>Intertextuality or Indeterminancy?

Re-examining Meanings in Contemporary Indian Architecture

DSouza, Newton SARUP UV-Milwaulkee Milwaulkee Wisconsin ABSTRACT ABSTRACT This paper makes a critique of an arts museum in India, the Jawahar Kala Kendra, designed by Charles Correa so as to discuss the complex issues of architectural legibility in indigenous cultural contexts. While the contemporary discourse in architecture hinges on intertextuality based on Post structuralist and Deconstructivist notions, this paper assumes that rather than aiding architectural legibility these views are detrimental. This is because, the increased focus of intertextuality in architectural discourse sometimes leads to fuzziness and indeterminancy , and indeterminancy leads to lack of legibility in architecture especially in cultures were signs are formed by consensus, and are a part and parcel of the cultural identity. To counter indeterminacy, the framework of semiotics as promoted by Eco (1986) needs to be revisited. Eco suggests that meanings should be derived from cultural codes rather than from behavior, because meanings derived from cultural codes are substantiated through time and hence determinate, whereas meanings based on behavior are tenuous and indeterminate. For Eco, indeterminancy of architectural sign disposes architecture to a number of indeterminate uses or in other words, to no use in particular, rendering them useless. On the other hand while architectural objects are determinate they point to evidence to cultural codes and hence become legible. The task of this paper is then to investigate Correas architecture based on three criteria - Firstly, to identify the meanings of appropriate signs, secondly to examine the issue of their legibility based on cultural codes and thirdly to analyze whether they correspond to the contemporary reality. 1. INTRODUCTION The contemporary discourse in architectural design hinges on two prominent views- Post Structuralism and 62<<<<<<<<<<<< edra proceedings 2003 Deconstructivism. The application of these two views, however, poses a problem in contexts, where historical significance and cultural identity are dominant concerns within the consensual realm of indigenous culture. It seems that the major hurdle is the issue of indeterminacy of meanings. For post structuralists the meanings of architectural objects are indeterminate because the correlation between the signifier and the signified are tenuous and transient. For deconstructivists, there exist multiple meanings and interpretations in the signifier and the signified. Although such notions provide a thrust on intertextuality, more often, they lead to indeterminacy. In fact they may be detrimental to environmental legibility and appropriate functioning of indigenous cultures - where signs are considered part and parcel of everyday life and established over a long period of time. To counter indeterminancy, the semiotician Umberto Eco (1986) suggested a distinction between meanings of signs derived from cultural codes and meanings of signs derived from behavior. Meanings derived from cultural codes are substantiated through time and hence determinate, while meanings based on behavior could be tenuous and indeterminate. In this sense, architectural objects serve as a means of communication only if they are determinate or legible and such legibility is a question of pointing to evidence of cultural codes. Hence a determinate correlation between the signifier and the signified is possible insofar as it is interpreted in the light of respective codes. However, this does not imply a dismissal of multiple interpretations. Multiple interpretations are possible as long as each of these interpretations is determinate. Eco observes that insofar architectural objects are legible, their significance not only are constituted in their primary functions but also transcend into their secondary functions. i.e., over time, architectural objects produce new meanings, and in effect, perform a social utilitarian function as well. Eco argues that the right balance between determinancy and indeterminacy could be achieved by allowing for variable primary functions and

open secondary functions. Then the question is how this notion helps in the contemporary context. Contemporary design in indigenous cultures could be described as a conflict resolution between the traditional and the contemporary. Such a conflict seems to be more of a tradeoff, where signs play a dominant role. How these signs are accommodated and transformed in a given design is hence significant in successful architectural communication. In the contemporary architectural context of India, Charles Correa is predominantly notable in contributing to such communication - by going beyond the formal boundaries of the modern movement and evolving a personal approach that acknowledges tradition.1 Moreover, this model seems to have had an enormous influence on an evolving community of Indian designers. However, whether Correas architecture necessarily communicates the very meaning he chooses to convey needs to be viewed critically. Correas Jawahar Kendra, a museum in India exemplifies one of the very few design in which an architect consciously attempts to accommodate and interpret signs. 2. THE FRAMEWORK OF SEMIOTICS FOR CONTEMPORARY ARCHITECURE IN INDIGENOUS CULTURES CULTURES Although semiotics was conceived initially in linguistics, its use in architecture arose from the inadequacy of the functionalist based modern movement to communicate and convey meanings. There are differing views in semiotics and this paper chooses to address only the use of semiotics as promoted by the work of Umberto Eco2 (1986). Eco observes that insofar as architectural design is a means of communication, the significance of architectural objects is not only constituted in their basic functions but also transcend beyond them. Over time, he argues that the architectural objects produce new meanings beyond the basic functions and these new meanings are absorbed by the society. In effect, architectural objects perform a social utilitarian function as well. Hence, he calls the first meaning as architectural denotation and the subsequent meanings as architectural connotation. Architectural denotation can be elaborated by Ecos example of a cave. Eco observes that for a stone age man the basic function of a cave was shelter. Because shelter is the first meaning of the cave, it is called the primary function. It should be important to note that primary function should not be confused with

deterministic interpretation of function of the functionalist modern movement. While in the functionalist movement function was interpreted as a given, architectural denotation is a function insofar as it is legible and understood. In this regard Eco provides the example of how the stone age man may be unable to interpret the function of a modern day elevator, because for him, the elevator performs no functions. Hence, architectural denotation is always attached to meaning because meaning is determined by the degree of legibility of the object. Architectural connotation goes beyond the first meanings and thereby transcends architectural denotation or primary functions. Hence they are called secondary functions. Eco observes that although the cave denoted the shelter function initially, over time other meanings such as family, security, and so on emerged as secondary functions. The task of this paper is then to decipher the primary and secondary functions of the Correas Jawahar museum and analyze their legibility. From the semiotic point of view, the connotations arise from denotations and hence secondary come from the primary - but that does not diminish the importance of either of these functions. Even multiple interpretations of the same functions are possible as long as each of these interpretations are legible. Ecos assumption could be further elaborated by comparing it with the famous vase - face figure (Fig.1). One could observe that the figure could be interpreted as both the vase and the face determinately and without ambiguity - if one were to look at one figure at a time. In fact, reading one figure at a time may be the only possible way of looking at the figure.

Figure 1: Vase-face figure Such a view may be contrary to the deconstructivist and post-structuralist views that consider architectural objects to comprise of transient and tenuous multiple interpretations. In his advocacy of intertextuality, Barthes (1981), for example considers architectural objects to be extremely imprecise, becoming the signifiers of something else and hence transient.3 In other words, if the cave man encounters a wild tiger in the cave, the edra proceedings 2003 >>>>>>>>>>>>63

cave is no longer specific to the function of shelter and would open up to other significations such as danger. The problem with this notion is that the vase and the face could become something else depending on what meaning is assigned to it at a given point of time. Derrida (1986) argues that one cannot assign determinate signification to architectural objects and it is best left to the individual observers to deconstruct their own interpretations.4 The risk in such multiple interpretations is that ir reduces meanings to an extreme relativism and the effort towards intertextuality may in fact lead to indeterminancy in the end. To counter such indeterminancy, Eco makes a distinction between meanings derived from cultural codes and meanings derived from behavior. For this distinction he formulates how signs should be verified. He proposes that a sign should be verified only on the basis of codified meaning of a given cultural context apart from the (behavioral) meanings that one attributes to them. While meanings derived from codes are substantiated through time, meanings based on behavior, are tenuous and indeterminate. Hence, for Eco, signs have precise functions, insofar as it is interpreted in the light of respective codes. In summary, a sign is understood as an element(s) of architectural communication having precise utilitarian and social function and established in time through the practice of tradition and culture. Such a definition allows Eco to be precise and flexible at the same time, in that, one could even interpret cave as danger - if it is understood as danger by the cultural consensus rather than based on tenuous behavior of individuals. The reason Eco disagrees with post structuralist view is that when meanings are indeterminate, it disposes architecture to a number of incoherent uses - in other words to no use in particular, rendering them useless. For example as shown in figure 2, if the face and the vase were to be juxtaposed over each other (from left to right) it would produce an entirely new image, distorting the legibility of both the face and the vase and becoming something else. Hence, for Eco multiple interpretations are possible only if they are precise and this precision comes from meanings derived from cultural codes. In other words the legibility of signs is a question of pointing to evidence that could lead to a pertinent and coherent interpretation. JAW 3. DECIPHERING THE SIGNS IN JAWAHAR KALA KENDRA The Jawahar Kendra is a museum of arts and crafts located at Jaipur, India and built in 1986-91. It was 64<<<<<<<<<<<< edra proceedings 2003

Figure 2: Juxtaposition of the vase-face figure launched by the government of India to communicate the countrys cultural and spiritual values and to display its rich craft heritage. It is dedicated to Jawaharlal Nehru, the late prime minister of India who had an enormous scientific outlook towards nation building. This is evident in his nurturing of state-of-art technological institutions like the Indian Institute of Technology and the Indian Space and Research Organization. Hence, the architect Charles Corneas task was to portray both the traditional heritage and scientific progressiveness in his design. Correa attempts to negotiate such a conflict by focusing his imagery mainly on elements derived from the traditional Hindu architecture of Jaipur. In an attempt to create intertextuality Correa also borrows from the Moghul, Buddhist and postcolonial architecture. LAY 3.1. READING SIGNS IN THE GENERAL LAYOUT The geometry of the layout is derived from traditional Hindu architecture based on self-similar squares (mandalas) derived from ancient Hindu texts (Vedic Shastras) dating back to 1500-500BC. These squares are the abstraction of cosmos in geometrical form where architecture is perceived as a bridge between cosmos and man - the model of cosmic man (vastupurusha mandala).The Hindu culture hence devised the cosmic man model for infinite applications in architecture whether it be at the level of urban design, public buildings or private dwellings. The cosmic man model is a system of self similar multiple squares starting from 1, 4, 9, 16,., 1024. The specific model used in the museum are made up of 9 squares (Fig.3) representing nine planets (navagraha mandala) similar to the geometry and layout of the old Jaipur

Figure 3: The museum plan based on the nine-planet mandala

city where the museum is built. This is justified by Correa as follows The multiple squares make explicit a platonic ideal of built form which in turn reinforces and stabilizes society. Today such concepts are not in current use, and it would be foolish to think of invoking them unless we also subscribe to the underlying construct of the cosmos they are meant to represent. Still, in a century when science has postulated an ever expanding universe it may well be worth our while to consider the modeling our central beliefs as the basis of structuring our environment 5 (my own emphasis) The emphasis in the last statement suggests Correas interest in the mandala was inasmuch as it can be used to structure the environment. Hence the primary function of the nine square mandala is structuring. However, the question remains why Correa chose to use only the nine square mandala and not any other. An immediate response would be that the museum had to accommodate nine space types laid out in the program of the museum. However, this was not the only reason. By using the nine square mandala, Correa is also

is evident in his displacing of one of its square from the nine square construct to create a main entrance (Fig.5). On a closer examination one could suggest that Correa used the nine square mandala not only as a structuring device but also to consciously invoke the symbolism of traditional city. In terms of Ecos semiotic framework, a sign is understood as an

Figure 5: Plan of Correas Jawahar kala Kendra museum derived from Jaipur

element(s) of architectural communication having precise utilitarian and social function. Hence, insofar the museum uses the mandala as a structuring device, structuring becomes the primary function and insofar as the museum imitates the plan of Jaipur city - the symbolism of the traditional city becomes its secondary function. The investigation of the primary and secondary functions of the museum plan provides interesting insights. If the primary function of the museum is assumed as a structuring device based on the Jaipur city one could critique that the perception of structure of the city may not be congruent to the structure of the museum. Given the differences in scale and substance, the city plan tends to be seemingly open and vast while the building plan tends to be enclosed. The city plan with its pathways and streets may provide a morphology that may have no direct analogy to the buildings hallways and corridors. Hence, imitating the structuring device of the city in a museum plan could be seen skeptically. Similarly the secondary function could be questioned. Invoking the symbolism of the traditional city and thereby theoretically rooting design to tradition may be a good strategy in itself. However it may be ineffective from the point of view of a common man who may not be able to see the symbolic connection of geometry between Jaipur city and the museum. In this sense, the museum fails to act as a social symbol- and its utility as a secondary function is debatable. 3.2. SIGNS IN INDIVDUAL UNITS At the individual unit level, the museum is made up of edra proceedings 2003 >>>>>>>>>>>>65

Figure 4: Plan of Jaipur city based on nine planet Mandala7 imitating the geometry of Jaipur city which was also based on the nine square mandala. Figure 4 shows how the city plan of Jaipur started with the nine square mandala. Square 3 was displaced by an existing hill and reappeared next to square 7, then squares 1 and 2 combined to house the palace.6 The success of application of mandala in Jaipur could be debated. However, it cannot be denied that there exists a certain clarity and legibility of form.8 In the museum, Correas direct imitation of the Jaipur city

nine spaces (Fig.6)- a performing arts center, administrative block, restaurant/guest room for artists, material culture museum, textile museum, workshop for craftsmen, armor display, library and a theatre. Each of these nine spaces is designated to the nine squares of the mandala. Since the nine squares also represent the nine planets of the cosmos, each of the nine spaces corresponds to a planet.9 The position of the planets and their names are shown in figure 7. Each of these nine planets further represents certain human trait. Planet Venus represents art, Mars represents power, Moon represents romance, Mercuryeducation, Ketu anger, Saturn skill/ knowledge, Eclipse denotes moon devouring the sun and hence represents heroism, Jupiter represents meditation and the Sun represents creative energy. These traits are shown in figure 8.

argue that an architect could be given certain artistic license to overlook slight indiscrepencies in the space-trait correlations when most of the program needs are satisfied. However, in the quest of creating intertextuality it may lead to illegibility of signs and reduce architecture to indeterminacy. 3.3. GRAPHIC SIGNS Besides the planets being represented by their respective traits, they are also represented by corresponding graphic symbols (Fig.7). Venus, which represents art, is signified by a star, Mars which is represented by power is signified by a square denoting stability, Moon representing romance is signified by crescent etched in a circle. Similarly Mercury which represents education is signified by an arrow - a metaphor for studying traditional archery, Ketu which is represented by anger is signified by a snake - a metaphor for the anger of a snake which is known to keep its anger for nine lives, Saturn represented by knowledge is signified by a bow- again a metaphor for the knowledge of archery, Eclipse represented by heroism is signified by the moon devouring the sun, Jupiter which represents meditation is signified by a circle - a metaphor for focus and sun which represents creative energy is signified by a circle and rays. Figure 7: Graphical representation of planets12

Figure 6: Plan showing Planetary positions, Human traits of planets and Functions Correa wants his architectural spaces to reflect each of the planetary traits. 10 Planet Venus represents art and hence is used as a performing arts center, Mars represents power and hence the administration, Moon represents romance and hence the restaurant, Mercury represents education and hence the material culture museum, Saturn represents skill/ knowledge, and hence the workshop for craftsmen, Eclipse heroism and hence the armory museum, Jupiter represents meditation and hence the library and the Sun houses the amphitheatre represents creative energy. Most of the design spaces seem to correspond well with planetary traits and positions. However, the limitation of such a system becomes evident when Correa is forced to place the museum for textile in the planet Ketu which represents anger.11 One may 66<<<<<<<<<<<< edra proceedings 2003

Figure 8: Workshop is labeled by a bow that signifies knowledge

Correa carves out these graphic representations on the external walls of each of the units like a signboard as shown in figure 8. However, one could critique this usage that enough usage is not given to transformation of meanings. For example, the bow may have represented a battle skill - a form of knowledge in the traditional context. However the transformation of the cultural code to the current context needs to be addressed. One could speculate that a bow may better represent activities

such as sport (like archery) or hunting rather than knowledge in the current context. On the other hand, it would be easier and much legible to represent knowledge with representations such as book or a pen. 3.4. SIGNS IN ARCHITECURAL OBJECTS Some discrepancies could also be observed in Correas signification of architectural objects. For example, Correa places his administration building in the location of planet Mars which represents power. To accentuate this feeling of power, Correa places a dome which mimics the Buddhist Stupa (Fig. 9).

architectural forms of other regions such as Nepal and China. Hence the architectural connotation of the dome remains power. The questionable point here is whether the signification of power of the stupa holds the same meaning of administrative power in the museum. Perhaps it may not. It may be argued that the power of an administrative office in a museum is both trivial in scale and different in nature from that of the Buddhist stupa of Ashokas time. It should also be noted that Correa uses a similar dome in another building - the parliament house at Bhopal, Madhya Pradesh. This implies that the power manifested in the stupa dome holds the same connotation whether it be the power of administrative block of a museum or the power of a parliamentary building. Peculiarly the symbolism of the original processional pathway and the stupa is maintained in the parliament

Figure 9: Dome of Sanchi Stupa and the museum dome

How the Buddhist Stupa comes to represent power could be explained by the evolution of the cultural code. In the beginning the stupa was a mound, which held the relics and ashes of Buddha. Hence burial becomes the primary function (denotation). In the second century BC the stupa became circular in plan and consisted of a dome. It was surrounded by a circular raised path for processions. When Ashoka, the emperor of India, embraced Buddhism, the stupa lost its original significance as a burial mound and became a symbol of the teaching and cosmology of the Buddha. 13 The primary function of the burial mound is hence transformed into symbolizing royalty and power.14 Hence power became the secondary function (connotation). This transformation is traced in figure 10, 11 and 124. Figure 10 also shows a divergent arrow (shown in dotted lines), which is explained as follows. After Ashokas time, Buddhism continued spreading towards other regions of Asia. The dome and the upper chamber further exaggerated and became a symbolism of transcendence (rising towards the heavens). The growth and elaboration of the pinnacle in the later Buddhist Stupas located in Nepal and China is an evidence of this and shown in figure . However, for Correa, who is operating in the realm of the Indian region, the signification of stupa stops at the dome of Sanchi and does not proceed to

Figure 12: Secondary function (connotation) of the administrative dome

Figure 13: Left photograph shows Interior of the museum resembling Jain cosmological diagrams and on the right interior carvings in a traditional Jain temple

Figure 14: From left to right- Courtyard in an Islamic mosque, typical temple Kund and the central courtyard of the museum theater edra proceedings 2003 >>>>>>>>>>>>67

house and not in the museum. Such inconsistency provides an example how an accidental space created by the program is used by the architect to be disguised as a traditional sign. Besides, the Buddhist dome is further decorated on the underside with Jain cosmological diagrams (Fig. 13). With Buddhism and Jainism being two different faiths, Correa may contend this as a reflection of Indian pluralism. However, the use of two different architectural sources in the same form, creates a tenuous intertextuality that could very well be interpreted as a distortion of both meanings and in the end becoming indeterminate. Further examples of such indeterminacy could be evident in the design of the central museum theatre (Fig. 14). The central theatre is in the form of an open courtyard. Correa borrows the notion of central courtyard from Islamic architecture as he contends that the great Islamic mosques of Delhi and Lahore consist mainly of large areas of open space surrounded by just enough built form to make one feel inside a piece of architecture.15 Having said this, Correa goes on to observe a resemblance between the theatre courtyard and the traditional Hindu temple Kund (which is a water body approached by steps). One could observe that both the Islamic mosque courtyard and the Hindu temple Kund, although of two different cultures share the same primary function - one of cleansing before entering the house of worship. However, in the context of the museum theatre courtyard, the water is stripped off from the water body and the steps of the kund is used as a seating area. QUESTIONING CORREAS STRATEGY 4. QUESTIONING CORREAS STRATEGY As observed in many instances, from the general layout of the plan to the signs of the individual units and architectural objects, Correas quest to demonstrate intertextuality has sometimes led to indeterminancy. Hence the effectiveness of architectural communication is greatly reduced. Given the complex role of an architect in indigenous cultural contexts it is understandable that one may not attain near perfect solutions. However, architectural legibility could be enhanced by providing relevant attention to primary and secondary functions of the consensual realm of culture rather than being dependent on the personal agendas of the intellectual elite architects. It may also be true that devices like mandala provides a convenient way to theoretically root design in tradition However, without careful considerations to their origin and transformations it may result in a superficial form that is unsettling to some who are uncomfortable seeing such literal references outside 68<<<<<<<<<<<< edra proceedings 2003

their accustomed contexts. 16 In trying to understand the user response of the museum, Chakrabarthi (1998), an Indian scholar observed that for a craftsman from the old city of Jaipur, who also is one of the users, the buiding is intimidating, as it makes no concessions to his sensibilities, nor celebrates his building skills. Hence, she observes without any accompanying explanation, it is difficult for any non-architect user to appreciate the signs employed in the design.17 One can thus infer a difference between the vocabulary of the architect and that of its users creating a severe gap in architectural communication. As a result, the deciphering of these distorted codes for non-architect users is almost impossible because they are in awe of the stark exterior and the labyrinthine interior.18 Creating innovative signs without proper references and expecting legibility from all classes of people may not be forthcoming. In this situation, Eco subscribes to the idea that an architectural object could be something new and informative - and if intended to promote a new function it could contain in its form indications of decoding of this function. Playing upon the elements of pre-existing code it would have to progressively transform them, progressively deforming already known forms and the functions conventionally referable to these forms.19 Having said this, one may also have to encounter what is meant by a cultural consensus. How can one derive codes that are constantly changing and yet tailor it to the contemporary needs of society in which a generalization of a sign may be too simplistic, often it could vary among the people of a similar culture. The variability of codes from cultures of pure systems to mixed systems needs as and when they are transforming from the traditional to the contemporary need to be acknowledged. Given these daunting issues, the role of an architect in such contexts could then be best expressed in the words of Eco The architect should be designing for variable primary (denotative) functions and open secondary (connotative) functions.20 References References Agrest, D.: 1974, Design versus Non-design in Hays, M.K. (ed.), Architectural Theory since 1968, Cambridge, Mass, The MIT Press, 1998 Agrest, D. and Gandelsonas, M.: 1968, Linguistics in Architecture in Hays, M.K. (ed.), Architectural Theory since 1968, Cambridge, Mass, The MIT Press, 1998 Barthes, R.: 1993, Semiology and the Urbanism in

J.Ockman, E. Eigen (eds), Architecture Culture 19431968: A Documentary Anthology, New York: Colombia University graduate School of Architecture, Planning and Preservation, Rizzoli, 1998 Barthes, R.: 1981, Semiology and the Urban in N. Leach (ed.) Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, pp. 166-172 B Belluardo, J.: 1998, South Asian Architecture: In Search of a Future Origin in K. K. Ashraf and J. Belluardo (eds), An Architecture of Independence: The Making of Modern South Asia, New York, Architectural League of New York, p.19 Benjamin A.: 1988, Derrida, Architecture, and Philosophy, Architectural Design, 58(3-4): 8-11 Broadbent, G.: 1977, A Plain Mans Guide to the Theory of Signs in Architecture in K. Nesbitt (ed.), Theorizing a New Agenda for Architecture: An anthology of Architectural Theory, 1965-1995, Princeton Architectural Press, New York, 1996, p. 122-140 Cantacuzino S.: c 1984, Charles Correa: Architects of the Third World, Singapore, Mimar Concept media Chakrabarti V.: 1998, Indian Architectural Theory: Contemporary uses of Vastu Vidya, Curzon Press, Surrey Chand, M.: 2000, Interrogating the Indian context: Some Problems with the Frameworks of Architect Charles Correa in I. Borden and K. Ruedi (eds), The Dissertation, Architectural press, London Correa, C.: 1989 Charles Correa, rev. ed. Singapore: Concept Media: New York: Aperture Correa, C.: c1989, The New Landscape: Urbanisation in the third world, Sevenoaks, Butterworth Architecture Correa, C.: 1991, Jawahar Kala Kendra, Jaipur, India, New Museum, Architectural Design, 94, 92-96 Correa, C.: 1991, <http://www.smcm.edu/academics/ aldiv/art/webcourses/arth100/smallworld/Margin/ correa.html> Internet source, available online Dsouza, N : 2002, Sign and Design : Modernity in India Re-examined in Li Shiquao and Li XiaoDong (eds), Proceedings of the mAAN 2nd International Conference Towards modern Asian Architecture, National University of Singapore, Singapore 4-6 Doshi, B.V.: 1998, South Asian Architecture: In Search of a Future Origin in K. K. Ashraf and J. Belluardo (eds), An Architecture of Independence: The Making of Modern South Asia, New York, Architectural League of New York, p.146 Eco, U.: 1986, Function and Sign: The Semiotics of Architecture in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, p. 181-200 Eco, U., How an Exposition Exposes Itself, in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997,p. 202-204

Frampton, K.: 1998, South Asian Architecture: In Search of a Future Origin in K. K. Ashraf and J. Belluardo (eds), An Architecture of Independence: The Making of Modern South Asia, New York, Architectural League of New York Frampton, K.: 1992, Critical Regionalism, Modern Architecture and Cultural Identity, Modern Architecture: A Critical History, New York: Thames and Hudson, 1992 Frampton, K.: 1996, Prospects for a critical Regionalism in K. Nesbitt (ed.), Theorizing a New Agenda for Architecture: An anthology of Architectural Theory, 1965-1995, Princeton Architectural Press, New York, p. 447-453 Jencks C. and Baird, G.: 1969, Meaning in Architecture in Hays, M.K. (ed.), Architectural Theory since 1968, Cambridge, Mass, The MIT Press, 1998 Powell R.: 1995, Indian Intricacy, The Architectural Review, London, Aug., 52-55 Salingaros, N. A.: 1998, A Scientific Basis for Creating Architectural Forms, Journal of Architectural and Planning Research 15,(283-293) Salingaros, N. A.: 1999, Architecture, Patterns, and Mathematics, Nexus Network Journal 1, 75-85 Salingaros, N. A.: and Michael W. M.: 2000, Geometrical Fundamentalism, Plan Net Online Architectural Resources <plannet.com> available online (Footnotes) (Footnotes) 1 Frampton, K.: 1998, South Asian Architecture: In Search of a Future Origin in K. K. Ashraf and J. Belluardo (Eds), An Architecture of Independence: The Making of Modern South Asia, New York, Architectural League of New York, p. 10-13 2 Eco, U.: 1986, Function and Sign: The Semiotics of Architecture in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, p. 181-200 3 Barthes, R.: 1981, Semiology and the Urban in N. Leach (ed.) Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, pp. 166-172 4 For further reading refer Benjamin A.: 1988, Derrida, Architecture, and Philosophy, Architectural Design , 58(3-4): 8-11 5 Correa, C.: c1989, The New Landscape: Urbanisation in the third world, Sevenoaks, Butterworth Architecture, p.108 6 Correa, C.: c1989, The New Landscape: Urbanisation in the third world, Sevenoaks, Butterworth Architecture 7 Source ibid, p.108 8 Another contemporary Indian architect Balakrishna Doshi notes about Jaipur city Centuries of traditional vernacular wisdom are edra proceedings 2003 >>>>>>>>>>>>69

reinforced by high cultural ambition and a strong intellectual structure. The streets work in a hierarchy; broad avenues down to courtyards reached through gates and there is a harmonious relationship between built form and open space.The result is a city memorable for its clarity of form. Doshi, South Asian Architecture: In Search of a Future Origin, in Ashraf K. K. and Belluardo J., (Eds) An Architecture of Independence: The Making of Modern South Asia, New York, Architectural League of New York, 1998, pp 146 9 The word planet is a general term used for celestial bodies of the Hindu cosmos and may not necessarily mean the conventional meaning of planets in contemporary science. 10 Correa understands that such a literal signification of planetary traits is derived from the sciences of Indian astrology and astronomy where the human being is central to the cosmic and the physical world. Correa, C.: 1991, Jawahar Kala Kendra, Jaipur, India, New Museum, Architectural Design, 94, 92-96 11 The limitation could also be seen in another of Correas building, Inter-University center for astronomy and astrophysics, Pune, 1988-92 wherein the administration was placed in the planets of Ketu and Shani which represent anger and knowledge respectively. 12 Source: Correa, C.: 1991, Jawahar Kala Kendra, Jaipur, India, New Museum, Architectural Design, 94, 92-96 13 For further information refer 5000 years of Indian Architecture, The publication division, Ministry of information and broadcasting. Government of India, 1951 14 This is in correspondence with the semiotic framework in which Eco contends that it would be a mistake to imagine that the primary functions are stable. Eco, U.: 1986, Function and Sign: The Semiotics of Architecture in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, p. 181-200. It could also be possible that the connotation of royalty to the Buddhist stupa may have come from a depiction of Buddhas earlier life as a prince. 15 Eco, U.: 1986, Function and Sign: The Semiotics of Architecture in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, p. 181-200. 16 Belluardo J., South Asian Architecture: In Search of a Future Origin, in Ashraf K. K. and Belluardo J., (Eds) An Architecture of Independence: The Making of Modern South Asia, New York, Architectural League of New York, 1998, pp.19 17 Charles Correa in response to the question of the relation of the jawahar Kala Kendra to Indias 70<<<<<<<<<<<< edra proceedings 2003

traditional architecture, its plan to the Jaipur city, and to the Vedic Navagriha Vastupurushamandala (dt. 13 January, 1992), in Chakrabarti V.: 1998, Indian Architectural Theory: Contemporary uses of Vastu Vidya, Curzon Press, p. 86-92 18 ibid. Based on the interviews by Chakrabarthi on site with users 19 Eco, U.: 1986, Function and Sign: The Semiotics of Architecture in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, p. 181-200 20 Eco, U.: 1986, Function and Sign: The Semiotics of Architecture in N. Leach (ed.), Rethinking Architecture: A Reader in Cultural Theory, Routledge, London, 1997, p. 181-200