Search for Indian-ness
“It has not been easy for me to talk about Indian theatre. The major concern of the Indian theatre in the post-independence period has been tried to define its “Indian ness” and to relate itself to the past from which it was cut off. The awful part is that most of these explorations have been done by amateurs, who find it extremely difficult to continue to work in the theatre”, Girish Karnad, in his essay ‘Theatre in India’.
Is this building Indian? This is the issue, which has boggled and baulked our minds since last two months. There is always an attempt to find Indian features in an object, in music, in apparel or in a building. There are millions of interpretations of the word “Indian”, and Indian architecture can only be identified after the identification of the word Indian. The word “Indian” is on investigation with its application on the architecture and world around.
There are certain qualities, which has made word Indian a Constance. Ramanujan quotes, “India never changes: under the veneer of the modern, Indians still think like the Vedas”1, suggests the practice of the tradition as an Indian feature.
The phrases like “unity in diversity”2 are always associated with the word Indian. The Sahitya Akademi's line has been, `Indian literature is one, though written in many languages' 3. In addition, the word like assimilation, amalgamation and adaptation pops-out whenever we talk about the subject. As cultural blend, and its flexibility to adapt and adopt different cultures is inimitable, which is a proven fact over the centuries. The object, which has instilled itself in the culture and the people, will survive. Therefore, to call any object Indian, it should have sustained and proved itself in the society over a span of time.
“As the hour, month, season, year, and æon have their own properties as contexts, the arts that depend on time have to obey time's changing moods and properties”4. The definition and the form of the word “Indian” is transient with time. It depends on several factors like the present context of need, availability of resources, skill and power. The presence of this factor was realized during the first stage of the study. Each case was primarily dependent on the context and situation of the society at the time of the building. For example, when we were studying the Jama Masjid, we realized that building is influenced by the political power and need of the era5. So it is important to keep time a constant.
It is important to fix other parameters like location or region to rationalize the analysis. Broadening the scope of study may show some results and inferences, which are incomparable. Hence, geographically, we are here limiting ourselves to Delhi and its surrounding areas to compare our cases. In addition, we are only considering the buildings built after the Indian independence, which are part of the physically established India.
One may ask that how the architecture in India is more identifiable through the region. Here, I would like to quote Takeo Kamiya, “European architectural history is clearly defined according to the ages, into Romanesque from Rome, Gothic, Renaissance, Baroque, Rococo and Modern, but Indian architecture cannot be compartmentalized in this way. This is because India is a complex nation, with a diverse architectural history.”6. Therefore, the time wise identification may become a complex process.
Observations in the process
Stage 1: Buildings from different eras
To start with, four buidings from different eras were taken for the observation and study [Refer Appendix 4.1]. The observation enriched our understanding about the complexities involved in architecture of India. The notion of influence by the political power and the current situations in the society was concreted by the visits to these buildings.
Stage2: Identifying buildings built after Indian Independence.
As the part of formal search for Indian-ness, I was assigned to identify the Indian-ness in the Industrial and Transport buildings, in and around, Delhi, which are built after the Indian independence [Refer Appendix 4.2].
The Industrial and Transport based designs undoubtedly belong to the new-global age; therefore, the interpretation and the adaptation can only be called as Indian or non-Indian. The focus is not criticizing the solution but to find out the features that can be classified under the categories, Indian and non-Indian.
Stage 3: Identifying buildings built after indian independence which were communicating Indian ness.
In the third stage [Refer Appendix 4.3], we were only looking for buildings, which communicated the feeling of Indian ness. The reasons for the identification for all above buildings were actually the elements or the whole theme in composition communicated by the building. Few noticeable examples are:
Case 1: Delhi Milk Scheme
Case 2: Escorts Industries, Faridabad
Case 3: Industrial Warehouse, NH-8, Gurgaon
Case 4: Garment Export House (Continental Group), Udyog Vihar, Gurgaon1.In Delhi Milk Scheme, the reason for its identification was its flying bird like structure on its roof and its façade which resembles a Jaali from a distance. The whole building approach was modern. However, building swerves itself towards the Indian-ness through its details and elements.
2.In Escorts Industries, Faridabad, theuse of Jaalis and octagonal pattern on the façade was its identification factor. The breaking of light in the main factory building with the innovative hyperbola paraboloids are efficient to extract the sunlight, this feature of breaking of light is also seen in the examples from history. It may be present in the form of use Jaalis where it breaks the harsh sunlight of the Indian sky to the satisfying daylight. Also, the orientation and the placement of different blocks forms a street in between, which is often missing in any industrial building, enhances its Indian character through the spatial planning.
3. The grid circles and the earthy colour of Industrial Warehouse, NH-8, Gurgaon, remind the cow dung cladding in the rural India. This was its reason of identification on the fast-moving NH-8. The internal light quality is filtered and optimum for a warehouse. This filtered light quality can be compared with the Jaalis used in the buildings built below the Indian sky where the sunlight is broken and its harshness is reduced.
4. The Chhatri like structure on the entrance of Garment Export House (Continental Group), Udyog Vihar, Gurgaon was a peculiar object in the row while browsing through the industrial area of Gurgaon, this building. Also, the use of sandstone as the material deviates this built mass towards the Indian-ness. There was a search for a sense of centre, or any open space in centre to concrete my notion of Indian-ness in this particular building, but it was sad to discover the bye-laws which direct building here to leave open space around the building. Often, the result is a monolithic chunk at the centre of building.
Case 5: DTC Shadipur Depot, Delhi
Case 6: Dantal Industries, Udyog Vihar, Gurgaon
5. In DTC Shadipur Depot, theentrance, which is meant for bus’s anthropometry, is reminiscent of a Haveli’s vestibule through its composition. Also, the central character of the open space inside the building can be easily related to the katras or a large Haveli. Hence, a feeling of Indian-ness is conversed through the central character and the entrance of the building, although, they are meant for different function here.
6. In Dantal Industries, Udyog Vihar the red Sandstone Cladding, which was a contrast while browsing the buildings in the Udyog Vihar Gurgaon, was the reason of its identification. The Stepped Entrance to the building with a small vestibule reminds the scale of an entrance in a typical Haveli. Small openings are climatically responsive attempt in the composite climate of Gurgaon. The industrial mild steel rods, which are used to form brackets below the parapet further, concrete its claim of Indian-ness. Finally, this building claims to be Indian through its material, elements and the composition.
Inference
The functions including the transport, which consists of buses, trains, metro and the factories and industries are the outcome of the industrial revolution. Therefore, their modern solution is obvious and expected. Noticeably, these solutions came from the west because these inventions, situations created by these inventions and solutions to tackle the problems created by these inventions were western. Consequently, the basic scenario cannot be called Indian.
Interlogue
The above study suggests that there is always a search for the vital Indian character, whenever we try to find Indian ness in a building. This character can further classified into essence and nature [Theory of Architecture, Paul A. Johnson]. The visible features are actually the nature of the object and the essence, the hidden meaning, is the idea that an object try to communicate.
In the course of time, we realized that whatever we were analyzing and commenting, is based on these two fundamentals. The resolution and clarity of the study has drastically enhanced after knowing these two elements and the distinction between them. The hidden magnet, which was forcing us to call any building as Indian, was actually the essence of Indian ness, which was not seen superficially. The fixation, which compelled us to call an object as Indian, is actually the nature, which can be identified easily. In the whole process, it was important to distinguish the layer of ambience, which influences the overall setup including architecture.
The search has self-filtrated itself through the process, and the questions are reframed and reinterpreted with some addition to the existing knowledge about the subject.
Questions Re-interpreted after visiting these building and analyzing on the scale of Indian-ness
-Is Indian architecture generic?
-Why only current buildings are under the scrutiny?
-How ambience influences the factor of Indian-ness in a building?
-Does Indian-ness exist superficially? Can only adoption of Indian elements on the skin of a building, makes it Indian?
-How essence of Indian-ness can be inducted in the buildings? How reasonable is to induct Indian-ness in a building?
- Is it impossible to search for the Indian essence in any transport-related building where the whole architecture is dominated by the function and requirements, which have very specific solutions? Do we need some Indian Solution for a transport related building or adaptation of western models is serving the purpose?
References
Ramanujan ,Is there an Indian way of thinking?
Jawahar Lal Nehru
Ramanujan ,Is there an Indian way of thinking?
Ibid.
Initial case studies
Introduction in “the Architecture of the Indian Subcontinent”, Takeo Kamiya
Pictures:
Author
Is this building Indian? This is the issue, which has boggled and baulked our minds since last two months. There is always an attempt to find Indian features in an object, in music, in apparel or in a building. There are millions of interpretations of the word “Indian”, and Indian architecture can only be identified after the identification of the word Indian. The word “Indian” is on investigation with its application on the architecture and world around.
There are certain qualities, which has made word Indian a Constance. Ramanujan quotes, “India never changes: under the veneer of the modern, Indians still think like the Vedas”1, suggests the practice of the tradition as an Indian feature.
The phrases like “unity in diversity”2 are always associated with the word Indian. The Sahitya Akademi's line has been, `Indian literature is one, though written in many languages' 3. In addition, the word like assimilation, amalgamation and adaptation pops-out whenever we talk about the subject. As cultural blend, and its flexibility to adapt and adopt different cultures is inimitable, which is a proven fact over the centuries. The object, which has instilled itself in the culture and the people, will survive. Therefore, to call any object Indian, it should have sustained and proved itself in the society over a span of time.
“As the hour, month, season, year, and æon have their own properties as contexts, the arts that depend on time have to obey time's changing moods and properties”4. The definition and the form of the word “Indian” is transient with time. It depends on several factors like the present context of need, availability of resources, skill and power. The presence of this factor was realized during the first stage of the study. Each case was primarily dependent on the context and situation of the society at the time of the building. For example, when we were studying the Jama Masjid, we realized that building is influenced by the political power and need of the era5. So it is important to keep time a constant.
It is important to fix other parameters like location or region to rationalize the analysis. Broadening the scope of study may show some results and inferences, which are incomparable. Hence, geographically, we are here limiting ourselves to Delhi and its surrounding areas to compare our cases. In addition, we are only considering the buildings built after the Indian independence, which are part of the physically established India.
One may ask that how the architecture in India is more identifiable through the region. Here, I would like to quote Takeo Kamiya, “European architectural history is clearly defined according to the ages, into Romanesque from Rome, Gothic, Renaissance, Baroque, Rococo and Modern, but Indian architecture cannot be compartmentalized in this way. This is because India is a complex nation, with a diverse architectural history.”6. Therefore, the time wise identification may become a complex process.
Observations in the process
Stage 1: Buildings from different eras
To start with, four buidings from different eras were taken for the observation and study [Refer Appendix 4.1]. The observation enriched our understanding about the complexities involved in architecture of India. The notion of influence by the political power and the current situations in the society was concreted by the visits to these buildings.
Stage2: Identifying buildings built after Indian Independence.
As the part of formal search for Indian-ness, I was assigned to identify the Indian-ness in the Industrial and Transport buildings, in and around, Delhi, which are built after the Indian independence [Refer Appendix 4.2].
The Industrial and Transport based designs undoubtedly belong to the new-global age; therefore, the interpretation and the adaptation can only be called as Indian or non-Indian. The focus is not criticizing the solution but to find out the features that can be classified under the categories, Indian and non-Indian.
Stage 3: Identifying buildings built after indian independence which were communicating Indian ness.
In the third stage [Refer Appendix 4.3], we were only looking for buildings, which communicated the feeling of Indian ness. The reasons for the identification for all above buildings were actually the elements or the whole theme in composition communicated by the building. Few noticeable examples are:
Case 1: Delhi Milk Scheme
Case 2: Escorts Industries, Faridabad
Case 3: Industrial Warehouse, NH-8, Gurgaon
Case 4: Garment Export House (Continental Group), Udyog Vihar, Gurgaon1.In Delhi Milk Scheme, the reason for its identification was its flying bird like structure on its roof and its façade which resembles a Jaali from a distance. The whole building approach was modern. However, building swerves itself towards the Indian-ness through its details and elements.
2.In Escorts Industries, Faridabad, theuse of Jaalis and octagonal pattern on the façade was its identification factor. The breaking of light in the main factory building with the innovative hyperbola paraboloids are efficient to extract the sunlight, this feature of breaking of light is also seen in the examples from history. It may be present in the form of use Jaalis where it breaks the harsh sunlight of the Indian sky to the satisfying daylight. Also, the orientation and the placement of different blocks forms a street in between, which is often missing in any industrial building, enhances its Indian character through the spatial planning.
3. The grid circles and the earthy colour of Industrial Warehouse, NH-8, Gurgaon, remind the cow dung cladding in the rural India. This was its reason of identification on the fast-moving NH-8. The internal light quality is filtered and optimum for a warehouse. This filtered light quality can be compared with the Jaalis used in the buildings built below the Indian sky where the sunlight is broken and its harshness is reduced.
4. The Chhatri like structure on the entrance of Garment Export House (Continental Group), Udyog Vihar, Gurgaon was a peculiar object in the row while browsing through the industrial area of Gurgaon, this building. Also, the use of sandstone as the material deviates this built mass towards the Indian-ness. There was a search for a sense of centre, or any open space in centre to concrete my notion of Indian-ness in this particular building, but it was sad to discover the bye-laws which direct building here to leave open space around the building. Often, the result is a monolithic chunk at the centre of building.
Case 5: DTC Shadipur Depot, Delhi
Case 6: Dantal Industries, Udyog Vihar, Gurgaon
5. In DTC Shadipur Depot, theentrance, which is meant for bus’s anthropometry, is reminiscent of a Haveli’s vestibule through its composition. Also, the central character of the open space inside the building can be easily related to the katras or a large Haveli. Hence, a feeling of Indian-ness is conversed through the central character and the entrance of the building, although, they are meant for different function here.
6. In Dantal Industries, Udyog Vihar the red Sandstone Cladding, which was a contrast while browsing the buildings in the Udyog Vihar Gurgaon, was the reason of its identification. The Stepped Entrance to the building with a small vestibule reminds the scale of an entrance in a typical Haveli. Small openings are climatically responsive attempt in the composite climate of Gurgaon. The industrial mild steel rods, which are used to form brackets below the parapet further, concrete its claim of Indian-ness. Finally, this building claims to be Indian through its material, elements and the composition.
Inference
The functions including the transport, which consists of buses, trains, metro and the factories and industries are the outcome of the industrial revolution. Therefore, their modern solution is obvious and expected. Noticeably, these solutions came from the west because these inventions, situations created by these inventions and solutions to tackle the problems created by these inventions were western. Consequently, the basic scenario cannot be called Indian.
Interlogue
The above study suggests that there is always a search for the vital Indian character, whenever we try to find Indian ness in a building. This character can further classified into essence and nature [Theory of Architecture, Paul A. Johnson]. The visible features are actually the nature of the object and the essence, the hidden meaning, is the idea that an object try to communicate.
In the course of time, we realized that whatever we were analyzing and commenting, is based on these two fundamentals. The resolution and clarity of the study has drastically enhanced after knowing these two elements and the distinction between them. The hidden magnet, which was forcing us to call any building as Indian, was actually the essence of Indian ness, which was not seen superficially. The fixation, which compelled us to call an object as Indian, is actually the nature, which can be identified easily. In the whole process, it was important to distinguish the layer of ambience, which influences the overall setup including architecture.
The search has self-filtrated itself through the process, and the questions are reframed and reinterpreted with some addition to the existing knowledge about the subject.
Questions Re-interpreted after visiting these building and analyzing on the scale of Indian-ness
-Is Indian architecture generic?
-Why only current buildings are under the scrutiny?
-How ambience influences the factor of Indian-ness in a building?
-Does Indian-ness exist superficially? Can only adoption of Indian elements on the skin of a building, makes it Indian?
-How essence of Indian-ness can be inducted in the buildings? How reasonable is to induct Indian-ness in a building?
- Is it impossible to search for the Indian essence in any transport-related building where the whole architecture is dominated by the function and requirements, which have very specific solutions? Do we need some Indian Solution for a transport related building or adaptation of western models is serving the purpose?
References
Ramanujan ,Is there an Indian way of thinking?
Jawahar Lal Nehru
Ramanujan ,Is there an Indian way of thinking?
Ibid.
Initial case studies
Introduction in “the Architecture of the Indian Subcontinent”, Takeo Kamiya
Pictures:
Author