Towards an architecture for India

26 April, 2016 By A Srivathsan

In an age of rapid industrialisation, rampant construction, a networked economy

and state indifference, meaningful architecture in India is elusive
Since Independence in 1947, democracy, development and the economy have been the
driving agendas in India. After seven decades, the country has undergone profound
political and socioeconomic changes. Over the last twenty years, since it adopted
liberal economic policies, India has witnessed a pivotal acceleration in growth and more
is in sight with current figures indicating that it may well outdo China. In this story, cities
are not the backdrop, but the subjects of transformation with the country taking a
decisive urban turn. Opportunities to build abound, and the proliferation of architecture
schools (423 in total) and the presence of international design firms scouting for work
attest to this. All this should neatly add up to a healthy present and promising future for
architecture in India. But does it?
Since Independence in 1947 democracy development and the economy
have been the driving agendas in India

The State of Architecture exhibition held in Mumbai (6January to 20 March 2016) was
the first major attempt at stocktaking in decades. As the curators Rahul Mehrotra,
Ranjit Hoskote and Kaiwan Mehta explained, it served as both an archive and a forum,
sieving and curating the works of 50,000 architects over 70 years. Juxtaposing key
social and political events with architectural landmarks, the engrossing exhibition
culminated in a showcase of 80 relatively young practices that characterised what one
critic called the polyphony of voices in India today.

Chandigarh Legislative Assembly building by Le Corbusier 1955

Source: Iwan Baan
Chandigarh Legislative Assembly building by Le Corbusier, 1955
India has witnessed a pivotal acceleration in growth and more is in sight
with current figures indicating that it may well outdo China

Describing architectural development in India without categories such as Modern,

Postmodern, New Pragmatismand so on, is not just an outcome of the observatory
nature of the exhibition and its flat narrative. The fact is that contemporary architecture
in India can no longer be understood through Western canons and frictionless
narratives; its bewildering variety defies any attempt to pigeonhole. The exhibition has
made visible what was invisible; a significant shift and an expectation that Indian
architecture will now move forward on its own terms.
The popular narrative is that post-Independence architecture of the 1980s is a shadow
of the international Modern architecture ushered in by Le Corbusier and Kahn. Such
stories are not only factually incorrect they also portray a country with no
alternatives. While some were idolising Chandigarh, others at Gandhi ashrams across
India were shaping different views about habitat and resources. Architect Prem
Chandavarkar noted how cities like Bengaluru stayed away from the axis of DelhiMumbai-Ahmedabad and flourished in the background.

Chandivali Slum Rehabilitation Scheme

Source: Lars Rolfsted Mortensen
Controversial Chandivali Slum Rehabilitation Scheme
The fact is that contemporary architecture in India can no longer be
understood through Western canons and frictionless narratives; its
bewildering variety defies any attempt to pigeonhole

Escorts scooter factory in Faridabad by Joseph Stein 1964

Source: Madan Mahatta
Escorts scooter factory in Faridabad by Joseph Stein, 1964
At the same time, architects Chatterjee and Polk in Kolkata earnestly worked to address
regional issues; Polk wrote about the spirit of place before such phrases were familiar.
Laurie Bakers conscientious and pragmatic works, Joseph Steins careful responses to
climatic conditions and landscape, Nari Gandhis integration of material and
surroundings, and Ranjit Sabikhis creative use of courtyards were refreshing, inspiring
alternatives.
The same can be said about post-1980s architecture, often defined as Postmodern, but
the search for roots in India was not necessarily a borrowed reaction following the
Wests disappointment with Modernism. The past was never fully extinguished and
lived experience often encountered traditions. As UR Ananthamurthy writes, the marga,
the universal, and desi, the local, shaped Indian literary and philosophical works.
Colonialism not only turned critical attention towards traditions but also created deep
suspicion about its modernisation project. Gandhi and Nehru, as political philosopher
Bhikhu Parekh remarks, were critical traditionalist and critical Modernist respectively.
Both understood that neither tradition nor modernity were sufficient in themselves.
Architects growing up in this milieu could not entirely embrace either; they searched to
find their balance.

YMCA staff housing Delhi by Ranjit Sabikhi 1963

Source: MIT Libraries, Rotch Visual Collections, courtesy of Peter Serenyi
YMCA staff housing, Delhi, by Ranjit Sabikhi, 1963
Gandhi and Nehru understood that neither tradition nor modernity were
sufficient in themselves

These practices are not mere counter examples; they represent a committed search for
a meaningful architecture. Young architects who have inherited this legacy no longer
conceptualise themselves or their works in stifling categories. They increasingly
address issues from first principles and their practice is reflective and grounded at the
same time. There is a diverse and healthy crop of talent, from Sameep Padora of
sP+aand his Buddhist Centre in Sakarwadi (see p54), the Book Building in Chennai by
MOAD, Health Care Centre in Dharmapuri by Flying Elephant Studio, the Alila mixed-use
development in Bengaluru by Hundredhand, DCOOPs student hostels in Kadapa, Surya
Kakanis office and Anthill Designs pavilion (see p52), both in Ahmedabad, SEAs Sai
Temple in Vennached (AR Apr 2016), Abin Chaudhuris management institute in
Bhubaneswar and the Department of Life Sciences in Chennai by Architecture Red, to
name a few. These practices are about sensibility, possibilities and exploration.
Lijo Jos and Reny Lijo of LIJO.RENY, based in Thrissur, Kerala, a place known for its
wood and laterite buildings, often face questions as to why their buildings do not reflect
the local identity and character. To them, as Jos explains, context is not defined by
signs and symbols, it is about the issues it poses. Kerala faces an acute shortage of
sand, laterite is no longer harvested in large quantities, and there are restraints on using
wood. Scale and cost are pressing issues and buildings have to be climatically
responsive as much as they are evocative.

Raj Rewals Hall of Nations New Delhi 1972

Source: MIT Libraries Rotch Visual Collections
Raj Rewals Hall of Nations, New Delhi, 1972
The practice finds past ways of addressing context and form inadequate. They try to
innovate rather than remain trapped in old ideas of regionalism. The firms Breathing
Wall Residence literally brings in fresh air as does Walls and Vaults House. Jos may
not evoke theoretical ideas such as performative notions of identity as being far more
sensible than mythical concepts, but the work of the practice is no less engaging.
Despite the emergence of these creative practices, the demand for good design is yet to
grow substantially. Without this, as Charles Correa presciently remarked, we have
meaningless construction rather than quality architecture. This is evident in the manner
the state, the largest builder, chooses design or recognises quality. Either it settles for
mediocrity (more on that later) or it is seduced by star architects.
Despite the emergence of these creative practices, the demand for good
design is yet to grow substantially

The awarding of the capital complex design of Amaravati the new capital city of
Andhra Pradesh is an example of the latter. Since it ceded the existing capital city to
the newly created Telangana State last year, Andhra sought assistance from the
Singapore government to create a new capital. Singapore design firm Surbana Jurong
parachuted in a 217km2 masterplan. Architectural companies and consortia with an
annual financial turnover of Rs 30 crores (US$4.5million) were invited to bid for the
design of the 1.2million m2 complex. When 10 firms turned up, the state government,
without much explanation, sidelined them. It then invited Norman Foster, Rem Koolhaas
and Richard Rogers, and when Koolhaas declined, Frank Gehry. The final list of
contenders consisted of Japanese firm Maki and Associates, Rogers Stirk Harbour and
Partners and Vastu Shilpa led by BV Doshi. The jury, which included a Vastu consultant
an expert on traditional architectural principles that border astrology awarded the
design to Maki and Associates.
When the design presentations were uploaded to social media by the government, it
triggered a protest. Architects launched an online petition against the design, also
questioning why the state government didnt invite more Indian designers to compete.
This led to further debate on whether India had nurtured any recognisable talent over
the past 60 years. It also rekindled the issue of whether the commissioning of foreign
practices should be discouraged in India. Others claimed the new design was not Indian
enough. All valid questions, however they ail to acknowledge the changing conditions of
architectural practice in the country. Instead of looking at this new city, coming as it
does 60 years after Chandigarh, as a significant opportunity to set new directions in
planning and rejuvenate the public interest in architecture, the state settled on iconic
names and forms.

Singh showing his plans for the NDMC building to Pandit Nehru
Singh showing his plans for the NDMC building to Pandit Nehru

This incident laid bare the paradoxes of practising in an increasingly networked

economy and exposed new vulnerabilities, foremost that if architects are not vigilant
they could invent new forms of parochialism. India has benefited from dovetailing into
the global economy. It is one of the leading software exporters and its technically
skilled workforce land good jobs around the world. Foreign investment in a variety of
sectors has helped construction activities. International financial institutions such as
the Japan Bank for International Cooperation have backed several projects, including
Amaravati, on relatively favourable terms. It is only logical to expect that along with
capital ideas and foreign firms would also flow in. The way to engage with these
developments is not to seek protectionism. The issues at stake are the unreasonable
entry barriers for young firms, a failure to seek wider participation, a lack of
transparency in selection, and the unwillingness of the state to face public scrutiny.
Debates have to steer clear of the traps of divisive politics played in the name of Indian
identity. Instead, the concern should be about the choice of architecture that reinforces
the overpowering state at a time when democratic values are under serious threat.
Sidelined in this sentimental conversation is the fact that the state is squandering
precious resources by acquiring fertile agricultural land when existing cities could have
been upgraded to accommodate government facilities a recommendation made by
the central government-appointed expert committee.
When the design presentations were uploaded to social media by the
government, it triggered a protest

Another issue is the division of intellectual labour between foreign and local firms.
Often the low scale of fees means foreign companies produce the concept and take a
disproportionately large slice of the money pie. For them, the pay is insufficient to
execute the project completely, so local firms end up dealing with the nuts and bolts for
a relatively small fee. Firms are unwilling to discuss the financial arrangement on
record, but off the record all is not well. Working with star firms may provide the
opportunity to engage with new ideas, but do Indian companies want to remain an
architectural back office or call centre forever? The way forward is to negotiate a
mutually enriching collaboration between all partners.

Worli Fort Mumbai with its backdrop of high rise buildings

Source: Lars Rolfsted Mortensen
Worli Fort, Mumbai, with its backdrop of high-rise buildings
Another challenge is to widen the constituency for good design. The best architectural
talent is nurtured by the limited number of commissions for private homes and
institutions. For most property developers, a building is a means to maximise profit; as
such, it is not surprising that we are yet to see an elegant solution for vertical living.
The best architectural talent is nurtured by the limited number of
commissions for private homes and institutions

With few exceptions, IT companies are the most disappointing clients. Some, in their
rush to reduce overall operational cost, have settled for dignified sweat shops wrapped
in glass. A few fancy corporate offices have built, to use Mehrotras description, an
architecture of indulgence. The ignominious examples are the campuses of Infosys
across India spaceships or wannabe Disneylands, mostly designed by Hafeez
Contractor, a Mumbai-based architect (see p33). Contractor has a prolific practice
which has grown from a staff of three in 1982 to over 550 employees today. But his
architecture resides in the few inches of building exterior and his work is a classic
example of what Peter Scriver and Amit Srivastava describe as post-1990s architecture
in India having lost the capacity to engage sensibly and poetically articulate.

New Delhi Municipal Council Building 1987 by Kuldip Singh

Source: Madan Mahatta
New Delhi Municipal Council Building, 1987, by Kuldip Singh
In this context, architectural institutions have not been effective in rallying for quality
buildings. The Indian Institute of Architects, formally founded in 1929, has lost its ability
to shape public policy and discourse, as has the Council of Architecture, a legal entity to
promote standards of practice and education. Neither have these collectives evolved
into significant think tanks. Reinventing them is long overdue. In some cities, small
interest groups are filling the vacuum and building a public interface, such as MASA in
Bengaluru and FEED in Pune.
Rapid urbanisation and voluminous construction have brought with them
environmental and social challenges

Rapid urbanisation and voluminous construction have brought with them

environmental and social challenges. The scale of development has put a strain on
resources. In many cities, governments have started to impose restrictions on the use
of materials such as sand. In its place, alternatives such as quarry dust are encouraged.
Liberal economic policies have exacerbated this problem. A new bag of materials has
been opened. Choice has expanded, but many of these materials offer poor
environmental performance. Given the pressing energy consumption and climate
change issues, architects cannot make design decisions only against the horizon of
aesthetics or convenience. An environmentally sensitive design culture is imperative.

Rising inequality and disproportionate income levels have created geographies

ofdifference within cities. While some are privileged and receive investment and
infrastructure, other substantial areas await attention. Land prices have risen steeply
and rendered many house-poor. The death of social housing is only too visible. In the
last two decades, there has not been a single notable, well-designed social housing
project. The existing ones are as depressing as pigeon holes and cattle sheds. Barring
activist architects (few in number), practices cater to the private needs of the upper
class.

The death of social housing is only too visible; in the last two decades
there has not been a single notable, well-designed social housing project

Disturbed by this disconnect, some firms have started to make amends. Sandeep J and
his firm Architecture Paradigm, based in Bengaluru, seek to balance their work. We are
conscious and disturbed by the fact that engaging an architect has become expensive.
Even small houses are now out of reach for the middle class. Affordable housing is
elusive. As much as we work on mainstream large-scale projects, we also seek to build
cost-effective ones. Sandeep believes that architects can bring innovation in spatial
layouts and invent technological solutions for social housing.

Mountain Lodge for Jal Gobhai at Lonavala by Nari Gandhi

Mountain Lodge for Jal Gobhai at Lonavala was Nari Gandhis first project after
returning from the USA where he had been an apprentice of Frank Lloyd Wright
in 1964

However, the experience of Biju Kuriakose and Kishore Panikkar, based in Chennai,
shows this may not be so easy. When their firm sought to develop prototypes for slum
redevelopment projects, the state agencies, weighed down by inertia and bureaucracy,
did not respond enthusiastically. Undeterred by the indifferent response, they are
patiently negotiating to make a difference through design.
A silver lining is the work of sP+a; principal architect Padora has extensively studied the
old chawl housing in Mumbai and tried to develop a convincing, empirically based
criticism of the deplorable slum redevelopment. In his housing projects, he has
creatively incorporated features drawn from his research. They demonstrate how
simple design moves can substantially enhance living conditions. It remains to be seen
whether such efforts will cascade and have a wider impact on social housing.
A silver lining is the work of sP+a; principal architect Padora has
extensively studied the old chawl housing in Mumbai and tried to develop
a convincing, empirically based criticism of the deplorable slum
redevelopment

For Indian architecture, the path is promising, but there are caveats. Recent events,
taken together, point to a complex picture where opportunities coexist with obstacles.
Padora says architects must simultaneously and with an open mind engage with
research, practice, collaboration and advocacy if they are serious about converting
opportunities to meaningful change. But he cautions that if they fail to do so, architects
will continue to divest of their mandate as advocates and thinkers of the qualitative
aspects of the environment and society. As much as there are numerous bright
possibilities in India, the promise is entangled with paradox. Much of the future of
Indian architecture will depend on how architects and society navigate these
challenges.
Lead image byLars Rolfsted Mortensen