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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 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.
http://en.wikipedia.org/wiki/Architecturehttp://en.wikipedia.org/wiki/Architecturehttp://en.wikipedia.org/wiki/Constructionhttp://en.wikipedia.org/wiki/Constructionhttp://en.wikipedia.org/wiki/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