Colonisation Studies - Charles Correa in his writings and buildings, focusing on Jawahar Kala Kendra
The ideology that lies behind colonialism might be described as "the most arrogant form of patriotism". However during colonialism, wealth and magnificence of the potentates have given us some of the most significant forms and structures in the world. All these dynasties tried to establish themselves to the people through architectural means. Post-colonial India was found with such rich historical influences, sadly by painful conquests of the nation. One of the strongest architectural influence might be the Islamic, whilst this style itself was hybridised so as to produce the arguably 'pure' national trait of India as it is questionable how pure a local identity can be after years and years of colonisation; without meaning that impurity is a negative quality. A Greek saying translates: "In art, there is no such thing as parthenogenesis", meaning that older forms of art give inspiration to new ones, therefore no art is born of 'virgin' creation. The fresco on the domed ceiling of Jawahar Kala Kendra might be one reference that we find existent in both Islamic and Indian architecture.
Is it part of India's wealth? One might consider it architectural heritage or catastrophe, but it is undeniable how with the passing of time forms evolve to create new ones that are found abundantly in one or another area.
Above forms of chhatri found and developed repeatedly through time.
However with colonisation we notice how the conqueror wants to establish their national trait to the conquered. Does this repetition lie close to the line of clone towns?
Mimesis, says Homi K.Bhabha on his "Signs for Wonders" for the hybrid designs in colonies in vastly distant locations is "a process of distortion, displacement and dislocation". However, one might say that Lutyens-Baker buildings had arrived from the marriage of European and Indian elements, therefore a new form had started to evolve.
"Architecture is not a movable feast, like music. You can give the same concert in three different places, but you can't just repeat buildings and clone them across the world", said Correa.
Colonisation has forcefully derailed the course of the local architecture and set another direction to it. It is accountable that the British Raj constructed a modern network of railways, colleges and law courts setting up a whole new Indian administrative system (always controlled by the British). The upgrading of sanitation and water infrastructures is undeniably positive.
Erasing the previous ruler's architectural legacy was a way to set up the new rule, exposing the East Tropics to a handful of European styles from completely irrelevant climates. It's fascinating how the Gothic and the Mughal decorations married to create new forms. In the words of Gwendolyn Wright: "Administrators hoped that preserving traditional status - hierarchies would buttress their own superimposed colonial order. Acknowledging that resistance to new forms is often based on affections for familiar places, tried to evoke a sense of continuity with the local past in their designs".
Rajasthan's palaces and forts that stand as reminders for past kingdoms that vied for the region. Sandstone is usually the material used for these forts, just like in Amer Fort and now Jawahar Kala Kendra.
After participating in Ian Jackson's lectures, at the University of Liverpool, on Tropical Architecture, the following question popped: "Do we consider the buildings of British architects in India as Indian architecture? And if yes, how authentic is that Indian architecture? Is this design syncretism Pseudo-Indian? In the documentary of Nathaniel Kahn, when visiting the Indian Institute of Ahmedabad, the locals were exalting Kahn as a spiritual man who listened to the people and gave them an appropriate structure that suited well their needs. Furthermore, Le Corbusier created one of his most glorious structures in this land. "Le Corbusier was very much a Mediterranean man" said Correa in an interview for RIBA and AJ.
Doshi stood by the side of both Kahn and Le Corbusier during their projects in India. It seems that the Indian generation of architects that grew in the independence were worshipping the incoming American and French architects. They were cherishing to learn from them during independent India. But all there is in the end is the glorification of foreigners in their land. Why would Indians adore béton brut at that time in Chandigarh? Indian vernacular architecture was not at all involved with concrete hitherto.
Is modernism international? Must all nations follow the movements of one country's innovator? Was the Bauhaus supposed to be spread to all architectures of the world? Is brutalism suitable to be exposed to people of Europe at the same time as the Tropics?
"In our neoclassical times, examples of such seemingly isolated projects continue to be found, most notably in the designs of multinational architectural firms" says Martina Millà Bernad in her Postcolonial studies, highlighting the ambiguously self-centered architecture that requires a signature of a persona instead of a nation.
Should architecture have national traits or reflect political boundaries? To start with, religious buildings are usually amazing buildings. Just think of Agia Sofia or Sagrada Familia. Now, does Sagrada Familia make the city of Barcelona? No. A city is more than just a landmark. And a nation's identity is so much more complicated than Taj Majal and New Delhi.
Is the architectural identity of a place directly related to its vernacular architecture? Or is it always changing? When locals built without using the services of a professional architect with the intricate variations of local craftsmanship? For Gwendolyn Wright "political ambitions are not inherent in architectural forms, whether the forms, are modern or historicist, whether the politics of the patrons are conservative or radical". In his writings Correa relates climate with the identity of a place. “You cannot look at cities without wandering into architecture on the one hand and politics on the other.”It's logical that regional variations shape places. Building material depends on location, so briefly what is nearby available. Red sandstone is given a primary role in Jawahar Kala Kendra as it is one of the most common materials in Rajasthan.
Chaand Baori near Jaipur, built by King Chanda of the Nikumbha Dynasty was dedicated to the Goddess of Joy and Happiness. Does this mean that the buildings built during British Rule of India were completely out of context if they had nothing to do with the local beliefs? This is an example of spiritual and functional services, as the state of Rajasthan is extremely arid. How does Correa respond to this environmental difficulty? He avoids to speak about how he dealt with the water problem. Is it because he has not completed this target? Does he then reflect the social services of the stepwell to with Jawahar-Kala-Kendra with the community gathering place for locals? Correa's regionalism is seen in historical forms that he modernised so elegantly in his design following the context of Jaipur contextually as much as spiritually.
"The old colonial bungalows solve this problem (exposed building in blistering sun and monsoon rains) by locating the main living areas in the centre, protected by a continuous verandah running along the periphery forming a protective zone around the main living areas." However, in Jawahar Kala Kendra, Charles Correa uses the main indoor spaces to make the periphery around the courtyard.
We should take into account that Correa's writings have some sort of diplomatic topics as he chooses not to insult anyone for the history of his country, as he might be looking for potential clients through his texts.
His spiritual faith in elements of the cosmos are very bold in both text and building where he proves to be the appropriate man to build such a culturally delicate building that is a celebration of his country's colourful customs.
Should Indian architecture somehow look Indian, or even South East Asian? In Chinese dynasty, composition of space was in accordance to the arrangement of spiritual and astrological elements, just like in India with the Navgrah. Although there is a huge political and national border between India and China, the neighboring distance between them makes it inevitable that they will grow with some similarities just like everywhere, art and form travels.
Indian Navgrah compared to Chinese Later Heavens both structural instruments coming from astrological sources.
On the one hand, the client of this project was the Rajasthani government who want ed to preserve and showcase Rajasthani arts and crafts. This means that Correa had to create a bliss of Indian-born architecture. In his text, however, there is no reference to the client. He uses the 9 planet formation and, symbolically to the planning of the city of Jaipur, he plans the art center in 9 different compartments.
Correa worships the values of learning from the old architecture. He applies the fundamentals of common party walls for his Northern-Indian building, as mentioned in his text. Moreover, his low-rise obsession was a fundamental value to his designs. Access to the ground at all times perfectly respected the user as the biggest priority. Exposing all the facilities within a clear circumambulated distribution of space.
Most profoundly, he makes the sky flow into the courtyard of the art center just as much as he highlights its importance in 'The Blessings Of The Sky'. It is this "compelling void at the centre of all things" referring to the courtyard, as he mentions on cities and slums to a RIBA opening exhibition in London. Correa understands space and he allows the flexibility that the user of that space deserves. He values the freedom that people should be given to explore and adapt the space solo.
Without using expensive materials, Correa made the best out of the local abundance and created voids and textures that finally engaged with the space balancing between light and shadow. Northern and Northeastern states are abundant in bamboo thus it is plethoric in the structures, and Correa perfectly uses it on the pergolas for shading the zone next to the indoor spaces.
He pioneered the way of an Indian modernism, as seen from a sketch view of the southeast block which shifts for entrance. He is not afraid to make changes that will serve first of all the users of the building.
However, he greatly admired. How is it a machine for living? Correa missed a bit on the engineering of the building and may consciously neglect to say more on it however he designed the ventilation and circulation perfectly dealing with the hostile climate, and based on context applying architecture as a model for the cosmos.
Correa managed to flood the courtyard with the sky while providing shelter for the users against Indian weather. Notice small cavities in wall for ventilation on sketch below. Finally, he led the habitat to respond to the prevailing constraints of climate, culture and financial resources.
Change is inevitable, according to Correa, but he promotes what is best for the environment and more resource-efficient. But above all, out of text and building, a respectful man is unquestionably hidden behind both.
We cannot prove the atrophy of cities through colonisation and neither the opposite. However one thing is for sure: once more, Correa from 'A Place in the Shade', echoing his words "... cities are a crucial part of our national wealth.” I gained a lot of respect towards the Indian architect when looking into his writing and architecture. He avoided the megalomania that most architects who flee to built haunting, monumental creations in foreign lands without minding the context, whether ignoring consciously or with unintended slight that is led by megalomania of architects on their professional peak. In Correa's case he was led by megaloprepeia that is to serve first the people and the place according to customs, with education of an innovative mind, including with honest feelings towards the power of the symbols and myths.
His most important innovation to me is that he demonstrates the shift of vernacular to modern, whilst proving that roots of traditional architecture need not coincide with 'backward'. Fusing modern typology and South-Asian elements infusing at times almost mythical indications, he amazes the visitor of the Jaipur Art Center, bringing in the picture a Modern Architecture of India in arguably independent times. After all “We are only as great as the questions we address".
History of Architecure BA Architecture Year 2
Essay by Ioanna Nicolaou for Barnabas Calder, Lecturer at University of Liverpool
Bibliography
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[21] Sumit Raina, Aayjoan School of Architecture, Jaipur (2011)
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[27] C.Correa, "Blessings of the Sky" Page 17-28 , Bombay, January 1996
[28] Trevor Noah on The John Bishop Show (2015) - Great Britain and Colonisation