Context:- Starting from 3000 B.C., India boasts a glorious history in terms of its rich art and architecture. During the British period from 1615 to 1947, the major cities of Delhi, Calcutta, Mumbai, and Chennai showcased rich colonial styles of Indo-Sarcenic architecture. After Independence, a boom in building activities occurred, sparking confusions and debates regarding the architectural style to be followed—modernism or historicism. This period saw the evolution of different styles of Modernism, raising questions about Identity in Post-Independent architecture.

India’s architectural history spans from 3000 B.C. during the Indus Valley Civilization to the Indo-Sarcenic Architecture until 1947 AD. The main historical periods and styles are outlined below:

Indus Valley Civilization (3000-1700 BC):

Mohenjodaro and Harappa towns with a well-planned layout and advanced drainage systems using brick-lined channels along streets.

Post MahaJanapada Period (600 BC-200 AD):

Architecture encompasses Buddhist stupas, Viharas, temples in brick and wood, rock-cut structures like Ajanta and Ellora, and step wells.

Middle Ages (200-1500 AD):

South Indian temples feature square-chambered sanctuaries with three spires and attached pillared mandapas, seen in Brihadeswara Temple. North Indian temples showcase elaborately spired structures, intricate sculptures, carvings, gopurams, and courtyards, notable in Kailasa Temple, Khajuraho Temple, and Konark Temple.

Mughal architecture (1500-1615 AD):

Highlights include Mughal tombs crafted from sandstone and marble, reflecting Persian influence, notable examples being Red Fort, Fatehpur Sikri, and the Taj Mahal.

Colonialism – Indo-Sarcenic architecture 1615- 1947 AD

During the period of colonialism from 1615 to 1947 AD, Indo-Sarcenic architecture became prevalent in institutional buildings. This style encompassed domes, overhanging eaves, pointed or cusped arches, vaulted roofs, domed chattris with finials, towers or minarets, harem windows, and open arcading. The British architect Sir Edwin Lutyens designed prominent structures such as The Parliament, Secretariat, and the capital of New Delhi. These buildings incorporated elements from Indo-Islamic and Indian architecture, merging them with the Gothic revival and Neo-classical styles popular in Victorian Britain. They featured lavish colonnades, rectangular windows, pediments for windows, classical porticoes, and rustification on the plaster.

Post-Independence Architecture

Before Independence, Indian architects worked under British architects. However, after the British left India in 1947, Indian architecture faced turmoil. There seemed to be an identity crisis, with a dilemma arising whether to stick to historical precedents or embrace new ideas, images, and techniques in line with contemporary times. While other fields like art, music, and culture flourished with a distinct Indian imprint in the post-Independence period, architecture didn’t exhibit such clear evolution.

Jawaharlal Nehru, India’s first Prime Minister, envisioned the advancement of art and architecture in the country. He invited Le Corbusier to design Chandigarh, the capital of Punjab. Le Corbusier’s designs for the Legislative Assembly, Secretariat, and High Court were pivotal to Post-Independence Architecture. Chandigarh emerged as a potent symbol of New India, inspiring both architects and the public towards a progressive modern architecture in the Post-Independence era.

In Ahmedabad, a new cultural and architectural awakening began, propelled by textile industrialists, particularly the Sarabhai family. This initiative involved commissioning Le Corbusier for five projects in the city. Notably, one of these projects was the design of the Mill Owner’s Association Building Headquarters for the Textile Company in 1954.

Nationalism and Antinationalism

In the fervor of newfound freedom, nationalism surged and found expression in Revivalism across various cultural facets, including architecture. Modern architectural styles, born from the Modern Movement and colonial influences, were perceived as foreign and counter to national identity. Championed by influential leaders, the revivalists sought architectural inspiration from classical eras symbolizing India’s golden ages, spanning thousands of years.

However, a minority group of intellectuals and architects argued for contextualizing monuments within their historical context, advocating against imitation. They emphasized the need for modern architectural symbols that encapsulated India’s dynamism as a free and progressing nation.

Amidst this debate spanning the 1950s, architectural education in India witnessed significant growth. Initially limited to three schools in Baroda, Bombay, and Delhi in 1947, the landscape evolved due to the return of architects, educated and trained in Western countries like Charles Correa, B.V. Doshi, Raj Rewal, and Achyut Kanvinde, contributing to a distinct architectural character.

Post-Independence Architecture in India saw five distinctive approaches in architectural expression:

1. Embracing plastic or geometric forms, utilizing concrete to create bold, functional structures.
2. Pioneering a new language through exposed brick and concrete.
3. Adopting a bold and assertive style, emphasizing structural elements in a manner akin to Brutalism, reminiscent of architects like Kenzo Tange, James Sterling, and Moshe Safdie.
4. Advocating a sensitive approach that harmonized with the micro-environment, drawing inspiration from the ethos of architects like F.L. Wright and Richard Neutra.
5. Embracing Regionalism by blending modernism with traditional town planning, utilizing local materials, harmonizing with nature, and emphasizing climate-sensitive architecture.

Plastic or geometric forms exploiting the potential of concrete

The Sri Ram Cultural Center in New Delhi (1969), designed by Shiv Nath Prasad, skillfully utilizes the plasticity of concrete in its geometric forms. This center serves as a hub for dance, drama, and theater, boldly extending the possibilities of Reinforced Cement Concrete (RCC).

Another significant architectural feat is the New Delhi Municipal Council (NDMC) Headquarters – Palika Kendra (1983) by Kuldip Singh. This monumental building stands with two conjoined towers, sharply flanking in a clean curve.

Charles Correa’s Kanchenjunga Apartments in Mumbai (1983) feature tall geometrical forms punctuated by voids, exemplifying innovative design.

The Lotus Temple in Delhi (1986) by Fariborz Sabha is an Expressionist marvel, showcasing exposed concrete in strong, dramatic forms. This nine-sided circular structure mimics nature with twenty-seven free-standing leaves made of concrete slabs, clad in marble, and crowned with striking glass and steel skylights.

Gurjit Singh Matharoo’s Prathama Blood Centre in Ahmedabad (2000) is a sculptural marvel resembling folded paper. Every aspect, from the structure to the door handles, is custom-designed and locally produced.

Bhima Patel’s IIM Ahmedabad new campus (2009) follows a contemporary modernism aesthetic, employing exposed concrete structures.

New language of brick and concrete

In the architecture of YMCA staff housing in Delhi (1963) by Ranjit Sabikhi, an indigenous language of brick and concrete was prominently displayed. The design was characterized by the repetition of geometric forms and structured around social, functional, and climatic considerations.

On the other hand, the Central Institute of Educational Technology in New Delhi (1986) by Raj Rewal embraced fluctuating circulation, featuring small balconies and occasional chattris. These elements modulated light and shade, creating viewing platforms using exuberant sandstone—a cost-effective building material in the region.

Meanwhile, the National Institute for Faith Leadership in Dasna, Uttar Pradesh (2014) by Sourabh Gupta brought a modernized expression to Islamic architecture. It presented an innovative and bold form while maintaining the introverted magnificence typical of Islamic institutions. The design was marked by an honest and transparent utilization of materials in their natural state.

Bold and Aggressive Structural Articulation: The Essence of Brutalism

The Permanent Exhibition Complex at Pragati Maidan, New Delhi, designed by Raj Rewal in 1972, featured a monumental, truncated pyramid form. It incorporated a space frame structure made of concrete elements. The depth of the structural system was utilized as a sun-breaker and was conceived in resemblance to a traditional jail.

The State Trading Corporation in New Delhi (1976), designed by Raj Rewal, exemplifies Expressionism through its distinctive structure and surface treatment. Notably, the special Vierendeel girders between alternate floors and octagonal openings echo the modern interpretation of traditional jalis.

Another architectural marvel is the National Dairy Development Board Office building in New Delhi (1985) by Achyut Kanvinde, presenting a raw, blocky form resembling a fortress.

Raj Rewal’s design for the Indian National Science Academy in New Delhi (1990) showcases bold architecture using RCC shear walls and sandstone cladding. Notably, its climate-based design aims for minimal energy consumption.

Similarly, the National Science Centre in Pragati Maidan, New Delhi (1991) by Achyut Kanvinde, features gradually rising vertical volumes and prominent skylights, reminiscent of Louis Kahn’s Richard Medical Research Laboratories.

The iconic Antilia in Mumbai (2010) by Perkins & Wills stands as a 27-story green tower combatting heat island effects. Its folded plate form, consisting of closed and open boxes, creates an intriguing conflict between vertical and horizontal elements.

Harmonizing with the micro environment

The India International Centre in New Delhi, designed by Joseph Allen Stein in 1958, was contextual and practical. It carefully considered the climate, incorporating elements like sun-shaded vaults, jaali screens, and courtyards.

Charles Correa’s Kovalam Resort in Trivandrum, completed in 1974, echoes the traditional architecture of Kerala. Its design features sloping roofs and hillside structures that offer every room a view of the sea.

Similarly, the Bharat Bhavan in Bhopal, established in 1982, pays homage to its context. It incorporates an underground cultural center, integrating courtyards, terraces, and social spaces into its design.

The IIM Bangalore (1983) designed by B.V. Doshi integrates organizational design principles. It features interlocking courts, terraced gardens, connections, and pavilions.

On the other hand, the CII Sohrabji Godrej Building in Hyderabad (2003) by Karan Grover prioritizes contextual sensitivity. It includes a central courtyard, colonnaded verandah, and jaali walls. Moreover, this building focuses on energy efficiency, water efficiency, and the use of salvaged or recycled materials. It also boasts a roof garden and has received a LEED rating of 56% along with a Platinum award.

Similarly, the Suzlon One Earth Headquarters in Pune (2009) designed by Christopher Benninger showcases a blend of traditional style and climate sensitivity. With a LEED rating of 57% and a Platinum award, it harmonizes Post-Independence Architecture design with traditional elements, ensuring environmental consciousness.

Regionalism

Some of the architecture reflected Regionalism, a blend of modernism with traditional styles, showcasing the following characteristics.

Read Also: Evolution of Indo-Islamic Architecture