As architect one is always learning to balance and resolve : - Ones aesthetic objectives with structure and the services . - Volumes and spaces in a building with the design brief . Thus the gist is that , a student is always striving to find a middle ground between aesthetic and purely functional requirements of a buildings . However this ' check and balance ' exercise cannot be complete without a crit from a more competent authority for the improvement of the design . Carrying the same logic forward on towards the larger canvas of architecture as a whole , we can clearly see the need for a 'critique ' on contemporary architectural works/issues. Through this the profession of architecture benefits , for critical writings , gives a new insight and understanding about architectural issues to the reader , whoever so it may be - a common reader , a professional or a student like the author himself .
1.1 INTRODUCTION Most of us related to the profession in India (or for that matter any where else ) at one time or the other , have been quite eloquent/strong in our views about a building or an architectural issue .In fact as architects it comes very naturally to us . But surprisingly when one looks for a similar discourse or critical comment in architectural journals , one finds an abundance of these in foreign magazines and lack of them in India. Clearly there is a lacuna somewhere due to which the critical comments in our speech do not get reflected into print - this obviously needs further research . At the very outset one can see two reasons for this . One , the architectural community is still small as compared to one in the west . Hence architectural criticism is a touchy subject within such a small community ( but as one would like to argue later this is a wrong assumption ). Second , the reason may be due to the nature of the profession itself i.e. - ' just as the chicken and the question , architecture too finds it difficult to define its role in the society . To elaborate this point further - architecture , still has to decide whether it is apart or a science .Thus one may read statements like : " is art a mere embellishment of architecture ? or is architecture only a setting for art .........(1) In the authors opinion these will remain unanswered questions , which arise because we claim the thin status of art as well and science for this field . Yet we also know from a purely practically point of view that the very act of designing is an attempt to resolve this conflict and arrive at an happy marriage . Thus there are bound to be lot of heated debates and conflict of opinions. In fact we even have an example of an architect and artist joining hands to create something together .e.g. Husain-Doshi Gufa , Ahemdabad..However architectural journals are nevertheless the main forum to discuss any debate that might be generated on architectural topics. At at this stage , it would be correct to understand that the development of this intense discussion on architecture has not always been there and is a reletively reecent phenomenon . This is because , historically architecture was just a symbol or a statement of an powerful ruler or beiiefs of a soceity and not open to any debates ( e.g. Pyramids , build by the Egyptian Pharoas were supposed to be homes for them in after in after life). Seeing from this ancient example and from many others we can easily see that architecture , as a method of expression , had two intrinsic qualities. One , it had a localities nature i.e. there was no such thing as an 'international style'. Second , it had a very limited auducience .........(2) The very nature of this method of this method of , communication was not without its inaccuraciesand pitfalls hence was prone to exaggeration , thus was inherently faulty .The result was thaat proper info./knowledge about about architecture never reached the general populace , in a distant land . Things , however changsd for the bettter with the advent of the Gutenberg's printing press . This is exactly where one can say that the sttory of architectura writing begins begins .
.1.1.3 ARCHITECTURAL WRITING IN INDIA " India is still a nation , trying to find its architectural roots and redefine them in the modern context " (5) Thus it is no secret that architectural writings can help the architectural community in its search . But the student of architecture , in India , faces a constant hurdle which is that we have enough access to western theories of Post - Modernism ( Deconstruction , Figurative , architecture etc .) but there are very few quality about it , however latter is absolutely necessary for a student to broaden his / her horizon , as architecture in many ways , has a quality about it, however latter is absolutely necessary for a student or professional designing in India . To elaborate this point further : As a student , one faces a constant dilemma of resolving the conflict between our aspiration for an intelligent and hi-tech. architecture which has its roots in India's distinct cultural identity . These may be in terms of : 1.7 Notes and references (1) Ratnottama Sengupta, `A cavern for contemporary art, Times of India, no 18., Vol. V Capital (February 5th 1995) pg. 19. (2) Prem Chandavarkar, `Architecture and the Expression of meaning', A + D, No. 5, Vol. IV (January - Feburary 1988), 94 - 99 pg. 94. (3) John Punter, `Making better Places : Processes and Products', in Richard Hayward and Sue McClynn, editors, Making better places Urban Design now (London : Architectural Press 1990) pp 10 - 18, pg. 17) (4) Peet and Robinson, `The Critical Examination' (London : Harrap, 1984), 55. (5) E.T. Design team, `Opening up spaces for life', The Economic Times, (Feburary 17th 1994), pg. 10. (6) As per conversation with Malay Chatterjee, dissertation co-ordinator S.P.A. Delhi, September, 1994. (7) As per conversation with Gautam Bhatia, architect, September 1994, Delhi. (8) As per conversation with Abhimanyu Dalal, architect, writer U.D. Department S.P.A. Delhi, 12th January 1995. (9) As per conversation with Hafeez Contractor Architect, 31 January 1995, Bombay. (10) Ranjit Haskote, `The Rape of the Text', Times of India, no. 80, Vol, CIV-III, New Delhi (Feburary 4th, 1995) pg. 21. (11) John S. Pipken, `Urban Geometry in image and Discourse', in Paul L. Knox, editor The Design Professions and the built environment, (New York : Nichols publishing company), pp68 - 91 (pg.81). (12) Gautam Bhatia, Punjabi Baroque (Penguin : Delhi 1994) (13) Vincent Scully, `Theory and Delight', The Progressive Architecture (October 1989) pg. 86 to 87. (14) Stephen White, `Mannequin Chic', A + D (January-August, 1991) pg. 71 to 77. 2.1. `Criticism in Art and in Architecture' There was a time when painting and sculptural works, used to generate tremendous controversy during the nineteenth century. This is a reflection of how paintings, murals and sculptural monuments, were considered as `representatives' of a societies civic virtues and aspirations (3). As an example one can suggest Manet's `Olympia' which created a scandal as it challenged the Victorian sensibilities of it's time. But as times changed so did the priorities of the public, thus today it is architecture that challenges the morality of the public and not painting etc. Even if one were take the example of Delhi, one can think of several buildings that routinely come under critical review such as Jeevan Bharti, N.D.M.C., Vikas Minar etc., but one can scarcely think of more than one piece of public sculpture that has generated as much controversy, except that of King Geoge's Canopy at India Gate. This clearly suggests a shift in priorities of the public today. Thus today we find that violence or pornography etc. seem to the accepted subjects of an artists expression, leaving very little up an artists sleeve that has a `shock value'. On the other hand when a critic by the name of Wolf Van Eckardt pronounced that Michael Graves's Portland building was, `dangerous', he was taken seriously. See fig. 5. Now one may or may not agree with the critic but the very fact that, the building was considered a threat to the aesthetic sensibilities of the people of the city, that made Eckardt use such strong language, is in fact an indication of the seriousness and frankness with which architectural criticism is often done, in the west today. But at this point it would be correct to point out that there are two essential differences between criticism in art and architecture which are due to the nature of profession of architecture. For this one must understand the relationship between the critic and the architect. 2.1.1. THE CRITIC AND THE DESIGNER The relationship can be elaborated as follows : 1) In art one may not need a client for one to work and thus an artist can work without a sponsor. But in architecture there are so many hurdles to cross in constructing a building as compared to other forms of art, that as Tod A. Marder, a critic puts it : "It is amazing that anything gets built at all" (4). Right across the board there are several problems, such as getting a client who will give you work to dealing with `unscrupulous' contractor and finally getting your fees paid (5). Thus it is not surprising that architects often expect a `positive comment' rather than a `negative' comment in architectural journals. (2) Secondly, architectural critic is very much dependent on co-operation of an architect for writing an article. The help a critic might require from an architect could be in the following ways : i. Permission to visit privately owned structures, which may otherwise be inaccessible to an architectural writer. ii. Copies of building plans and list of specifications. iii. Revealing anecdotal information about a project which sometimes may provide the real keys to understanding a buildings actual significance for e.g. only the architect of a particular project can reveal as to what were the initial design brief of the client, so that the critic could comment on the success of a project vis-vis the client's needs (6). It is for these two reasons that criticism in architecture is slightly tempered as compared to criticism in art. The current opinion in America is that if architects wanted to be part of a community of artists, which is one of the objectives architectural theories from abroad would be relevant to the development of architectural criticism in our country. To understand the foundations of architectural criticism abroad one must understand the essentials which make it possible. These can be outlined as follows : (A) Enough quality and serious architectural work, which can be commented upon. (B) A highly developed and different centres of opinions from Classical, to Modernistic to Post-Modern, on which a debate can thrive. (C) A readership of professionals (about 55,000 in America alone) and citizens who are intrested in the field. (D) A well developed and thriving publishing industry. Historically, in America, the establishment of critical voice in architecture has depended on support given by publications. Thus this sponsoring of critical pieces was very important for the early development of critical writing, in that country, which should also be a lesson to us, in India. One of the most extra-ordinary run of architectural criticism in a newspaper was that of Lewis Mumford for `the New Yorker'. Even today those articles (about 187 in all) appearing under the title of "The skyline" are recognised as one of the most potent bodies of architectural criticism ever published. But this series of articles ceased to be published after 1963. Similar to this are regular, articles on architectural criticism in New York Times in which critical articles were introduced when Ada Louise Huxtable was appointed as the architectural critic to the newspaper in 1963. 2.2.1 The Architectural Periodicals Amongst the host of journals and periodicals available on architectural topics one can list three as the ones which have consistently exposed their readers to architectural criticism. 1. A.I.A. Journal (recently name `Architecture') 2. Architectural Record 3. Progressive Architecture. Of these, A.I.A. has a unique distinction of having carried out post-occupancy critical studies. Not surprisingly, such studies have often revealed totally new opinions and judgements which may even be contrary to the ones made by critics previously. The Architectural Record on the other hand has often been accused of unqualified support to architects, regardless of the quality of architectural work or as Martin Filler puts it : "If it gets built, it's good for the profession was the avowed editorial principle of Architectural Record" (2). However Filler admits that since the mid 80's Architectural Record has adopted a more critical tone, but it is, progressive Architecture or P.A., as it is generally referred which is probably the least timid of all the architectural magazines, as far as criticism goes. The general format adopted in P.A. is to have a round table format of different opinions arranged thematically. This means that any building or a project will receive both `Pro' and `Con' comments. Thus the magazines in this fashion can absolve itself of any accusations of bias. In the authors opinion this accommodation of different viewpoints, which generates a debate and does not muffle any critical viewpoint may be particularly relevant to our country. The reason for this may be that understanding such variance in opinion, would make a professional or a student to develop a more balanced viewpoint on architectural issues. For example the issue on the Corbusier's centenary published by A + D is September - October 1987, helped one to get a host of opinions right from architects such as Satish Grover to B.V. Doshi to Charles Correa. Thus, the magazine, did not subscribe to any particular viewpoint yet by simply by throwing up questions, at above architects, were able to elicit different viewpoints. To conclude, about critics and criticism in the West today cne can say that 'nothing is ever really enough', is what is? The aspiration of American critics who continually demand more and better critical writings on Architectural works which perhaps, is one of the ways, in which one can have better architecture, thus such a demand would be equally correct to make in our country i.e. India. 2.3 Principles of Architectural Criticism It has often been suggested in architectural circles in America that criticism may itself be an art form today. The supporters of such opinion are perhaps even encouraged by novels such as `Fountain head' by Ayn Rand who have put architectural critics on such a high pedestral that they make and break careers of architects. While such an idea might be a little far-fetched, but one cannot deny the fact that a rave review from an eminent critic can actually help to improve an architects `prestige' in professional circles. For this reason and for many other's as one discovers, critiques are important for architect's and for architecture. Yet there was a time during the Modern Movement, when the belief was that documentation of architect's intentions and the response of the user might be interesting in an sociological way, but it cannot have a bearing on an architectural work which is complete by itselt and does not need any explanation(8). But then just as many of the edifices of the modern movement have become old, so has this belief. It is widely accepted, as one discovered while reading architectural journals that the first salvo fired against Modernistic beliefs was by, Robert Venturi's `Complexities and Contradictions' in 1966, which questioned the very basis for `Modernistic certainties'. In this book instead, Venturi argues for a messy vitality as opposed to clear and straight forward solutions of modernism, which was a revolutionary thought in its time. Today, the Post Modernists argue that an artists intention, the creation of work and its reception by public are all part and parcel of an architectural experience and none can be really understood without taking others into account. Thus the historical basis of judging a building, based on Vitruvian triad of Firmness, Commodity and Delight would have to be modified and adapted to today's Post Modern realities while writing critiques on contemporary works. But in what manner has today ideas about architecture have affected the `triad' needs further investigations. For this, one must understand as to what are these three yardsticks and how they are constantly being challenged and negated by architects today. Clearly, firmness has lost some of its power as a critical standard. (B) COMMODITY refers to both actual success of building while functioning and the expression of its functioning. An example of this is how the design for, British House of Parliament became a national issue `should the design go with the universality and continuity of classical tradition or go in for locally accepted Gothic forms' was the bone of contention. More recently in the 50's, in India the Modernists, argued for universally accepted forms the result was city like Chandigarh which many argue does not totally identify with the local context. Thus today, the Post-Modernisation movement argues for revival of forms which are legible to public. An attempt in this direction was the `Portland building' by Michael Graves, which has become one of most `discussed' building in recent times. Infact some critics have called it a wall paper and some have used the testimony of its users on its small windows to call it the `worlds tallest basement'. Another example is of how `Semiotics' a powerful movement during the 70's tried to transfer ideas from language to architecture (which has since proved be highly problematic). Thus this twin issue of image and function of a building are being defined and redefined constanty by todays architects, and the critics too thus have to make their judgements against such fast changing ideas about the quantity which we call `commodity'. The expression of function too, has become a very complex matter as peoples very nature and responses towards buildings changes. An example of this is how East Building, National Gallery of Art in Washington D.C. (See fig. 6) was given a huge atrium which was much criticised as being `useless' in a museum but today it actually draws a lot of people due to its ambience. In our own `backyard' Charles Correa has given his British Council Library Building in New Delhi a huge mural of a banyan tree on its facade. Though it may have little practical significance, it is one of the most talked about features of this building, which even a casual passer by cannot ignore even though the mural has no function of its own to pass on to the public. would have to be redefined in the modem context, by critics today. SOME EXAMPLES OF `THE NEW KIND OF ARCHITECTURE BEING PRACTICED BY POST MODERN ARCHITECTS TODAY. figure 3 : Portland Building by Michael Graves N.Y. which has received a lot of critiques by modern critics, Wolf Van Eckhard has infact called it ` dangerous ' figure 4 : Gehry House Santa Monica, California breaks many conventional ideas about a house, for eg windows placed at odd angles. figure 5 : Inderterminate facade of BEST Chain of Stores which breaks all conventions about `structure' and `Firmness',architect James Wines (SITE) figure 6 : Atrium, East Building, National Gallery of Art is one of the very well frequented places in the Museum even though it has no function of its own. figure 7 : Getty Museum, California, U.S. done in the Renaissanse Style figure 8 : A.T& T Headquaters N.Y. by Philip Johnson done in a Corporate Renaissanse Style,tries to incorporate cassical elements eg a ninche on its apex so that even skyscrapers can be `legibe' to the public. may be beautiful in its own way. Thus the point one is driving at, is that a critic today cannot judge the two by the same yardstick as they practice in totally different environments. 2.4.1. THE CRITIC AND THE SOCIETY- This brings us to the fact that the relationship between the architect and society is increasingly complicated as todays designer may find himself designing : - a school - a computer centre - a model resettelment township eg. Tehri township U.P. - a health centre catering to a small village or a large hospital catering to a small town or city etc. All these are very different needs hence the responses from the architects too would be very different. Thus the critic, today, needs to study the needs of the people and the client in great detail and only then give a judgement on an architects work. No doubt, all this makes the job of a critic doubly difficult for he has not only to comment on the aesthetic aspects but the users needs and responses too. But in one's opinion, that is a small price to pay for living in today's complicated yet challenging world, which is literally bubbling with new ideas. Notes and References 1. Robert Bruegmann, Utility , Firmitas, Venustas and the VoxPopuli : A context for controversy in Tod A Marder, editor, 'The Critical Edge ; controversy in Recent Architecture, (Massachusetts ; M.I.T press 1985), 2. Martin Filler, 'American Architecture and its criticisms Reflection of the State of the Arts' , Tod A Marder, ibid pg 29. 3. Robert Brugemann, Tod A Marder ibid pg 15. 4. Tod A Marder, ibid pg 2. 5. Gautam Bhatia, 'India' 'Punjabi Baroque' (Penguin 1994) pg 10. 6. Martin Filler , Tod A Marder opcit pg 28. 7. Ibid pg 29. 8. Robert Brugemann, Tod A. Marder opcit pg 15 9. Geoffrey Scott, ' The Architecture of Humanism,' (London 1914) pg 2. Notes and Refrences 1. Based mainly on conversation with, Abhimanyu Dalal, architect, U.D. deptt., S.P.A. 12th Jan and Suneet Paul dissertation guide, Jan 1995. 2. Charles Carrea, Chandigarh : A view from Benaras, A+D, Vol III Nos 6 (Sep-Oct, 1987) pg. 73- 75 pg ( p.75) 3. Abhimanyu Dalal, `Modernism Redefined' , A+D (Jul -Aug ,1990) pg 21-25. 4. Kurula Varkey,' Theme and ideas', A+D (Jan -Feb, 1989) pg 28-35. 5. Abhimanyu Dalal opcit pg 25. 6. Abhimanyu Dalal opcit pg 21 7. Kurula Varkey, opcit pg 35. 8. Kurula Varkey, opcit pg 34. 9. Ranjit Sabhiki,' The Urban Explosion and Urban Design', A+D, (Sep-Oct, 1990)m pg 29-39. 10. Martyn D., `Inner city Area', A+D (Sep-Oct 1990) pg 59-69. 11. ibid, pg 69. 12. ibid, pg 69. 13. K.T. Ravindran, `Restoration : Reelevance and Practice'. A+D (Sep-Oct 1992) pg 15 14. A.G.K. Menon, `Conservation in India, Relevance and Practice, A+D (Nov-Dec 1989 ) pg 26. 15. K.T. Ravindran, opcit pg 69. 16. ibid pg 26. 17. ibid pg 27. 18. Stephen White, `Ideas and Building', A+D (Mar-Agr 1985), pg 18-25. 19. Gutam Bhatia, `Architecture of Marginality', The Economic Times (Aug,21,1991) pg 8 20. Prof. M.R.Agnihotri, `Bio-climatic Architecture'. A+D (Vol IX Nos.372, pg 25-35. Notes and Refrences 1. Based on a conversation with , Abhimanyu Dalal, architect, critic on 12 th Jan 1995 2. Robert Bruegmann .' Utilitas, Firmitas, Venustas and the Vox Populi : A context for constroversy', in Tod A Marder, editor, The Critical Edge, controversy in recent American Architecture (Massachussets : M.I.T press 1985 ) pg 15. 3, Abhimanyu Dalal, opcit. 4. Martin Filler, ` American Architecture and its criticism : Reflection of the State of Arts, opcit Tod A Marder pg 30. 5. As per conversation by, Ashok B Lal , architect Feb 1995. 6. Razia Grover, editorial page , A+D (Jul -Aug 1993) 7. J.R. Bhalla, architect, in a lecture to fourth year students in a class of `Professional management and practice. List of appendices 1. Modernism Redefined, place making in the architecture of The Design group by Abhimanyu Dalal (A +D Jul -Aug 1990) 2. Relevances and Practice : Restoration, Prof. K.T. Ravindran (A +D Sep-Oct 1992) 3. Chandigarh - The View from Benares - Charles Correa (A + D, Corbusier centenary issue Sep-Oct 1987) 4. Case Studies of articles on Wexner Centre Columbus, Ohio, U.S.A. -Theory and Delight by Vincent Scully (P.A.) -The Mannequin Chic by Stephen White ( A+D, Jul - Aug 1991) 4.1 Introduction to the Author, gautam bhatia Gautam Bhatia, is a young architect, about forty three years old who has a `conscience' but has to often compromise on his ideals for his bread and butter. Thus to let-out his feelings he often uses his writing skills i.e. the power of the written word rather than his designing skills because, as he himself puts it he is an architect who practices in India a country which poses its own unique and peculiar problems, which force an architect to stub out his `consience'. Bhatia is a graduate in fine arts and a post-graduate in architecture from University of Pennsylvania, thus in ones opinion, he is immensely qualified to write about architecture in India because his qualification give him two very essential requirements for any person to criticise. a) A sensitive and pensive nature which an artist naturally possess. b) A view of an outsider who is now practising in India which gives him an opportunity to compare, what he thinks is good in the west with things which are wrong in the architectural profession, in the country. 4.2 About the book `Complexity and Contradiction by Robert Venturi is in Malay Chatterjee's own words a "treatise which refers to certain higher philosophies", which is definitely true since it broke existing and accepted rules about `Modern Architecture'. But `Punjabi Baroque' as per the writer himself makes no such tall claims. "It is a criticism which one middle - class architect has felt pertinent to make" (2). Perhaps more than anything else, the book is in the form of an informal diary about Gautam Bhatia's experiences as an architect : - the clients he met and the demand they put forth in front of the architect- Gautam Bhatia. - the places he visited which `touched him', positively or negatively. The example of the former is the series of bridges on east river New York which show an amazing variety of architecture right from massive portals of Washington Bridge to Brooklyn Bridge, which is a hybrid of Gothic Towers and advanced cable technology. An example of poor architecture, as per Bhatia is a drive-in cinema in Ahemdabad, as compared to the ones the author has seen around in the world and also his own designs in form of the houses he is often asked to design by his often rich but ostentatious clients who want to flaunt their wealth by copying and amalgamating architectural styles from Greece to Spain. - About the low cost architecture, Bhatia would like to promote It is a book which could be read, well and enjoyed by not only architects, but any person who is intrested in books with a lot of sense of humor, but and but with a serious message behind. In one's opinion, if one could understand this aspect i.e. of targetted readership, of the book then one could perhaps, appreciate the very easy going and witty style of writing of Gautam Bhatia, (which the author would like to explain further in the next section). 4.3 Approach and Methodology of the Book Gautam Bhatia has attempted to give a guided tour through the intricate web of architecture in a funny and hard-hitting manner. This tour is not meant to be undertaken only for, professionals but for students and general readers. It is in this context that one must understand a rather non-serious approach of Gautam Bhatia which makes his book very lucid and readable (almost like a story book) Also, there is also the question of pure economics of selling a book - Because a writer in India writing a book on Architecture in a very serious, technical and serious manner would not sell many books due to a very limited readership of professionals or students available who would be intrested in serious critical analysis. This book must sell with the general public for it to be economically viable. As a student, one, is of the opinion that critical writing need not always be done in a very serious tone. If a writer basic style of writing is easy going and witty, in ones opinion, he can make his critique even more interesting. It introduces both `fun' and `variety' into the critique. Thus, one would say that, Gautam Bhatia's book has come almost as breath of fresh air in a jungle of serious criticism. LAYOUT OF THE BOOK - (The book has been divided into three sections) i. Description of peculiarities of the society in India and the architect working in such an environment. ii. A description of such terms as `Marwah Mannerism', `Sindhi Hacienthia' which have led to the development of a new kind of architecture which may be unpractical, stupid, fanciful and gross but is creating its own vocabulary, and its own characteristic styles. iii. The suggestions put forward by Gautam Bhatia, of new type of architectural vernacular, as designed by Laurie Baker, Revathi Kamath etc. which is both very low cost and architectural pleasing.
4.3.1. REVIEW OF THE BOOK - `PUNJABI BAROQUE' Often, Bhatia takes a tone of despodency while taking about, a young architect who is trying to gain foothold in the profession of architec ture, of which he himself is an example As he himself puts it. "If the spirit has gone out of architecture it is because the architect is no longer responsible for the shape of buildings. That is determined by the petty businessman who is willing to sink a lifetimes income in his dream house" (4). But otherwise the overall tone of the book is full of witty and sarcastic comments but besides that many architectural issues which have also been highlighted, in this book. For example he says "The new language of architecture has to be learnt to express simple ideas of buildings to people who fall outside the profession. The outsider is a fool and must be made to appear so" (5). Thus explaining very clearly how architects use `high flown' architectural vocabulary to confuse and impress their clients. Hence he wants to tell the readers, as to how architects use their technical knowledge along with verbal skills to be one-up on their clients. Figure : Punjabi Baroque House Amongst the more serious issues close to the heart of Bhatia, is the slow destruction, of our cultural values due to downgrading in importance of the : - Historic monuments - Quality of life in our city leading to loss of value of its citizen - Traditional rural life which is fast being replaced by urban forms which are alien to the locale. - Common man, who has to survive in suburbs (which lack in facilities) and has to spend a better part of his life transporting himself from house to work and back. The overall image of the new urbanscape, in the words of the author of the `Punjabi Baroque' is: "One that alters the physical environment in such radical ways that places lose their genial familiarity and recognition"(6) this is an example of sensitivity of the writier to the deterioration of life in the city. In one's opinion the main achievement of Punjabi Baroque will be that it would put architecture as one of the topics to be discussed in the social circles. Thus the main lament of architectural writers and magazine publishers that architectural writing does not find enough readers would be removed. Also we know that probably one of the reason for lack of concern amongst the common reader about architectural writing might just be that people find architectural writing rather tedious to read and understand. But the simple and erudite manner of writing of Gautam Bhatia has made it a popular book amongst both `architectural circles' and common readers (which in turn helps architectural writing to gain new readers). Thus when Satish Grover says in his review of `Punjabi Baroque' that : " Here it is at last! The Shobha De and `Starry Nights of Indian architecture in the form of Gautam Bhatia and ` Punjabi Baroque (3)" Though partly correct, he is being too harsh on the writer Gautam Bhatia. But if one were to compare it with very serious critical writing that one often reads in foreign journals such as P/A etc. the book does not achieve those standards because: 1) First of all it has tried to touch on too many things right from the profession of architecture in India to development of new architectural vocabulary to low cost architecture. Hence none of these topics have been dealt with, in great detail. For eg. about the new and funny names of different architectural styles developing in India, which are given by Bhatia. Thus, even though fancy names such as Marwari Mannerism `or `Chandni Chowk Chippendale' are witty Bhatia has given little reasoning for any logical basis for generating these names. Infact it would be too simplistic to just generalise that a paricular commu nity makes a particular kind of home as today's tastes vary from person to person rather based on the logic of a persons origins from a community. 2) Secondly, while Bhatia has gone great lengths to make his clients appear funny and stereotypes of their particular community who demand an architecture which makes the architect appear more like a `Copier machine' of `foreign' architectural styles, he has not attempted to guide a student or a professional about as to how the architect can convince a client and make him/her see the `light' thus creating something beautiful and more `Indian' in character. In this regard the author cannot forgive Bhatia for such an analysis and suggestion would have proved to be immensely valuable and intresting for a student, especially. 4.3.2 CONCLUSION In the author's opinion, the book as the writer claims, is truly an `informal diary' and there is very little to be read or mull over in between the lines. Though purely from a point of view of analyzing a particular community in a very witty and succulent fashion Bhatia has been really very good. For eg. about the Punjabi community, to which he himself belongs, he says: "But the Punjabi had never been satisfied with his Indian origins anyway. Fate has been unfair to him : if he had his wish he would have been a count or an earl on some English estate, or a medieval monarch in a chateau in France" (8) But infact a good, critique should be something that, makes the reader thing as hard as the writer, if not more, and in the author's opinion `Punjabi Baroque' fails in that department. In one of the conversations with Gautam Bhatia he told the author that "I am not a critic, I just like to observe things and write about them" (9). But the author is of the opinion that Bhatia has the necessary writing skills, a very profound manner of thinking and a very meticulous approach to issues to be able to attempt serious criticism. Also, the book raises a very important question in the mind of the author that `why is it always the architect, who should compromise on his ideals ?'. But Bhatia has no direct answers except give examples of how some of the architects such Laurie Baker and Revathi Kamath have successfully designed using low cost technologies which were relevant to the context. However, to a student or a young professional a more direct answer rather than an `overall tone of despodency' in the book would have been more beneficial. In essence the author would have to agree with Satish Grover: "I wish that with his enormous facility for writing, Gautam Bhatia would take himself, a little move seriously and sometimes also endow his writing talents with a more serious perspective" (9). 3.1 The issues AND the Writings ON Indian Architecture It is an established fact that an architect practicing in India faces issues which are very complex and unique to a developing nation and over and above this India poses its own set of challenges to an architect practicing in the country. Yet the debate which can help to clarify the above, is lacking (and the source material which is available from Western Architectural writing cannot help to clarify all the issues). Thus in simple terms, there is a gap between `supply and demand' of critical discourse, on issues facing the architect in the country. Thus , the author, in this chapter seeks to identify the core issues and the depth and clarity of architectural writing available (thus also pointing to the gaps which need to be filled up or in other words critically analysed). The topics on which critical articles in Indian magazines and books would be analysed are : a. Modernism Redefined : Traditional Indian Concepts b. Unplanned Urban growth c. Conservation in India d. Eco-friendly architecture in India. The basis for selection of these issues have been through : - Interviews with Architects (1) - The sheer frequency with which these topics have been written upon in Indian journal such as A+D, Inside Outside etc. - Conversations with fellow students of architecture who while designing often need clarification on these issues which help them to successfully produce designs relevant to the site and the local context. 3.2 topic -1 Modernism Redefined : Traditional Indian Concepts Today architects often talk about a need to develop a new vocabulary of architecture more consistent with its past traditions. Several architectural firms or architects have taken this path of rediscovery or reinterpretation of architecture suited to the needs of India. But when we talk of `traditional planning methods' one must not forget that it has to be within the overall framework of the modern context. Alsowe must know that we are that we are talking about tradition in a multi-cultured and ancient country like India, thus one has agree with Charles Correa when he says. " India is a blotting paper who knows ? A hundred years from now, perhaps oven a city like Chandigarh will also fit seamlessly into the Punjabi ethos " (2) - meaning that the word `Indianess' is very difficult to define since India has always over the centuries adapted and adopted architectural forms into the India milieu. Thus in the author's opinion any architectural writer, writing a critique on the topic of interpreting the Indian architectural ideas into modern context face twin challenges , which are : a) India has been very a plural society thus the dividing line between an Indian architectural form and the foreign input gets blurred very easily for example, the Islamic influence was adopted by Mughals along with elements of Hindu architecture to develop Mughal architecture. Thus today Mughal architecture is not considered foreign at all, infact it is a mixture of Islamic and Hindu influence. b) Since,the early 20th century architecture had developed a global vocabulary in form of `International style' and the idea of - Vermacular architecture - Local context - Bio-climatic architecture etc. were almost stampted out by the `International style'. The writers and architects had to literally dig out our Indian concepts of `Vastupurusha', courtyards etc. to give the Indian building a touch of familiarity to its users in the country. Hence the damages that were done by the International style would take some time to be undone Thus all such writings must be seen in the context that India is a young nation, which had a long history of creating beautiful architecture (in places such as Fatehpur Sikri, Golconda, Shahjanabad etc.) - an architecture that was a part of a living and vibrant tradition, but it will take some time for our architects to recreate and rediscover it
3.2.1 THE ARTICLE ANALYSIS ON MODERNISM REDEFINED: TRADITIONAL INDIAN CONCEPTS. Most of the critical writings on the issue of tradition in India are usually firm specific. Thus by taking two examples (see appendix for these two articles) - `Modernism Redefined' -Abhimanyu Dalal (3) - `Themes and ideas' of B.V. Doshi - Kurula Varkey (4) one would get a fairly good idea about critical writings in this field. MODERNISM REDEFINED- REVIEW OF THE ARTICLE BY ABHIMANYU DALAL Dalal has given the logic of `Continuity with Change' (5) as the underlying factor in the designs of Design Group which is a Delhi based firm headed by Ajoy Chowdhary and Ranjit Sabhiki. This critic believes in a tradition which one should respect yet it need not escape metamorphic action. Thus the logic of interpreting traditional ideas in terms of new materials and methods of construction in contemporary works seems to be correct. It is this understanding of Modernism vs. Tradition that Dalal has used as yardstick for giving a critique on the works of Design Group. In this regard, the Design Group has as per Dalal, come out as a firm which has always consistently attempted to do so. As he puts it. " The Design Group's concern has always been, therefore not to graft the rigorous discipline of the modern movement but to slowly nurture it in order that it may be assimilated into the mainstreams of our architectural traditions. The concern remained basic; materials, value and technology changed". Thus, the author believes that Dalal essentially supports a synthesis of traditions and modernity carried to its logical conclusion in each of the structure an architect builds. An example of this is the Mughal hotel at Agra by Design group which has courtyards flowing into one another and even accommodate, at one point, a Mughal garden with an unending vista suggesting the direction of Taj. This idea of a courtyard is slightly different from the traditional one of having introverted courts, which are isolated from each other. Thus this new interpretation of a courtyard is not only more practical and suited to the project but feels more aesthetic, as per the writer. All through the articles the writer has tried to rigrously analyse the basic philosophy of the Design group and how it has under went a change over the years in the projects done by Design Group. These as defined by the writer may be in terms of facades, inter linkage of parts open, spaces as volumes or interiors vs. exteriors. It must however be said that Dalal has not attempted to ayalyse how the use of materials has been attempted over the years i.e. what are the ideas of the Design group about the concept of use of materials because right from Yamuna apartments with its finish of "Madrasi-dana" to sandstone in HUDCO bazaar the Design group has experimented with lot of materials. Also one felt all along the article little attempt has been made to understand as to how the Design Group has tried to tackle the question of climatology, especially when they were designing in Delhi. It is very obvious to any person that Yamuna apartments with its concept of mutual shading by scaled and interlinked courts should have been analysed by the writer- this would have been an added and useful contribution to the article. Another issue raised by Dalal, is the use of historical images, by transforming them into a slightly different form. This, the writer believes is inherently dangerous as it carries the danger of making a `superficial architecture'. Thus, the Design Group's Indian Embassy in Kuwait built to resemble a `Modern Mughal Fort' with its internalized spaces has defeated the very purpose for which it was built, i.e. an Embassy for a modern and open democratic country. Raising of this aspect of tradition where it is transformed, through just simplified symbolic gestures and thus appears more like `a half baked idea' is in author's, opinion very relevant to this controversy of tradition vs modernism. Thus the author has rightly criticized the Design group of trying to use the historical context in a manner or in a place where it may not be suited, which is also the case with the Design Groups Janak Puri District Centre also where the circular columns emulating the ones in Connought Place appear to be out of place. As Dalal, himself eloquently puts it: " The columns of Janakpuri attempt to emulate the dynamic and spontaneous quality of the Tuscan columns at Connaught Place, but appear life less and ill proportioned under the weight of multi-storied monoliths above, The columns at Connaught Place have a particular relation to scale and use and do not transfer from the original location easily. THEME AND IDEAS OF B.V. DOSHI -REVIEW OF THE ARTICLE In another article done by Kurula Varkey the importance and direction of B.V.Doshi's work has been analysed. Doshi's work is very central to the controversy of Modernity vs. Tradition. He belongs to the very first generation of architects, entrusted with the role of redefining the `correct style of architecture for a new India'. This generation did, inevitably fall for the International style of architecture imported in form of Corbusier's and Kahn's ideas etc. But it did not take long for them to realise that this architecture is not the correct solution to all our problems. Hence they realised it was the rediscovery of something which was familiar and our own that is important. Thus the task for the likes of Doshi was as the writer very well puts it " The search for the Indian ethos which lay not in stylistic pastiche of elements form the past but understanding the very constants that have always exsisted in the Indian architecture" (7) However while criticizing Doshi a very detailed critical analysis of individual building of Doshi is what is laking and the writer has mostly relied on photographs rather than an analysis through words. But, Varkey has raised an important point that works of Doshi etc. are dealing with building or complex as a singular entity by itself, which cannot be complete without taking into account the surrounding or in other words one cannot have these islands of traditional philosophies when we are surrounded by urbanscape that represents `chaos'. Thus one believes that the principles of architects such as Doshi and Correa need to be carried not just upto the level of individual structures but upto the level of planning of Indian cities. 3.2.2 CONCLUSION TO THE TOPIC Dalal's opinion is, along with transforming it to the modern context that the constants of traditional Indian architecture need to be defined and implemented not just on a micro but a macro scale. In the authors opinion this is exactly where the architectural writers and architects face a big challenge. The scale of this task is compounded by the fact that we are living in an era of constant change of ideas (for e.g. we moved from Modernism to Post Modernism within a space of fifty years), where a lack of consensus exists on what is an appropriate balance between tradition and modernity - this is a debate which would have to be increasingly understood and dealt by, architectural writers in the country. But while Dalal has left his article by throwing up the questions of what constitutes the constants which must be defined and carried forward, Varkey has perhaps unknowningly while analyzing Doshi's work put forth some answers, such as he says : " It is in `Sangath' that this principle of imperfection begins to take shape. Not everything is perfectly resolved, not everything is in place-in fact everything has that slight disorder that contributes to the vibrancy of life. " (8) which is quite true for most things that are Indian. Perhaps this is one of the small strings, the author believes- which if picked up, can give a logical conclusion to the debate of Tradition vs Modernity in India. 3.3. TOPIC II UNPLANNED URBAN GROWTH The pace of Urban growth in India in the post-independence era can best be described as chaotic and unprecedented. When Corbusier designed Chandigarh he did not take into account the Indian way of life with its bazaars, narrow streets, large number of pedestrians and in general a vibrant character. Thus, the point one is trying to drive at is that though Chadigarh is still a city which maintains a reasonably organised character even almost four decades later after it was designed it cannot serve as a model to be copied everywhere. But it is indeed a sad truth that, this is the very mistake that is being commited by the Urban planners, especially so who are employed by govt. agencies. Even in our own city, Delhi, the ubiquitous D.D.A. self financing housing schemes, housing blocks lack any sense of spatial order or space making. Hence forth some architectural writers and designers have tried to search for ideas from our past,(an era in which model cities such as Fatehpur Sikri or Jaipur were designed) . Also after reading various writings on the subject one can say that the design solutions to unplanned urban growth have to cater to and be implemented in two kinds of scenarios or places : - the inner city area of historic cities such as Hyderabad, Delhi, Lucknow etc. which require decongestion. - New suburban areas developing in all major cities for eg. in New Delhi we have our own N.C.R. ( National Capital Region). As a general level of debate on Urbanisation one can say that here have been some very interesting and informative books, written on the topic for eg. : - The `New landscape' which suggests solutions to Bombay's urban growth and other ideas of Charles Correa . - `Architecture of India : Buddhist and Hindu' and `Islamic' by Satish Grover which are books which explain amongst other things the planning principles of ancient Indian cities, which can thus be used in implementing better design solutions to contemporary town & city planning in India. - Also two landmark articles on present Urban landscape apeared in A+D (Sep -Oct 1990). In the authors opinion these are representative of the very critical piece being written on the faliure of present town planning techniques in India which tell us about a need for some retrospection about where the contemporary town and city planing has failed. The articles :(See appendix 2) - `The Urban Explosion and Urban Design'- Ranjit Sibhiki. (9) - `The Inner City Area- Dynamics of change' - Martyn.D (10) These two writers basically agree on the fact that the present model of development which ignores the basic realities of Indian life and has been copied from the West does not work. Hence Ranjit Sahiki says on copying of the Western model. " Post war townplanners in Europe adopted the concept of special areas or building zoned for specific purposes, to get out of the confusion of Industrial Revolution. In Indian context, this had little or no validity as it merely cut across the traditional towns or cities, where a close link prevailed between dwelling units and the place of work and invariably a mixture of use even within the same building. 3.3.1 REVIEW OF THE ARTICLE : URBAN EXPLOSION AND URBAN DESIGN `BY RANJIT SABHIKI Sabikhi has started by giving a general picture of township development in different historical periods for eg. - - Islamic (Shahjanabad) - Rajasthan (Jaisalmer) - Temple cities of south (Madurai, Meenakshi etc) and how they suited the locale,lifestyle of the people and social structure of the society. Then the Britishers introduced a model of development which Sabhiki called a `Surveyor layout' method, which is a distorted version of `Ebenezer Howard's Garden city concept'. But in India, it failed, because when this was implemented, we did not get any symbiotic relationship between the city centre and suburbs i.e. the former remained organised yet lifeless and latter became vibrant but chaotic.- which we know is not the objective of the Garden city concept. Sabhiki, in the author's opinion, is logically very much enamoured by the traditional urban city development concepts in India such as Jaipur, Madurai etc. Also he finds the failure of present day architects in India to develop a vocabulary suited to the urban Indian context surprising especially so since we have developed a resonable level of edge in indigenous architectural forms and values. It is just that it has failed to transfer itself at a macro level of town and cities Also, it must be appreciated that Sabhiki has been critical of some of the contemporary architects. For eg. he says about Raj Rewal and Kuldip Singh's design of Bhikaji Cama Place. " The Scheme, as built, overplays the structural form of the building, and by breaking them down into isolated blocks , fails to either provide a logical framework of urban design or effectively deal with problems of traffic, parking needs and pedestrian movement ". But it is very much evident that though there might be some truth in this statement, it is not backed by a thorough analysis. Clearly an architect of Sabhiki's stature could have been more detailed in explaining his hypothesis. However he must be credited with suggesting some new measures such as urban complexes which integrate shopping, offices, boutiques, art galleries thus introducing more life, and character of streets etc. Another suggestion is to do systematic three dimensional studies of future planning and urban development in townships such a Papankala (Dwarka, N.Delhi) etc.besides, having an architectural control over volumetrics in an urbanscape, (which we severly lack, in our cities, as per the author's opinion). Sabhiki's critique is, however, very general and it does not give specific and explanatory opinion on specifically how successful for eg. Asiad games village is, in terms of interpreting traditional gateways into modern housing schemes or for that matter in retrospect, what he considers his own achievements or failures, were, in his design of Yamuna appartments in Delhi. Thus in essence, a more detailed `crit ` is what is lacking on the projects he has discussed in the article. One can say that Sabhiki's critique is more of an essay on the Urbanisation scenario in the country and he hast not attempted to go into any depth into any of the architectural works he has discussed. In fact if one wants to get an overall picture of the problems which have to be dealt with by the planners in the country the article is a useful guide, It even throws up some new leads to follow such as creating Urban designs cells and maintaining them continiously not just to design but to maintain and monitor urban development on an ongoing basis. But where the critique fails Sabhiki has not given any specific proposal as to how, for example, he would propose to transfer or interpret the traditional planning ideas (about which he has talked so much) into our modern planning process so that it is compatible with the needs of a modern Indian society. The author, thus, found the article somewhat lacking in this regard. 3.3.2 REVIEW OF ARTICLE THE INNER CITY AREAS - DYNAMICS OF CHANGE: Martyn D. , has focussed on the slow deterioration of inner city areas and how vital they still are, to the social life in the city. For as he rightly point out : " Since the growth of may urban centres in India is closely related to vitality of the inner city zone, it is important to address the various issues in their specific contexts (11) Amongst other things he has researched studies done on Hyderabad, Shahjanabad etc and thus has supported his critique by explanatory photographs graphics and statastics etc. which makes the article even more interesting and informative. He has analysed the nature of problems in inner city area such as: - overpopulation - traffic problems in the area never designed to take on such heavy vehicular movement - Slow decay of built form, due to neglect. - Communal tension, due to rather low literacy rates of communities in the area. All of us are aware of how slow strangulation of inner city area has
c O N T E N T S Acknowledgements Contents List of plates List of figures ` The ideal critique ` Preface Chapter 1 Context of study 1.1 Introduction 1.2 Need for study 1.3 Objectives 1.4 Scope 1.5 Limitations 1.6 Research Methodology Charter 2 principles of architectural criticism 2.1 Architectural writing abroad : an overview 2.2 Criticism in art and architecture Chapter 3 THE APPRAISAL OF CRITICAL WRITINGS 3.1. The issues and the writings : Indian Architecture 3.2 TOPIC - 1 Modernism Redefined : Traditional Indian concepts. 3.3 TOPIC - 2 The Unplanned urban growth . 3.4 TOPIC - 3 Conservation in India . 3.5 TOPIC - 4 Eco- friendly architecture in India . Chapter 4 CASE STUDIES 4.1 Introduction to the author .. 4.2 About the book , ` Punjabi Baroque ` . 4.3 Approach and Methodology of the book . 4.4. About the architect Peer Eisenmann's Philosophy . 4.5 Article analysis of article on Eisenmann's Wexner Centre. Chapter 5 CONCLUSION 5.1 Understanding the term critical writings : A summary . 5.2 architectural criticism : The scenario in India . 5.3 Critical Writing in India : specific observations . 5.4 Needs and Expectations . 5.5. Critical writing :need and necessity ? BIBLIOGRAPHY APPENDICES LIST OF PLATES 1. Peter Eisenman , House VI 2. Husain Doshi Gufa 3. Portland building by Michael Greaves . 4. Gehry house . 5. Indeterminate facade. 6 Atrium , East building National gallery of art New York. 7. Getty Museum , California. 8. AT&T Headquarters , New York. 9. Extract from book ' Laurie Baker Life Work And Writing ' by Gautam Bhatia. 10. The book ' Punjabi Baroque '. 11. Extract from acknowledgement from the book Punjabi Baroque. 12. Extract from pg 29-30 of the book ' Punjabi Baroque'. 13. A house showing Punjabi Baroque elements. 14. The Wexner centre , Architect - Peter Eisenman. 15. The armoury tower in Wexner Centre. 16. The grid on the facade of wexner Centre. 17. Windows at the floor level at Wexner Centre. 18. Plan showing the grid alligned with city axis. 19. s showing a students penned down opinion about another's thesis work. LIST OF APPENDICES 1. Modernism redifined , place making in the architecture of the design group by abhimanyu Dalal (A+D Jul - Aug 1990 2. Themes and ideas of B.V. Doshi by Kurula Varkey . 3. The Urban explosion and Urban Design by Ranjit Sabiki A+D Sep - Oct 1990 . 4. Relevance and Practice : Restoration , Prof. K.T. Ravindran A+D Sep-Oct 1992 . 5. Conservation in India by A.G.K. Menon, A+D Sep-Oct 1990 . 6 Ideals and buildings : Steins Eco-Architecture by Stephen White A+D Mar-Apr.. 1988. 7. Bio-Climatic architecture by Prof. Arviind Krishan and Prof M.R. Agnihotri A+D May Jun. 1992. 8. Case Studies of articles in Wexner Centre Columbus , Ohio , USA. - Theory and Delight by Vincent Scully , Progressive Architecture. - The Mannequin Chic by Stephen White ( A+D, Jul-Aug 1991).
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