpoint each other. Therefore, there is always a combination of light and dark which controls the visibility of the eye frames and develops a feeling of excitement among the perceivers. But, these transitional spaces are sometimes left mundane, which results in the invisibility and fear. Thus, these intermediate spaces should narrate the direction and command the behavior (Pandya, 2005, pp.20). The semiotics used on the platforms of stepwells gives the clues for the next movement and plays a major role in the overall kinesthetics. This discussion enhances the legibility of the principles involved in the traditional architecture of India. These narratives can help to bring out the successful stand of subterranean constructions in the modern Indian cities. Kevin Lynch asserts: â&#x20AC;&#x153;A good environmental image gives its possessor an important sense of emotional securityâ&#x20AC;? (Lynch, 1960, pp.4).

Role towards cities 68

BOOK REVIEW:

“Below Ground Level: Creating New Spaces for Contemporary Architecture” by Ernst von Meijenfeldt published by Birkhäuser, Germany, 2003 Ernest Von Meijenfeldt is a Netherlands based architect who works as a partner in E3 Architecture Inc., Canada. This book demonstrates the character and use of hidden architectonic potentials of the space under the familiar surface of the ground. These spaces give the concealed mythical imageries which get developed with the combination of nature and the built environment. The contemporary sustainable architecture in the 19th century brings the concept of connection of the built and natural. During this period architects tried to give back to nature which ultimately brings the peaceful spaces merge into the landscape. Le Corbusier and Frank Lloyd Wright also contribute towards the subterranean constructions in their projects. Lecorbusier ‘floating machines’ sometimes submerged into the earth, for instance, the chapel of the Sainte-Marie de la Tourette monastery, whose part of the structure is below the ground as he tries to unite the natural and geometric forms together. Therefore, the author discusses the few instances which bring out the origins of these underground constructions majorly in western countries. The context is explained through the series of chapters with themes like Urban Development, Architecture, Functions, Perception and Cognition, Engineering and Energy and Climate. He further adds the series of interviews and essays of well-known architects to give more impact towards the subterranean architecture. Apart from the positive benefits of these subterranean spaces, their negative issues are also highlighted in the book which gives balance to the overall structure. The designers in their interview evoke the potential of these spaces which should be well organized and planned to overcome the issues related to it. There are many facilities such as commercial markets, concert halls and museums which hardly require any natural lighting that can be planned below the ground and potentially reduces the load above the ground spaces.

69 Role towards cities

Floris Alkemade of OMA also discusses his opinions towards these constructions through the masterplan design of Almere city. He said â&#x20AC;&#x2DC;above ground and underground are not separated by a merciless twodimensional surface, but flow into each other by raising or lowering, blending or folding the ground level at strategic points. In this way, you can bring the levels into relation with one another without visitors noticing whether they are above or below the ground.â&#x20AC;&#x2122; The ultimate section of the book illustrates the issues of energy related to the earth , which raised a point for future discussions as the writer noticed that apart from the numerous benefits of underground architecture, proper insulation is required to control the transfer of energy to adjacent buildings or the earth. This book helps to nurture the practical possibilities of these constructions in the future in terms of planning and engineering. This architecture needs a direction to discover more about the solutions of connecting it to the above ground spaces to become a part of the united sustainable city.

Role towards cities 70

Chapter 5: Cross Cultural Context: The case of Acrosanti Acrosanti

Paolo Soleri Architecture of Acrosanti Architecture of Cosanti Learnings for Indian Context

80. ‘Master Plan, Acrosanti, Arizona’ / Source: Lopez, O., Archdaily (September, 2011) (Online Image)

81. ‘Organic skyline of the city which sometimes went below the ground’ / Photo by Gannett, Acrosanti (April, 2013) (Online Image) 71 Cross cultural context: the case of Acrosanti.

Introduction: Acrosanti The future of below the ground spaces in the contemporary world was predicted by one of the renowned architects of his time: Paolo Soleri, who was the defender of the sustainability through his own means. He established a small investigational town called ‘Acrosanti’ in about 25 acres in the state of Arizona.

Paolo Soleri (1919-2013) Paolo Soleri, the Italian architect, was the director of the Cosanti Foundation (1956) in Arizona, which was his residence, gallery and workshop. He developed the concept of ‘archology’, which he derived from architecture and ecology, as a tool to develop a more sustainable environment of the cities opposite to the suburbia conditions. His sensitivity to the issues of sustainability leads him to design below the ground spaces. He envisioned a future of urban life which will move towards satisfaction of the human venture. He proclaims that the citizens of this town would have the ability to nourish themselves spiritually by adopting a better frugal lifestyle inside an arcology. Soleri realized the inspiration in every organic species which he cast them in concrete molds with a function in an urban organic landscape.

Architecture of Acrosanti Acrosanti is the exemplary archeological community designed by Soleri in 1970 with the support of his students in the Arizona highlands as a sustainable growth for human experiences. This minor town for five thousand people, act as an alternative for the suburban settlements. Soleri applied his archology principles (Complexity, Miniaturization & Duration) to this town to make it well efficient and responsive to the harsh climate of Arizona deserts (Soleri, 1993, pp.11). This limits the usage of mechanical means throughout his buildings in the town. As an

Cross cultural context: the case of Acrosanti. 72

urban effect, he tried to plan a highly complex crowded town as its strength, unlike the suburban communities. The overall objective was to establish a relationship between the living organisms with nature through large open spaces as a meditation for humans to distress themselves. Consequently, the town is developed as a pedestrianized suburbia where every facility is available within walking distance. The urban spaces maximize the spaces for living, raw materials and energy (Fig.80).

“The project proposes elegant frugality as a better way of life and a necessary precursor to equity.”Paolo Soleri (Urbanlabrat, 2010, Online) The placement of the various buildings in the overall complex is done according to the wind and sun movement. Many constructions are done partially below the ground to attain the insulation from earth to control the temperature of the interior spaces (Fig.81). On a general, courtyard or small green open spaces are connected to these below ground spaces to provide the immense natural light. South-facing apses are provided to collect the passive energy in response to the movement of the sun (Fig.84). Terraces are highlighted with the greenhouses to merge the overall scheme into nature.

“The project is optimism in concrete. It works by believing that there is a tomorrow that can be prodigiously affirmative……The future does not exist…. Acrosanti is building the future, one of many such actions going on everywhere”- Paolo Soleri (Urbanlabrat, 2010, Online)

Architecture of Cosanti The architectural style of Cosanti also works on basic principles of arcology; includes the “Earth house” which is partially under the ground, performance spaces, outdoor studios, swimming pool and Soleri residence (Fig.83). The concrete molds are created by using the earth cast methods which are planned with the courtyards and terrace gardens. Indoor and outdoor spaces are knotted with the natural landscape which merges them together.

73 Cross cultural context: the case of Acrosanti.

82. ‘Community spaces inside the concrete vault which is surrounded with landscape’/ Photo by Wainwright, O., (May, 2016) (Online Image)

83. ‘Workshop submerged into the earth and carved with earth moulds’/ Photo by Peterson, B., (April, 2013) (Online Image)

Cross cultural context: the case of Acrosanti. 74

86. ‘Merging into the nature, Dome house by Soleri taken inspirations from Frank Lloyd Wright’/ Photo by Licata, D., (September, 2009) (Online Image)

87. ‘Entrance to the Dome house’, / Photo by Shulman, J., (April, 2013) (Online Image) 75 Cross cultural context: the case of Acrosanti.

Learnings for Indian Context This visionary approach of Soleri opens the doors as an alternative to find a balanced urban life. The sub-ground construction and its benefits are densely exploited in his scheme which proves their decipherability towards the future of the cities. The present context of the urban cities of India is also suffering from the destructive approaches towards nature, which is the basic source of life. The solitary way available is going down to return the green public spaces to the cities.

84. ‘Connection to the sunken courtyard with a glass window panel in the form of pumpkin apse’/ Photo by Horton, G., (November 2013) (Online Image)

85. ‘Human scale walkways connected with the organic nature of the context which are sometimes sunken’/ Photo by Jappy, P., (2015) (Online Image) Cross cultural context: the case of Acrosanti. 76

Chapter 6: Conclusion & Dialogue

You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see. -- Tadao Ando

Conclusion The notion of using the earth surface for religious practices, culture and recreation is present everywhere in the traditional forms of India. In general, people prefer to sleep and eat on the floor, females use the floor to prepare the food for maximum space, street vendors like to spread their goods on the floor to sell, rituals in the temples are made on the floor, musicians used to sit on the floor to perform, the dancers perform barefoot on the ground and many more. This is a gesture of respect to the God as the people of India are spiritually connected to every place regardless of its function. Thus, every urban element of Indian cities submerging into the earth, such as the Stepwells or Kunds made a massive positive impact in the minds of the people. Additionally, the climate control inside these spaces helps to provide the calm and peace, identical to the experience in temples. The people of India are familiar with this transition of cosmological spaces as they are surrounded by them from ancient ages and accept them with integrity. This is comparable to the Roman architecture where the preestablished cosmological order penetrated at all levels of interior and exterior details. In Chapter Two, the methods of connecting the elements of the architecture to the notions of spirituality are discussed based on the cosmological connections between earth and the sky. â&#x20AC;&#x153;Descending into the earth was analogous to other crucial areas of existence, the furrowing of the fields for the planting of seeds. And to going down into the well becomes analogous to submersion in water i.e. to rebirth. It is similar to the dissolving of the germinating seeds into nothingness, into the world of unformed matter before it reappears in the form of a plant.â&#x20AC;?- Charles Correa (Kagal,C., Vistara, 1986) Today, the urban cities of India are over-growing with the objective to achieve the comfort to live in the urban boxes. But, they are far behind to achieve any transition, rather, these cities are looming with the increasing pollution, disorders and chaos. The capital city of India, New Delhi, is the famous example of its rise in pollution every year. There is a scarcity of land and the real estate investors are regularly coming with the high-rise towers of housings, offices and shopping malls with a big blast of glass walls. The climate is burning up, and the mechanical engineers are trying their best to air-condition the interiors of these blunt towers which affect badly on the environment. 77 Conclusion and dialogue

Taxi stands and parklands

Fast motor lane

Access to railway line

The tubes 88. â&#x20AC;&#x2DC;Below the ground levels for public transport in the city centre to develop the open green spaces at the ground levelâ&#x20AC;&#x2122; / Source: Urbanisme (1929) (Image edited by Author)

Local and suburban lines

Main lines

Conclusion and dialogue 78

89. ‘Underground shopping experience in the lush green, Green Shopping Centre’, Barcelona, Spain/ Source: Mvrdv (No date) (Online Image)

90. ‘Feasible depths of different activities in the urban structures’ /Source: Ronka, K., Journal, 1998) (Online Image) 79 Conclusion and dialogue

But, the generous Urbanism is accountable to overhaul the exteriors of the buildings which are actually the interior spaces of the cities. The solution is to develop self-sufficient ventilated constructions using the earth materials, human scale-built masses and creating more open spaces which connect to the functions of the city. This cannot be achieved by providing the green terraces on top of towers as these terraces are completely isolated from the urban fabric layer. Indian traditions have a connection with the ground for every activity performed in the city. Therefore, the cleverest is to go down below the ground level to fulfill the functions as well as maintaining the connection between the two. John Carmody from the American underground space center said: “It was important for urban developers and architects to realize that, with the systematic application of mining techniques, an extra level could be added underneath the city, without having to break up ground level” (Meijenfeldt, 2002, pp.230). In the Journal of Underground Space in Landuse Planning (1988) by Kimmo Ronka, the feasible depths were suggested for the different typologies of building in the urban cities (Fig.90). The illustrations of the two modern examples: Bharat Bhawan and Doshi-Hussain Cave, discussed in the Chapter Three, clearly discussed the spatial narratives of transitions between two levels and its climate responsiveness. Norman Foster asserts that: “Population growth and the advent of mega cities are increasing the pressure on sensitive areas. The underground has enormous potential for realizing spatial benefits…. In many cases, you can also create a certain amount of open space by situating facilities underground. Functions that traditionally take up much of the space at pavement level…. can be partly incorporated underground…. creating a main level under the surface for specific functions” (Meijenfeldt, 2002, pp.133) Le Corbusier (Urbanisme,1929) predicted the functions of underground spaces for the circulations in cities of the future (Fig.88). His manifestation gives the major dimension to the modern cities to look for alternatives to preserve the open spaces between the high rise towers. In India, this dimension was always practiced in fragments. But, we are now a hundred years on after the Le Corbusier’s theories and there is a need to relook into this axis towards the city formation. Below the ground spaces, have a lot more potential to develop the most sustainable cities, which can be more generous to the people in terms of connection to nature and its quality. There are various public and semi-public developments such as Conclusion and dialogue 80

commercial malls, cultural centers, libraries, cinema halls, offices, leisure and recreational developments which occupy a large amount of land in the over-crowded cities. For instance, in New Delhi about 15% of the land is occupied in public and semi-public buildings which can be freed up if the buildup is taken below the ground. The present green area of about 20% will get nearly double in that case, which may also increase the open garnering spaces in the city. Therefore, the public facilities will become the medium of joining the urban fabrics together at a human scale with large green spaces all around the future cities. Additionally, there will be a connection established between the public buildings in the city life which are otherwise completely isolated. For instance, the underground Green shopping centre in Barcelona, Spain (Fig. 89) and the Garden Santa Fe in Mexico (Fig.92). Emilio Ambasz said: “What I try to do is to keep land intended for agricultural use as agricultural land. But with a building as well, so you have both” (Meijenfeldt, 2002, pp. 45). This model can be followed in many crowded cities of India to create an urban identity for the nation building. The largest number of towns and cities in India are pilgrimage sites where overpowering structures cannot be implemented, but those cities need a development to overcome the pressure of the visitors. The medium of subterranean constructions can work as an effective tool to resolve the issues of such cities. The existing unused sub-ground structures in the cities can also be used to fill the urban voids by encouraging activities around them. The examples of reusing the caves of Cappadocia and Matera for recreational and hospitality purposes can also be imagined in India in few aspects. “Architecture spaces that envelop us like a physical presence, simple & dense, defying description, imitation and photography (….) universal yet present. The exterior is very simple leading to greater levels of mystery, surprise & memory, creating poetic changes of light & shade (….) guiding us through its spaces (.…)”- Alvaro Siza (Dezinebox, 2009, Online) The success of this idea completely lies in the principles of the traditional architecture of India, which will help to overcome the generic obstacles of the subground architecture. Chapter Four discusses the solutions by analyzing the existing examples in India. The use of courtyards, kinesthetics in transitional spaces, duality and bipolarity in existence, dynamics of functions, a layer of symbolism for spiritual connections, optical illusions and the timeless narratives renders the whole creation and merge into the natural environment of the surroundings. To be ‘in the ground’ expresses an intimate ‘romantic’ relationship to 81 Conclusion and dialogue

91. ‘Activating the urban space with submerged spaces,Underground Leisure Lair’, Teruel, Spain/ Photo by Guzmán, M., (June, 2012) (Online Image)

92. ‘Retail and entertainment experience merging into the landscape’, Garden Santa Fe, Mexico/Source: KMD Architects (No date) (Online Image)

Conclusion and dialogue 82

93. a) ‘Reservoir’ The Office building Complex following the principles of stepwells as a submerged space’/Source: Sanjay puri Architects (No date) (Online Image)

93. b) ‘Section of Reservoir building’/Source: Sanjay puri Architects (No date) (Online Image)

83 Conclusion and dialogue

the ‘forces’ of the earth. It is usually concretized by making the building grow out of the ground without a distinct base. (Norberg-Schulz, 1980, pp.177) The futuristic experiment by Paolo Soleri in the form of Acrosanti as discussed in Chapter Four clearly defines its qualities in terms of community development within the green environment. His visions give the tentative picture for the building of suburban communities which are responsive to the climate and submerged into nature without overpowering it like the Caves of the Ellora in India. Finally, there is a confusion of identity in the new urbanism of India due to the several layers of additions throughout its improvement. The further additions of glass boxes in the form of shopping malls and offices of the present liberalized India are completely a mimicry of western architecture, which does not resemble the traditions of the country. Therefore, the principles of traditional architecture should be re-interpreted at the urban platform by using the modern learnings from western culture. This will give the identity to modern urbanism of India. For instance, the Reservoir project by Sanjay Puri architects used the principles of stepwells to re-interpret the office space which merges into the environment (Fig.93 & 94). This research is based on understanding the legibility of these sub-ground spaces in urban India which reveal the design ideologies, therefore, future research can be performed to develop the guidelines and generic norms related to its practice in urban fields according to the different functions, helping to control the imageability of subterranean architecture in different parts of the country. Louis Kahn said: “Inspiration is the moment of possibility when what to do meets the means of doing it” (Norberg-Schulz, 1980).

Conclusion and dialogue 84

Existing skyline which is actually breaking the spread of nature

Natural flows

Transport connections

85 Conclusion and dialogue

Transport connections

94. â&#x20AC;&#x2DC;Possible general section of the city which can brings a huge green spaces well connected to the human scales buildingsâ&#x20AC;&#x2122; /Sketch by Author Conclusion and dialogue 86

Bibliography • • • • • • • • • • • • • • • •

Correa, C. and Frampton, K. (1996), ‘Charles Correa’, London: Thames and Hudson Ltd. Dayalan, D. (1995), ‘Monolithic Temples of Madhya Pradesh’, New Delhi: Bharatiya Kala Prakashan Deshmukh, S. (2009), ‘Transition spaces’, Retrieved through Dezinebox (Online)(Accessed on 28th Jan 2018) https://shwetadeshmukh.in/tag/structural-marvel/ Doshi, BV (1994), ‘Hussain-Doshi Gufa’, Retrieved through Architexturez (Online)(Accessed on 28th Jan 2018) https://architexturez.net/doc/az-cf-179716 Doshi, BV (1998), ‘Give time a Break’, Retrieved through Architexturez (Online)(Accessed on 4th Feb 2018) https://architexturez.net/doc/az-cf-167936 Eliade, M. (1963), ‘Patterns in Comparitive Religion’, Bison Books: Cleveland and New York Gast, KP (2007), ‘Modern Traditions: Contemporary Architecture in India’, Germany: Birkhauser Gehl, J. (2010), ‘Cities for People’, Washington: Island Press Giedion,S. (1958), ‘Architecture, you and me’, Cambridge: Harvard University Press Hardy, A (2007), ‘The Temple Architecture of India’, England: John Wiley & Sons India’s Invitation (2016) ‘Stepwells of Gujarat’ (Online) (Accessed on 12th Jan 2018) https://www.indiasinvitation.com/?s=stepwells+of+gujarat JABS (2002) ‘Special the world of Indian Architecture’ (Online)(Accessed on 20th Jan 2018) http://news-sv.aij.or.jp/jabs/s1/jabs0208.pdf Jarzombek, M. (2010), ‘Cities of Change Addis Ababa: Transformation Strategies for Urban Territories in the 21st Century’, Switzerland: Birkhauser Kagal, C. (1986), ‘Vistara: The architecture of India’, Bombay: Tata Press Ltd (Online) (Accessed on 22nd February 2018) https://issuu.com/iab_archives/docs/vistara_book Le Corbusier (2007), ‘Toward an Architecture (Versune Architecture)’, Los Angeles: Getty Research Institute Livingston, M (2002), ‘Steps to Water: The Ancient Stepwells of India’, New York, Princeton Architectural Press

87 Bibliography

• • • •

• •

• • • •

Lynch,K. (1960), ‘The Image of the City’, Cambridge: The MIT Press Mehrotra, R. (2011), ‘Architecture In India Since 1990’, Mumbai, India: Pictor Publishing Pvt Ltd Meijenfeldt, EV (2002), ‘Below Ground Level: Creating New Spaces for Contemporary Architecture’, Switzerland: Birkhauser Verlag AG Meister, MW. (1985), ‘Measurement and Proportion in Hindu Temple Architecture’, Interdisciplinary Science Reviews, 10:3, Retrieved through academia(Online)(Accessed on 22th Jan 2018) https://www.academia.edu/783956/Measurement_and_proportion_ in_Hindu_temple_architecture Norberg-Schulz, C. (1980), ‘Genius Loci: Towards a Phenomenology of Architecture’, New York: Rizzoli International Publications Inc. Ohashi, Y. (1994), ‘Astronomical Instruments in Classical Siddhants’, Indian Journel of History of Science 29(2), (Online)(Accessed on 22th Jan 2018) http://insa.nic.in/writereaddata/UpLoadedFiles/IJHS/Vol29_2_3_YOhashi.pdf Pandya, Y. (2005), ‘Concept of space in traditional Indian architecture’, Ahmedabad, India: Mapin Publishing Pvt.Ltd Poovaiah, AS (2017), ‘Charles Correa’s Poetry in Concrete’, Retrieved through slide document (Online)(Accessed on 2nd Feb 2018) https://slidedocument.org/the-philosophy-of-money.html?utm_ source=charles-correa-s-poetry-in-concrete Soleri, P. (1993), ‘Arcosanti an Urban Laboratory?’, Arizona: Cosanti Soundara, KV (1988), ‘The Ellora monoliths: Rashtrakuta architecture in the Deccan’, Delhi: Gian Pub. House Urbanlabrat (October, 2010), ‘Arcosanti an Urban Laboratory?’ (Online Video) (Accessed on 3rd March 2018) https://www.youtube.com/watch?v=qBGDXxvn1k4 Venturi, R. (1966), ‘Complexity and Contradiction in Architecture’, New York: The Museum of Modern Art

Bibliography 88

â&#x20AC;&#x2DC;Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.â&#x20AC;&#x2122; - Peter Zumthor

Appendix

Inspiring Projects Buddha Temple, Sapporo, Japan @ Tadao Ando

Appendix 89

New Apple store, Milan @ Norman Foster

90 Appendix

Water Temple, Hompuki, Japan @ Tadao Ando

Appendix 91

Deportation Memorial, Paris @ Georges Henri Pingusson

92 Appendix

Alcantara Water treatment plant @ Aires Mateus

Appendix 93

Solid-Void Analyses: Black Spaces – the Representation of a Habitable Thickened Wall Document by ALO, retrieved from wordpress. ‘Architecturality’ (August, 2012) https://architecturality.wordpress.com/tag/aires-mateus/

What do the black spaces (zones or areas) represent in the work of Aires Mateus? By convention, in plan or section, what has been cut is indicated as black, so if a space is in black, then in theory it has been treated as a mass that has been cut. This is a graphic representational technique to convey the idea of inhabiting a thickened wall. Figures 1a and 2a can be understood in Louis Kahn’s distinction between served and servant spaces, where the served space is in white and the servant space is in black. This means the servant space is not only habitable space (as in Figures 1c and 2c), but is perceived and experienced to be part of a solid wall or construction, a habitable thick wall. Francesco Cacciatore, in his text, Abitare il limite: dodici case di Aires Mateus & Associados = Living the boundary: twelve houses by Aires Mateus & Associados, introduces an alternative means of understanding Kahn’s hierarchical relationship between served and servant space in the work of Aires Mateus. To aid with our understanding, Cacciatore employs the terms main and auxiliary as a means of distinguishing the served and servant spaces. The main spaces are the served zones or the primary areas, such as living rooms, bedrooms, etc., whereas the auxiliary spaces are the servant zones or secondary areas, such as kitchens, storerooms, closets, bathrooms, circulation, stairs, etc. (Cacciatore, 2011). In the solid-void plan, the main (served) spaces are in white and the auxiliary (servant) spaces are in black. The thickening of the wall to contain the servant space is what the black space communicates in the plans of Aires Mateus. This is part of a chain of research developing the “idea of the boundary,” “where matter gets thicker on the boundary,” as noted by Manuel Aires Mateus in his foreword to Cacciatore’s book (Manuel Aires Mateus in Cacciatore, 2011). The black space is a representation of the increase or thickening of matter on the boundary or border, hence the title of Cacciatore’s book, Living the boundary. Cacciatore writes, “The auxiliary, or servant spaces are conceived as a thick inhabited wall,” a wall which can include the stairs, kitchen, storerooms, etc. as a “habitable interstice” containing long galleries excavated in the wall (Cacciatore, 2011). 94 Appendix

House in Melídes by Aires Mateus Figure 1a: Solid-void plan of the ‘apparent condition’; inhabiting a thickened wall Figure 1b: Positive void; reversing main and auxiliary spaces Figure 1c: ‘Actual condition’; inhabitable spaces

House in the Serra de Mira de Aire Figure 2a: Solid-void plan of the ‘apparent condition’; inhabiting a thickened wall Figure 2b: Positive void; reversing main and auxiliary spaces Figure 2c: ‘Actual condition’; inhabitable spaces

House in Melídes by Aires Mateus Figure 3a: Base composition of 5 bands of unequal width, A-E Figure 3b: Base composition with vertical divisions Figure 3c: Solid-void plan overlaid over base composition

Appendix 95

Hence, the apparent condition, our apparent perception, is a black thick massive wall (Figures 1a and 2a), but the actual condition, the reality, is that the space is fully inhabitable and useable (Figures 1c and 2c). Cacciatore describes the work of Aires Mateus as reversing the traditional relation between served and servant spaces, where the main and auxiliary spaces can be flipped. Cacciatore, in his discussion of the House in the Serra de Mira de Aire, writes, “the traditional relation between main and auxiliary areas is so clearly reversed that the former are conceived as a sort of huge and pervasive servant space inside which the basic geometric shape prevails”(Cacciatore, 2011). Figures 1b and 2b convey this reversal of Kahn’s hierarchical distinction, where served and servant spaces, main and auxiliary spaces, solid and void, positive and negative, figure and ground are reversible and reciprocal interchangeable integers or entities, seemingly able to go back and forth between their dialectic conditions. The House in Sesimbra,Cacciatore writes, has “servant spaces [which] coincide with the main areas, articulated in a sort of large continuous and pervasive space. Served spaces, instead, are located in measured thicknesses that accommodate secondary interstitial spaces” (Cacciatore, 2011). Hence, this blackening of certain spaces in the plans and sections seek to communicate and reinforce the idea of the habitability of a thickened wall, where servant and served spaces, positive and negative, solid and void can be reversed. Cacciatore sums, “The persistence of interstitial space and habitable walls as containers of spaces with different hierarchies and use values would lead Manuel and Francisco Aires Mateus to gradually refine a representation technique that emphasizes spatial rather than building values” (Cacciatore, 2011). Finally, the black space contributes to the experience of the wall as being part of the ground, which is also in black in the drawings. The black (servant/auxiliary) space hence connects to the ground to give an impression of the white (served/main) space as a cave excavated from the black mass of the ground. The compositional analytical method of decomposition is used here to de-compose or unravel the design to discover the originating design principles, the compositional ordering device, or the clear set of rules, that is, the design system, used to generate the plans (see Eisenman, 2003, for his own use of decomposition).

96 Appendix

For the plan of the House in Melídes, the translation from a generic form to a specific form, to borrow Peter Eisenman’s terms (Eisenman, 1963, 2006), is the articulation of the 5 band structure (Figure 3a) to become the result (Figure 3c). Figure 3a can be said to be the base composition for generating the plan of the House in Melídes. 5 bands or stripes, labeled A, B, C, D, and E are of unequal widths, and these constitute the basic compositional system which can open into various possibilities. Figure 3b marks the vertical breaks/walls to divide the 5 bands. Figure 3c shows the result of the design potential within the 5 banded organizing principle. Figure 4a shows the positive and negative, pushing and pulling movements produced in the interior void space. The voids in bands B and D are pushing to the right, whereas the void in the central band C is pushed to the left, anchored by a central block. Bands A and E are the entry/exit bands, where only one edge from each opening lines up to the central block. The top left opening edge is aligned to the left of the central block, then a mirroring takes place where the bottom right opening edge is aligned to the right of the central block. The 5 bands contribute to a sliding movement within the structure (Figures 4b and 4c). The three voids within the bands B, C, and D are of unequal width, further adding to the non-uniformity and dynamism of the composition, as the width of each of the 5 bands, as mentioned, are also variable to each other. Bands A and C are sliding left, bands B, D, and E and sliding right. For the plans of the House in the Serra de Mira de Aire, the translation from a generic form to a specific form is the articulation of the 9 x 9 square grid (Figures 5a and 6a) to become the result (Figures 5c and 6c). The grid is the system employed in these plans so that decisions can be made to solidify/spatialize various zones according to the modules of the grid. Blocks of 1 x 4 units, 2 x 2 units can be selected to fulfill particular programmatic requirements. On the lower level, on two instances, a single unit is left as a void. This 9 x 9 grid base composition permits various possibilities while maintaining a clear system and emphasizing the rules of the system. Manuel Aires Mateus stated that “designing is about representing an idea,” and that there is a need to reinforce the idea through our methods of communication. Whether it be designing by subtraction, giving primacy to the void, the thickening of a wall which contains habitable space, the reversal of the served and servant spaces, or the emphasis of a clear geometric system, both the design and the means of representing or communicating it, can be used to reinforce these ideas. Appendix 97

House in MelĂdes by Aires Mateus Figure 4a: 5 bands; push/pull of divisions Figure 4b: Sliding of stripes of unequal length Figure 4c: 5 bands as an ordering system for the plan to allow for various possibilities

House in the Serra de Mira de Aire â&#x20AC;&#x201C; upper floor, by Aires Mateus Figure 5a: Base composition of a 9 x 9 square grid Figure 5b: 9 x 9 grid as an ordering system for the plan to allow for various possibilities Figure 5c: Solid-void plan overlaid over base composition

House in the Serra de Mira de Aire â&#x20AC;&#x201C; lower floor Figure 6a: Base composition of a 9 x 9 square grid Figure 6b: 9 x 9 grid as an ordering system for the plan to allow for various possibilities Figure 6c: Solid-void plan overlaid over base composition 98 Appendix