Indian Architecture Research Articles

INDIAN ARCHITECTS & MODERNISM: THE DILEMMA OF THOUGHTS

Journey of Indian architecture in search for its identity started in the middle of 20th Century. It emerged from the conflict of two parallel thought processes namely, rationalism and revivalism with the former being propagated by the followers of modernism and later by the followers of the old school of thoughts. The hegemony of rationalists’ idea prevailed over the passage of time with the arrival in India of foreign architects like Le-Corbusier, Pierre Jeanneret, Dame Jane Drew and Maxwell Fry and the then Prime Minister Nehru had thrown his weight behind rationalism over revivalism to project independent India’s image to the world as a progressive nation. The architecture of these foreign masters had a profound influence on Indian architects’ works, some of whom being the team members of these foreign architects’ Indian commissions. This paper is an attempt to investigate whether the influence of these foreign masters’ architecture in India is limited to only a specific group of architects who worked with them during their Indian commissions or this influence was all over irrespective of the Indian architects’ association with foreign Masters.

UNIVERSALISM TO CONTEXTUALISM: METAMORPHOSIS OF POST-INDEPENDENCE INDIAN ARCHITECTURE

India has an exceptionally rich architectural history. It has undergone various phases of architectural development with majority of them dictated by political influences rather than societal needs. It was only in the middle of 20th century, more precisely after independence that the architecture of India started its journey in the search of its own identity. That too led to the implantation of foreign ideas of Universalism in the shape of Modern Architecture under the political patronage of the then Prime minister Pt. Jawahar Lal Nehru. It was an attempt to do away with historicism and revivalism in favour of rationalism with the idea of progress to project India as a progressive nation in front of the world. But, in search for this identity, the context and cultural continuity was lost to a greater extent. This paper delves into the architectural journey of Indian architecture in the Post-independence period

INFLUENCE OF MODERNISM ON POST-INDEPENDENCE INDIAN ARCHITECTURE

The modern architecture, which was conceived as a reaction to the chaos and eclecticism of the earlier 19th century was taking its shape in the late 19th century and earlier 20th century. The exact timeline in which the modern movement in architecture started in the world cannot be described with precision. But ‘Modern architecture’ had its origin in the developments of the late 18th century with major thrust on the idea of progress. This movement of modern architecture in India started quite late in the first half of 20th century. Its development in India started with the isolated efforts of some foreign architects’ works. But the movement gained momentum only after the arrival of foreign trained Indian architects with imbibed policy of modernism in their mind. Final thrust to this movement was given by the political patronage bestowed upon the idea of modernism by the then Prime Minister Pt. Jawahar Lal Nehru, when he invited Swiss born French architect Le Corbusier to design the state capital city of Chandigarh. This paper delves upon the Influence of Modern architecture of these foreign architects built in India on the Post independence Indian architecture.

Art Deco Architecture in Pune from the 1940s to the 1960s

Art Deco is a visual arts, architecture, and product design style. It first emerged in Paris in the 1910s, shortly before World War I. This style reached its height in Europe and the United States in the 1920s and early 1930s. The early to mid-1930s saw the emergence of Art Deco architecture in India, which ended in the mid to late 1950s. Indian cities like Mumbai, Pune, Chennai, Jaipur, Jodhpur, and Patiala are home to Art Deco structures. In terms of architecture, the Art Deco movement represented a dramatic departure from the colonial Neo-Gothic/Victorian Gothic model. The pursuit of modernity, multiculturalism, and cosmopolitanism were all reflected in Art Deco architecture. UNESCO declared the Victorian Gothic and Art Deco ensembles of Mumbai (Maharashtra’s capital) a UNESCO World Heritage Site in June 2018. Nevertheless, Pune City’s Art Deco buildings are not recognized as heritage buildings or documented. The study involved photographic documentation of Art Deco buildings in Deccan, Swargate Prabhat Road, Bhandarkar Road area of Pune. This paper examines the various motifs and their underlying symbolism that can be seen in Pune’s Art Deco buildings. The results of this study show that the Art Deco buildings in Pune are now on the verge of extinction due to the age of the building, structural deformities and lack of awareness of the conservation of this historical heritage. The art deco features on the elevations of many buildings have been hidden/erased by renovation and commercial hoardings.

Regional Setting of Temples in Dakshina Kosala, India: Spatial Distribution and Connections

Introduction: The region of Dakshina Kosala (also known as South Kosala) is mentioned in various ancient Indian texts. The exact geographical boundary has continuously changed over time, and today, only a rough estimate can be made of the Dakshina Kosala region, which approximately covers the northern and central parts of the present-day state of Chhattisgarh, along with the western part of the state of Odisha, India. Excavations and writings show that this was a prosperous region near central India, without any seaport, but with large markets, trade centers, and educational institutions. To access this region, many trade routes were established from various parts of India. This led to the development of cities with markets along these trade routes. Many temples were also seen in this region, serving as examples of the intangible heritage of the place. Purpose of the study: This region made a significant contribution to the temple art and architecture of India. The present study aims to determine if there is a spatial and architectural link between the temples in this region. Methods: The methodology involved an initial phase of reading and analyzing pertinent literature to prepare detailed maps delineating the boundaries of Dakshina Kosala. Subsequently, employing rigorous analysis with Google Earth and GIS tools, ancient trade routes were traced, temples were located on the maps, and a comprehensive analysis was conducted to derive conclusive results. Results: This paper establishes a relationship between the geographical locations and construction materials of the temples within and outside the geographical boundary of Dakshina Kosala.

Hindu Temple Architecture in India

Religious edifices in India seems to have developed during the urban phase of Indus Sarasvati or Harappan civilization (3200-2600 BCE) and continuing afterwards, till the sixth century CE. The certain concepts of Gods and human beings have led to the emergence of temple as an architectural body. The relationship of Indus valley’s people with the God or gods can be surmised in conformity with the antiquarian remains discovered in archaeological excavations conducted at the sites of Indus Sarasvati Civilization during the several last decades.

Beyond Stones: A Chronicle of Evolution in Islamic Tomb Architecture in India, Culminating in the Timeless Grandeur of the Taj Mahal

This research paper meticulously traces the evolution of Islamic tomb architecture in India, from its early manifestations to the zenith embodied by the Taj Mahal. Beginning with the construction of the Tomb of Nasir-ud-Din Muhammad (Sultan Ghari) in A.D. 1231, attributed to Shams- ud-Din Iltutmish, the paper unveils the genesis of tomb architecture in India, with distinct elements reflecting Hindu influence. The exploration progresses to Iltutmish's innovative phase, exemplified by the Tomb of Shams-ud-Din Iltutmish (A.D. 1235), strategically positioned near the Quwwat-ul-Islam mosque. The introduction of the 'squinch' technique exemplifies a pioneering quest for dome construction techniques during this phase. The Tughlaqs' experimental era, witnessed through Ghias ud Din Tughlaq and Firuz Shah Tughlaq's tombs, reveals challenges in achieving widespread appeal due to stunted domes. The Lodis then emerge as pioneers with Sikandar Lodi's Tomb, introducing typological differentiations with octagonal and square plans, catering to distinct societal strata. Key innovations, such as the introduction of the double dome seen in Shihab-ud-din-Taj's tomb and Sikandar Lodi's tomb, become pivotal architectural features, addressing challenges of height and proportions. Regional variations, as seen in the Eklakhi Tomb in Bengal, Ibrahim Rauza reflecting Bahamani style, and Golgumbaz's remarkable square plan, underscore the impact of climatic considerations and regional aesthetics. Culminating in the Taj Mahal, the paper meticulously dissects its architectural features, showcasing the intricate layout, translucent white marble, and innovative use of a double dome. This exploration provides a comprehensive understanding of the cultural, technological, and artistic tapestry that defines Islamic tomb architecture in India. Key Words: Islamic Tomb Architecture, Taj Mahal, Double Dome, Regional Variations

Uncovering the Fungal Diversity and Biodeterioration Phenomenon on Archaeological Carvings of the Badami Cave Temples: A Microcosm Study.

The Badami Caves are a significant example of ancient Indian rock-cut architecture, dating back to the 6th century. These caves are situated in the Malaprabha River valley and are part of the candidate UNESCO World Heritage Site known as the "Evolution of Temple Architecture-Aihole-Badami-Pattadakal", which is considered to be the cradle of temple architecture in India. Our study aimed to investigate the diversity, distribution, and biodeterioration phenomena of the fungal communities present on the cave surfaces. The study also conducted a comprehensive analysis of fungal biodeterioration on the cave carvings. Utilizing specialized techniques, the dissolution of calcite, alterations in pH levels, and biomineralization capabilities of isolated fungal strains were monitored. Additionally, this study analyzed fungal acid production using high-performance liquid chromatography (HPLC). Our findings revealed that the major genera of fungi found on the cave surfaces included Acremonium, Curvularia, Cladosporium, Penicillium, and Aspergillus. These isolated fungi were observed to produce acids, leading to the dissolution of calcium carbonate and subsequent decrease in pH values. Notably, the dominant genus responsible for acid production and the promotion of biomineralization was Aspergillus. These discoveries provide valuable insight into the ecology and functions of fungi inhabiting stone surfaces, contributing to our understanding of how to preserve and protect sculptures from biodeterioration.

Review of Double Review – Tarini Bedi 2022. Mumbai Taximen: Autobiographies and Automobilities in India. Seattle, WA: University of Washington Press; Namita Vijay Dharia 2022. The Industrial Ephemeral: Labor and Love in Indian Architecture and Construction. Oakland, CA: University of California Press

Review of Double Review – Tarini Bedi 2022. Mumbai Taximen: Autobiographies and Automobilities in India. Seattle, WA: University of Washington Press; Namita Vijay Dharia 2022. The Industrial Ephemeral: Labor and Love in Indian Architecture and Construction. Oakland, CA: University of California Press

Practice-Research in Odissi Dance: The 3 Bindu Approach to Embodying Sacred Geometry

Ideas around sacred geometry in the Indian tradition are most clearly seen in the prolific use of yantras as tools of meditation in tantric art forms. These are typically two-dimensional diagrams or three-dimensional objects, regarded as representing the elemental powers of Earth, Water, Fire, Air and Ether commonly symbolised by a square, circle, triangle, hexagon and a dot or bindu respectively. These geometric shapes are combined to create energy fields of varying potencies within which sacred objects are conceived. Temple architecture in India is imbued with such yantras and used as a means of harnessing divine energies through their precision, power and beauty. While Odissi dance has been greatly inspired by the dance rituals of mediaeval Odishan temples, there has been no discussion about the possible role of yantras in actual movement and choreography. This is surprising as the ‘virtual lines’ held between different body parts in static dance postures as used in the dance tradition today, hold strong geometric shapes. This is amplified by movement sequences where the arms, hands, legs and feet create geometric forms in space, making patterns akin to ‘virtual yantras’. This recognition piqued my curiosity and the current paper is a self-reflexive account of a process of engaging with Odissi movement through visualising clarity of shape and form in movement patterns, before embodying them, based on a template of ‘3 Bindus on the body’s central axis’, which was formulated during the course of studio practice.

Traces of Islamic Architecture in the Design of the 'Gedung Sate' in Bandung

Gedung Sate was built to accommodate various architectural styles derived from local and foreign elements. The local elements have been widely studied, such as those relating to the architecture of the 'Candi' on the island of Java. Many external elements are associated with the Moorish European style and that of the Dutch. However, according to the elements, it also indicates the existence of Indian Islamic architecture, the Mughal style. This study of the Islamic elements of Mughal India has not been pursued or presented any further. This study aims to identify the traces of Islamic architecture in the Gedung Sate, especially those derived from the Mughal, Moorish and local styles. This research method used a qualitative approach by studying the morphology of Gedung Sate and Mughal or Moorish buildings to identify the relationship between their architectural elements. The results show that Gedung Sate does indeed show the use of Mughal architectural elements, especially in the outer layout and mass, processing of the figure section, and the ornamental exterior column, while the Moorish influence is more visible in the processing of curved elements and column heads and slender interior columns showing light elements. The idea of using Islamic architecture is carried out to represent the splendor in the typology of new buildings in the prospective capital city of the Netherlands Indies, namely Bandung. Indian architecture is used as a reference because it is considered to have a close relationship with Candi as an important resource in Java.

Balkrishna Doshi’s Contribution to the Development of Contemporary Architecture in India

Balkrishna Doshi has more than 70 years as an architect contributing to hundreds of projects with the architectural firm he founded, Vāstu Shilpā Consultants, ranging from institutes, residences, art galleries, public spaces, and more. Doshi has also played a leading role as an educator, particularly in India. He founded the Vāstu Shilpā Foundation for Studies and Research in Environmental Design and the School of Architecture and Planning in Ahmedabad. With an understanding and appreciation of deep traditions in Indian character and architecture that he understood from childhood, regardless of local prefabrication and crafts, and developing a vocabulary that is in harmony with the history, culture, local traditions, and changing times in contemporary vernacular architecture in his home country, India.
 Keywords: Balkrishna Doshi, Contemporary Vernacular Architecture, Low-Cost Housing, India.

Adapting to Flood and Sea-level Rise through Amphibious Architecture in India

With climate change increasing the frequency and intensity of floods, India is one of the most flood-prone nations in the world. A potential answer to these problems is amphibious architecture, a design strategy that blends architecture and engineering to produce buildings that can adapt to the fluctuating water levels brought on by flooding or increasing sea levels. The historical context, difficulties and potential, design guidelines, and methods of amphibious architecture in India are all explored in this research paper. The paper explores the development of amphibious architecture in India, encompassing traditional and modern constructions, and assesses the benefits and drawbacks of this strategy. It finishes by underlining the significance of amphibious architecture in India and its potential to provide flood-resistant, adaptable, and sustainable structures that can endure the shifting water levels brought on by climate change.

Pedagogy for Teaching Fire Safety through Design-Based Immersion of the National Building Code 2016 with Feedback from Students of Undergraduate Architecture.

This study is based on the feedback from 3rd-year architectural undergraduate students at a leading architectural education college in India. An undergraduate degree in architecture in India leads to a professional license to practice as an architect in India. Fire safety is also a component of the architectural curriculum, but there are concerns worldwide that architecture colleges may somehow not give the impetus fire safety education may require. A studio-based, immersive pedagogy was created to make fire safety more relevant and easy to grasp for architecture students. This method used integrating the interventions from the country's fire code into the design using students' self-created design problems, with which they were familiar. This design-based immersive integration of the National Building Code 2016 and its fire provisions were tested in this study. The detailed course pedagogical structure has been presented. The study was tested using feedback from the students at the end of the semester using an 11-part questionnaire which 32 students answered in an anonymous mode. The results show an overall positive response where the students prefer a design-based integrated fire safety curriculum which introduces fire codes to the students in the applied format. This study paves the way for more replications of the studio design-based integration of fire codes into the curricula of architecture colleges. Further studies will require this technique to undergo further testing by involving practitioners who have undergone this pedagogy and testing the same in building projects.

INDIAN ARCHITECTURE: SCENARIO AT THE DAWN OF INDEPENDENCE

At the time of Independence of India, the challenge was to create an image of a progressive nation through the mode of architectural expression to celebrate nation’s independence. Though it couldn’t happen right away as the majority of Indian architects at the time of independence were under the influence of architecture of the Britishers or were working in the architectural firms established by British architects. So, the change was gradual with its inception in pre- independence era of 1930s and 1940s, when some of the foreign architects designed and executed their projects with European expressionism and Bauhaus thinking in the country. But these were isolated efforts and could not take the shape of an architectural movement. These waves of rationalist thoughts kept on smoldering with war between the Revivalist and the Rationalists thoughts propagators throughout 1940s as well as at the time of independence and immediately after it. The journey progressed further with the arrival of foreign trained Indian architects. They brought with them ideas of modernism and thinking of Bauhaus rationalism. This movement further got expedited when the political patronage threw its weight behind rationalist thoughts over the Revivalist by inviting international Master of Modern Architecture to design on the Indian soil. Thus, this study is an effort to throw the light on the journey of Indian architecture from Swadeshi movement of 1930’s to Rationalist Modern architecture immediately after independence.

Relationship Between Spirituality and Architecture in the Context of India

This study examines the connection between Indian architecture and spirituality. The introduction of the essay defines the concepts of spirituality and Indian architecture and offers a historical perspective on their interrelationship. The following section of the essay examines modern interpretations of the relationship, including the ways in which designers and architects are incorporating spiritual principles into their work. The paper also explores the advantages of infusing spirituality into Indian design and offers instances of spirituality in Indian architecture, such as temples, mosques, and meditation areas. The study makes the case that the connection between spirituality and Indian architecture is intricate and multidimensional, and that it still influences and shapes the architecture of Indian monuments to this day. Key Words: Spirituality, Indian Architecture, Connection between spirituality and architecture.

Rediscovering the Traditional UNESCO World Heritage Hawamahal through 3D Animation and Immersive Technology

Nowadays, humans are searching for alternative energy resources due to the high demand in energy consumption by several means like automobiles, electronic devices, household items, and many more. Nature has given us limited resources, but population and pollution levels increase daily. This article aims at improving the thermal environment, which is becoming increasingly important due to the energy-saving effects on occupants and health concerns. The focus of the research would be a change in the procedures to follow nature and draw attention and inspiration from the ancient architecture of the Hawamahal (a palace in the city of Jaipur, India). This article examines Hawamahal’s ancient architecture regarding temperature and passive cooling insulation. It makes recommendations for combining traditional ideas with a method of integrated, immersive technology to demonstrate environmental challenges and preserve the ethnic heritage digitally. The simulation results represent the temperature difference between Hawamahal’s inner and outer spaces during summer days. The study’s findings include using a digital twin system to discover the immersive experience of Jaipur’s Hawamahal without requiring physical participation. For the culture and tourism industries, this has the potential to be a digital revolution. The findings also show the wealth of ancient Indian architecture compared to modern twenty-first-century infrastructure and provide a virtual reality experience of Hawamahal.

The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985

The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985

Critical Regionalism in Architecture with Respect to the Jaipur City

Abstract: Critical regionalism has emerged as an attack on the universal and homogeneous image of utopian modernity in architecture. Critical regionalist theory is used to address the literal imitation of folk style and the importance of a universal architectural environment. Critical regionalism is an architectural concept that aims to remedy sterile and abstract modernism by focusing on local needs, native wants, and potential using contextual influences. Critical regionalism provides resistance to the homogenizing pressures of global modernism as economic processes disrupt and supplant local construction traditions in India's metropolitan centers. This study examines important architectural importance in Jaipur from history to the present day that incorporates critical regionalism ideas into their designs. The many strategies used by regionalist architects to deal with local climate, topography, materials, and socialism complexes are discussed. By focusing on urban regionalist works, the paper aims to emphasis that important regionalism is more than a collection of aesthetic preferences; it is a conceptual framework capable of producing varied types of architecture despite identical external forces coming from similar site conditions. (bahga, 1 May 2019). This post attempts to understand the main theory of critical regionalism as an approach to post-independence Indian architectural practices. The city of Jaipur, Rajasthan takes advantage of these qualities for research. The current discussion of critical regionalism is a case study of two institutional buildings in Jaipur, 20 years apart, with a critical regionalism of from a theoretical approach to a practical approach in two very different approaches. Analysing the translation. Supported by research. These studies will help determine how to translate and approach critical regionalism in more recent Indian architecture.

Architectural analyses of 19th century Indo-Saracenic structures designed by British Architect Robert Chisholm in Vadodara

ABSTRACT A particular architectural style called ‘Indo-Saracenic’ emerged after 1860s and characterised British Colonial Architecture in India. Robert Chisholm was one of its early proponents who worked between the years 1860 to 1910. His initial phase of works emerged in the Madras Presidency and the later in the erstwhile Princely State of Baroda, now Vadodara. The author through the study of his works addresses the central research problematic of using “Indo-Saracenic” as an umbrella term, not distinguishing a huge number of local variants both in architectural historiography and pedagogy. Out of 27 buildings identified to have been designed by Chisholm in India, a critical sample of 10 career-defining buildings was extracted based on a definite shortlisting-criteria like typological uniqueness, structural integrity, heritage grading, etc. Four cases formed the critical sample from Vadodara: Faculty of Arts at Baroda College, Laxmivilas Palace, Khanderao Market and Nyaya Mandir. Two of them are discussed to find out if Chisholm’s architectural style constituted a unique localised Indo-Saracenic variant in Vadodara. The qualitative research tools used are historical/chronological research, typology studies, architectural analysis, etc.