Reinterpreting Vernacular Architecture Through Contemporary.

7/27/2019 Reinterpreting Vernacular Architecture Through Contemporary.

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Index

1.1 Introduction 1

1.2 Aim 2

1.3 Rationale for selection 2

2.1 What is Contemporary architecture? 3

2.2 What is Vernacular architecture? 3

2.3 Elements of Vernacular architecture 3

3.0 India International Centre 7

3.1 Introduction 7

3.2 Spatial Configuration 10

3.3 Use of Vernacular 12

3.4 Context to climate 15

4.0 Triveni Kala Sangam 17

4.1 Introduction 17

4.2 Spatial configuration 20

4.3 Use of vernacular 22

4.4 Context to climate 24

5 Conclusion 25

6 Bibliography 26


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Use Of Vernacular in Contemporary

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Use of Vernacular in the Contemporary

An American in Delhi

1.1 Introduction

Vernacular architectureis a term used to categorize methods ofconstruction which use

locally available resources and traditions to address local needs and circumstances.

All forms of vernacular architecture are built to meet specific needs, accommodating the values,

economies and ways of life of the cultures that produce them. Frank described vernacular

architecture as "Folk building growing in response to actual needs, fitted into environment bypeople who knew no better than to fit them with native feeling", suggesting that it is a primitive

form of design, but he also stated that it was "for us better worth study than all the highly self-

conscious academic attempts at the beautiful throughout Europe".*

Despite having a long a long history of over two centuries the interest in vernacular architecture

is very recent. This is because:

The environmental crises; resource depletion, global warming and energy crises gave

the wake up call to the architects when they realised that the building industry

(construction and operation) consumes a major part of world energy. Therefore

exploration of green methods in architecture led to the idea of contemporary materialsand techniques becoming a viable option.

Increase in communication and transportation technologies gave a lot of

information to architects about indigenous building methods.

Therefore the use of vernacular in the contemporary becomes a very important aspect as

contemporary architecture is defined as nothing but the architecture of present day.

This was embodied very well in the works of American architect Joseph Allen Stein. He

adopted India and designed some of the finest buildings in the national capital including the IIC,

the India Habitat Centre, the Ford Foundation and the Triveni Kala Sangam.

Stein believed in using building materials in their original form. He never covered stone with

plaster. When stones were not available for the India Habitat Centre, he went to the kilns to

order Lakhori bricks and Mughal bricks. Stein integrated landscapes into his structures for IIC

he took inspiration from the Lodhi Gardens next door and gave the building an inner and an

outer courtyard. Stein was a contemporary architect who was interested in local culture,

conditions and climate. He bought California modernism to Delhi and defined it as a part of the

post-independence Indian Architecture.
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1.2 Aim

To study the Indian International Centre and Triveni Kala Sangam with respect to;

1) The use of vernacular elements in the contemporary context with reference to

massing, spatial configuration and construction materials and their long term effect.

2) Context to climate in the buildings

1.3 Rationale for selection

In the time of delicate ecological balances it is time for us to go back to the basics our heritage

taught us.

The use of locally available material and climatically sensitive design in vernacular wassuch that no window was in the wrong place; now the use of air conditioning allows us

to take that liberty. Taking advantage of airflows and the use chajjas and jalis was

done to keep the structure cool. Standing in any of Delhi heritage monument and

feeling the cool breeze will prove its effectiveness any day.

Steins building were part of the larger context in the post-colonial era and the

environment they were built, and till date none of them look alien in their surroundings.

They are aesthetically pleasing contemporary structures which play their part in

maintaining the skyline.

The New Delhi buildings - notably the Triveni Kala Sangam arts complex (1957-77)and the ICC (1959-62) define the philosophy of using vernacular elements in

contemporary. Both were immediately distinguished by their elegant formal spaces,

beautifully muted by covered walkways, extensive planting and landscaping and their

meticulous detailing.

Methodology

Selection of topic through discussion with teacher on presynopsis

Background Study on the Architect stein

Collection on information on the subject and discussion with teacher Site visit

Final compilation of data.


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2.1 What is Contemporary Architecture?

Contemporary architecture is formally defined as the building style of the present day. Today's

styles, however, are quite varied and have a number of different influences. Examples ofcontemporary architecture therefore do not necessarily have similar or easily recognizable

features as in classical architecture.

Features of a contemporary home thus may include an irregular or unusually shaped frame, an

open floor plan, oversized windows, the use of "green" components, a lack of ornamental

details, or organic design.

2.2 What is Vernacular Architecture?

Drawing on root of the Latin word Vernaculusmeaning native, such architecture tells us what

is indigenous, common and shared in community. Vernacular architecture tends to evolve over

time to reflect the environmental, cultural and historical context in which it exists. In addition,

neighbourhoods and cityscapes are created and maintained in a consistent common vernacular

style. These sometimes exhibit the harmony of a family repeating forms with consistency in

adaptive variations such as many parts create the beauty of a collective whole.

Vernacular traditions are dynamic and generated through continuous interplay of

changes, creativity, stability and innovation.

Instead of replicating old artefacts, there know how and skills have to handed over.

2.3 Elements of North Indian Vernacular Architecture

Courtyard

The courtyard is an open to sky space

present in many North Indian houses usually

placed at the centre. It becomes a common

congregational space and establishes an

internal connection.

In hot climates a central placement of

courtyards with an inward looking planning

is beneficial as it tends to keep the internal

air cooler and provide strategic openings for

ventilation. The openings this way also get

mutually shaded from other walls of the

same building hence decreasing further heat

gain.In Picture; Courtyard of Patwon

ki Haveli, Jaisalmer
http://en.wikipedia.org/wiki/Evolution_(term)http://en.wikipedia.org/wiki/Natural_environmenthttp://en.wikipedia.org/wiki/Culturalhttp://en.wikipedia.org/wiki/Historicalhttp://en.wikipedia.org/wiki/Historicalhttp://en.wikipedia.org/wiki/Culturalhttp://en.wikipedia.org/wiki/Natural_environmenthttp://en.wikipedia.org/wiki/Evolution_(term)


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Chajjas or Sunshade

A chhajjais the projection or overhang cover of a roof or opening. It is generally placed over

opening to counter the adverse effects of weather like excessive sunlight or rain.

It was used extensively by Hindus for thousands of years, and then more recently borrowed by

the invading Muslim empires into the common vocabulary of Mughal Architecture." It forms

part of the architecture of Rajasthan, Gujarat, Punjab and Uttar Pradesh. In Rajasthan they are

particularly large

Jali

Jali is the term for a perforated stone

or latticed screen, usually with an

ornamental pattern constructed through theuse of calligraphy and geometry.

While acting as a decorative element, the jail

also aids in cooling by only allowing

perforated sunlight to pass and creating a

small tunnels effects for the winds to cool

them down.

It gives protection from the harsh summer sun while giving in to the soft winter sun. It also

helps by not providing any horizontal exposed surface where collection of dirt is easy.

Early work was performed by carving into stone, while the later more elegant used by

the Mughals employed the technique of inlay, using marble and semi-precious stones.

Direct and Indirect connections of internal external

Verandahs, porches, screened balconies: all have been used extensively in Indian vernacular

architecture, each space was defines by its connection type to the rest of the world. For example

a Jharokha symbolises indirect visual connection in comparison to a balcony which gives

unhindered visual connections.

Tiles

In picture; Jali work at Qutub

Minar complex


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Gardens

When Mughals entered India one of the things they

missed dearly were the well kept gardens of Persiaand Afghanistan. So they tried to recreate them in

the India and thus started the north Indian garden

tradition.

Thus all buildings right from the tombs to the

palaces show provisions for laying the gardens.

Locally sourced building materials

The greatest appeal of vernacular architecture is how it seeks to use locally available materials.

This has many advantages:

I. Reduced cost of transportation

II. Provides livelihood to the local craftsmen available who are more well versed

with the materials

III. Maintains the ambience of the place.

Famous examples will the use of Jaisalmer sandstone in the local buildings, extensive use of

timber in the hills and bamboo in china. In Goa and Karnataka, an abundance of red laterite

stone makes this the medium of choice for vernacular construction, and in north India a clayey

soil makes sunburnt bricks and mud mortar a commonly used medium. Bamboo construction

can be found in the northeast, and roofs tiled with the so-called Mangalore tiles in the south.

Similarly, a plethora of sandstone made medieval Jaipur into the famous Pink City, and a

similar stone was used to face Mughal buildings in the 17th century.

Domical and Arcuated structures

A dome is a structural element of architecture that

resembles the hollow upper half of a sphere. To put it

simply a dome is an arch turned 360 degree on its

central axis. The bulbous domes of the Mughals are

the most easily recognizable sight in any nook or

cranny of Delhi.

In Picture; Gardens at

Humayuns Tomb

In picture; Lodhi Tomb


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Use of Indian Traditions in Building

Lutyens was the first to incorporate Indian traditions in seemingly modern buildings. Though

hesitant to employ Indian flourishes like chajjas and chhattris, he eventually used them andmade them his own. But this Lutyens school got overshadowed by the Delhi Public Works

Department. After Independence there was a little shift towards Mughal architecture through

stone ornamentation but that too was short lived.

Then the next shift occurred with the creation of Chandigarh. This marked the advent of

modernism in India and architects all over started looking at design philosophies differently. For

example; brick, traditionally not a modern materials but it was never used in the Indian context

as elite. And suddenly it was the new symbol of respectability. But now by 1980, architects and

planners realised their folly of copying modernists trends and the next question was how to

move forward in Indian architecture. The challenge was to keep the benefits of the

advancements due to the international modernist movements and yet develop a link to Indian

tradition.

The answer lay in Delhi, where Joseph Allen Stein, an architect of Californian origin was

quietly following his individualistic approach. These buildings despite using jallis, stonework

and integrated gardens were still modern in their approach.


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3.0 INDIA INTERNATIONAL CENTRE

3.1 INTRODUCTION

Year of Construction: 1962

Plot area: 18,600sqm

The India International centre was conceived in the 1950s as a hub of artistic and scholarly

activities. It was both space for conferences, symposia and activities by national and

international groups it also holds living spaces.

The architectural character is characterized by careful relation of indoor and outdoor spaces and

seeks to present the adjacent Lodhi gardens and the IIC building as one entity.

Spaces:

Guestrooms block; holds 46 rooms for living.

Library and Office block

Lounge and Dining block

Domed auditorium

And the above are interconnected through two courtyards, the creation of blocks makes it easy

to enter any one block without disturbing the activities in the other.

In Picture: Entrance view at IIC


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SITE PLAN OF IIC COMPLEX


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The internal courtyard is uses for the

formal get together and right next to

is the lounge towards the north and

this block is elevated which allowswind movement from the Lodhi

gardens inside.

It is flanked by two blocks out of

which one is the lounge (above

mentioned) and the other is the

library and admin offices with his

northern wall almost of glass.

There are two hexagonal blocks,

diametrically opposite to each other housing the

auditorium and the dining area lounge. The

Auditorium is towards the front (east) granting

ease of access and the dining area is at the rear

(south) end of the site offering an integrated

view of the Lodhi gardens and IIC complex.

The west end of the complex opens up

to a semi open courtyard which integrates in to

the Lodhi gardens.

In picture: Internal view of

Courtyard

In picture: View from the

back showing the lily pond

and the hexagonal lounge


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Roofing

Their vaulting

roofline is to recall thearches and domesscattered aroundDelhi. The roof of theauditorium of IIC isdomical and iscomposed of pre-cast-shaped elements. TheY-shaped pieces carrythe outer layer,provides space for thedistribution of lighting

and air conditioning.And the ceiling has ahoneycomb structure.


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3.4 Context to climate

All main rooms face north south except the dining hall and the lounge which overlook

the lawns Great care has been taken to provide shading devices for the entire building form jali

work to vertical sliding louvers.

The jaali work is present on the auditorium

windows, between the guestroom balconies

and the south facing service areas.

The jaali work on the auditorium and

guestroom tiles of traditional Delhi blue

glazed tile is used similar to the one used on

Lodhi tombs and on the service areas fir

clay tile is used with metal piping.

The vertical louvers have been provided on the western facade of

the hexagonal dining room.

They can be pulled down when the sun angle is low and can actas a void to let the breezes from the Lodhi garden inside giving

the dining area an open verandah-esque feeling.


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Water body are present to help regulate

temperature.

There are two water bodies one at the front end

and one at the rear end of the plot.

The one at the rear end is a lily pond.


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.4.0 Triveni Kala Sangam

4.1 Introduction

The Triveni Kala Sangam (1959), founded after independence to revive traditional Indian art,

music, and dance. On a busy road lined with concert halls and galleries, Triveni joins a sleek

gallery wing to a taller classroom block, its walkways wrapped in concrete jalis and draped with

planters.

To minimize

costs and

highlight what

he called " the

beauty and

natural quality of

local resources,"

Stein built with

indigenous ma t

e r i a l s

whenever he

could.

Spaces:

Classrooms

Galleries

Indoor auditorium

Amphitheatre

Apartments for instructors

Canteen

Panorama of Front View

In picture: Internal courtyard-

Amphitheatre


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SITE PLAN OF

TRIVENI KALA SANGAM


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4.2 Spatial configuration

There are two entrances

to the complex onetowards the galleries

and the classroom block

and the other is toward

the auditorium block

When we enter through

the gallery-cum-

classroom block we see

are greeted by a small

reception lobby.

Beyond this lobby is theamphitheatre like

courtyard around which

the entire complex is

centred.

There are two staircases

present on through the

front lobby and the

other at the end of the

corridor which runs

parallel to theamphitheatre.

On the Ground floor are

public areas like

galleries and canteen,

on the first and second

floor are the classrooms

and the living spaces are on the third floor

The lobby on its northern side (right side from the entrance) opens into a sculpture court

and places where sculpture making class are held. Further ahead we see the living

spaces and the auditorium which can be accessed from a separate entrance too. This separate entrance takes us directly to the entrance of thee indoor auditorium

.In Picture: Entrance to

the Reception


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The amphitheatre enclosure is achieved by low height structure which relate to human

scale and the stage is placed away from the buildings to not to get overpowered by the

background.

The centre is

organized into three

blocksA four storey

classroom block with a

canteen and shaded

dining/tea terrace to

the north and a ground

floor gallery block

with a shaded roof

terrace above to the

west.

Opposite the gallery isa covered stage

opening into an

outdoor garden theatre

which is the heart of

the complex.

. The three-storey extension of 1977 to the north house additional classrooms, an indoor

auditorium, and instructors' apartments.In Picture: View Of

Amphitheatre and Canteen.


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4.3 Use of vernacular

Jaalis

Yet another

innovative use of

jaalis by stein was

done here creating

jaali work patterns

out of precast

concrete. The pattern

is contemporary

made with angular

voids.

.

Courtyards

The complex is built

around an amphitheatre

which is a modern

variation of the courtyard

in this complex. It acts

like the heart of the

complex and keeps the

noise pollution of the

outdoors way. Its

orientation is towardssouth east and yet very

well shaded from the

sun. The classroom

corridors face this

amphitheatre and have

Plants draping down

from planter boxes

placed between jails. It also houses a concrete pergola which is adorned by flowering

bougainvilleas creating a beautiful backdrop for performances.

In Picture;

Jaali- Work

In picture: Pergola


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Conclusion

The study of the above two buildings shows how traditional values can be

incorporated into modern technology based architecture.

My basic learning was the spectacular fusion of the vernacular in the

contemporary through the use of jali work and courtyards. Both the buildings

show exemplary variation of the above two features used in the most context

specific way.

The jali a traditionally north Indian feature was dressed by using different

patterns (angular pattern in Traven Kala Saga) and even material (blue ceramic

and even metal in IIC and concrete in Triveni).

The courtyard was also made versatile by leaving it semi open in the IIC and

using it as an amphitheatre in Triveni Kala Sangam.

Both these building have stood the test of time and still dont feel out place in

their respective surroundings. Nor do they look archaic and thus is a way

symbolises the constant change of ideas which the users of these building

ultimately set to achieve.

In Steins own words Two things have essentially guided my work. One is what

you might call an interest in and search for an appropriate modern regionalism.

I would put equal emphasis on both words, 'regional' and 'modern', because

regional without modern is reactionary, and modern without regional is

insensitive, inappropriate. The second one is to seek the character of the

solution in thenature of the problem, as much as one possibly can*

* Steins obituary by Ram Rahman


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BIBLOGRAPHY

Books Building in the garden by Stephen White

Articles

The Hindu

The Sunday Gaurdian

Websites

Wikipedia DelhiIIC.nic.in

Reinterpreting Vernacular Architecture Through Contemporary.

Documents

Transcript of Reinterpreting Vernacular Architecture Through Contemporary.