Tuesday, May 21, 2013
The Monument and other thoughts on the Nalanda University Design Competiton.
Through history, the idea of the monument has, and continues to
occupy a position of great reverence. Both as an epitaph, and as celebration of
the human capacity to achieve the spectacular. And all architecture has, in
some manner or the other, strived to realize that ideal.
How we have viewed the "monument" and how it has been
interpreted has defined the makings of architecture for centuries.
In
the light of this fact, the exhibition from
the 13th to 18th of May 2013, at the National Gallery of
Modern Art hosted of entries to The Nalanda University Masterplan and
Architectural Design Competition holds forth pertinent questions.
I had the good fortune to be
present while Rajeev Kathpalia explained the workings of their winning scheme,
to which BV Doshi added an after-word, a clear and succinct description of the
overall vision that the scheme sought to create.
And (as always happens)
while Kathpalia explained we did have the odd-ball question, “Doesn’t your design
look a little Arabian?”, and as one might expect from schemes with water
channels - “So this will be a bit like Venice?” and by the tone and the time it
took for and answers to emerge, I am sure these had him stumped for a bit!
There were eight schemes in
all. I write this piece is not to take you through each, or to make a comment
on the nature of the architectural exercise the schemes sought to undertake.
That would be a wider and more studied critique than I attempt here.
But as I walked from scheme
to scheme, and studied the broad framework of each masterplan, a thought
emerged, largely aroused by the need or attempt across all entries to be Net
Zero. In the real and true sense this is impossible, however, as benchmark of a
sustainable design it is a worthy intention.
Without going into the
specifics of each one could broadly divide the scheme into two types.
The scheme by VastuShilpa
Consultants easily the most sophisticated of the former collection – which would
contain 7 of the 8 exhibited. Doshi and Kathpalia’s scheme is evolved and
articulate. A careful and clearly intentioned assembly of architectural and
spatial experience that modulates scales, and controls space, enclosure and
openness with a deftness that rivals Kahn and Corbusier. The philosophical
underpinnings and the architectural control clearly define a scheme of great
brilliance – a monument of the 21st century.
Hundred Hands + Allies and Morrison, in clear contrast refuses to allow that monument. In a display of iron-handed control - of scale, of enclosure and the street, and building typology, that in my opinion draw from a intrinsic understanding of climate. The scheme is an assembly of variations in a theme, some subtle, some stark, as illustrated by the curious sheet titled “Catalogue of Buildings” used in the Masterplan. In its refusal to employ the inventory of canonical devices of modern architecture, and the superhuman scale, the scheme makes a pertinent question to the practice of architecture in a moment of deep cultural as well environmental consequence.
And it is precisely in that fact that lies the question and argument I am attempting to raise. If one understands the physiognomy of the monument and the making of monuments through history, it is this question the two natures pose together and by virtue of their inherent opposition.
I will not get into the
discussion of energy, material consumption, or building craft. My question more
addresses the stance the monuments represents as an expression of humans and
their relationship to (read dominance and control over) the systems of this
planet.
Can architecture , and its
creation, in its unavoidable intervention into systems of the planet, afford
the creation of monuments?
Is it right to perpetuate
the notion of human superiority and dominance? Is it appropriate to encourage
and accept the consumption of a limited planet.
Is it allowable to
perpetuate the romanticized notion of modernism and its super-human scale when
the planet seems to be crisis?
What, then, is to be nature
of the monument that reflects a realization of human life as intrinsically
co-joined to the larger and wider systems of life and sustenance?
With the ever-growing
pressures of development, and the pace of modern technology should we expect to
rationalize and limit the demands we make on the planet and its systems that
sustain life including human life?
I believe the question, now more than
ever, needs asking.
images : ajonline/uk
Labels: architecture, Architecture in India, design, Hundred Hands, Monument, Monumental Architecture, Naland University Design Competition, Nalanda, sustainable, Vastu Shilpa Consultants
Wednesday, August 29, 2012
Thoughts on (and after) Moving..
We don’t usually believe it, or rather, we are dismissive of
this simple fact – that so much of how we live and work is influenced by the
environment we live in.
Recently I moved to another part of town. And in three weeks
I see many changes. I do not need to turn on the lights till after sunset. I
don’t use more than a fan on most days. And, well I just feel rather happy and
excited to wake up on most days and get on the job. (Of course it helps that I
am an architect.) I don’t need to keep running off to a coffee shop to feel at
home and peace from the everyday chores of living and working in a mad city
called New Delhi.
When I look out I see lush green forest, rain washed and
fresh. No traffic noise, and I can keep the windows open at most times. Fresh
air, a light breeze, and that famed notion of a crowded city, with people
locked inside their concrete cubicles just fades away.
I walk to the local market in the evenings and the mornings
some times. And when the rains pour down, it’s nice to sit in the balcony. I
can imagine winter already, morning sunlight streaming into my east facing
bedroom, and fog.
When I sit at my desk, beside a floor to ceiling window that
can be collapsed to take in the balcony, I don’t think, “another day at work”,
its just another wonderful day, to play with paper, pens, drawings, colour,
working on projects where you try to bring some of that easy lightness to
everything.
And as I write I recall the office of the Architect, Ashish
Ganju ,on a farm called Eco Options in Aya Nagar - sunlit in winter, shaded in
summer, a beautiful illuminated and inspiring space. You could hear and see the rain, the winter
‘s cold dim fog and its wonderful sunshine. Not air-conditioned, but
comfortable at all times and not large by any standard yet sufficient. It used
to be a joy to ride the 18 km to work at that studio.
These thoughts are what brought me to write this. We have
come to live in a construct, where the sun, the rain and the wind are to be
shunned - kept out of doors, and barred from ever entering the places we live
and work in. Akin to some unwanted disturbance.
And that takes a toll: on energy to keep them out, on the planet and
system that we continually modify to enable that control and on ourselves. Our
bodies are intrinsically linked to the winder systems, (every holiday you take,
every trek, every trip to pristine “natural beauty” is ramification of that
fact). If nothing else it is unhealthy.
Unhealthy for many reasons - removing and distancing oneself
from the ecological and physical construct that you participate in is one
reason. The other is the huge dependencies we come to internalize – on power,
on sterilsation, on preserving physical and mental health.
A large part of the ecological mess we continue to perpetuate
is fuelled by choices guided by these dependencies. We continue to reduce, and
diminish our capacity to assimilate and engage with the environments around us.
And this does two things-
1. It makes us irresponsible. You only have to step
outside your gate, to the street with its piled garbage, broken footpath, and
waterlogged roads to see the connection. We don’t care for what is outside our
castle.
2. We invariably want and thus possess (if the means permit) more than we would actually need.
2. We invariably want and thus possess (if the means permit) more than we would actually need.
More and more we try to include or contain all that we need
or desire for living within the confines of our private worlds, each sealed
from the other and from the larger picture that we engage with less and less
over time. This is frightening, and if it were to operate at the scale of the 1
billion plus population we have it would be a sheer environmental disaster.
But that’s a much huger picture than I started off with.
Where I was headed out to was the simple idea that so much depends on how we
choose to engage or dis-engage with the environments we live in. The wind, the rain, sunlight – sustainability
isn’t about E-rated glass, and LEEDS ratings and GRIHA, or water harvesting, it
is about an attitude of how you live and where you live. Like all things, it
starts at what we all call home.
Labels: architecture, Delhi, dependancies, ecological, green, home, rain, sun, sustainable, wind
