Coming out of the box called Modernism

In 1996, I eagerly enrolled in an Architecture school nestled within the vibrant city of Bangalore. Little did I know that the physical manifestation of my dreams would be housed in a colossal structure, an architectural behemoth devoid of inspiration. The building stood before me, an imposing box with monotonously identical classrooms stretching across nine towering floors. As I stepped inside, my heart sank. Overdesigned columns loomed overhead, casting eerie shadows along the dimly lit corridors. The central courtyard, once a place of potential vitality, lay lifeless and forgotten. The studios, confined and suffocating in their small size, offered no respite from the stifling ambiance. The structure itself, neglected and poorly maintained, boasted cheap steel windows that refused to let in even a sliver of the outside world. No hint of greenery softened the harsh lines of this uninspiring maze.

For five long years, I toiled within those uninspiring walls, yearning for an environment that would awaken my creativity and fuel my passion for design. Unfortunately, my experience was not unique. Across the city, countless Architecture schools succumbed to this trend of soulless spaces, an epidemic that spread its grip throughout India's architectural education.

Just out of college, I found solace in a street that led me towards a century-old market. As I strolled along, I couldn't help but be captivated by the lively ambiance. Temples dotted the path, brimming with vibrant activities, infusing the air with a sense of spirituality. Amidst the urban landscape, an unexpected oasis emerged—a village-like settlement nestled within the bustling city. The charm of this harmonious coexistence left me in awe.

As I continued my journey, I found myself tracing the compound walls of colonial bungalows, their history echoing through the cracks. Each step I took led me closer to a "katte," a humble seating area beneath the shade of a majestic Peepal tree. It beckoned me with open arms, inviting me to share in the freedom of unrestricted conversation on any subject imaginable. In these moments, the people around me connected effortlessly, their smiles serving as a testament to the warmth that enveloped the space.

Deep within my being, I recognized the beauty of these places—their vibrancy, their ability to resonate with my very essence. They provided a respite from the monolithic concrete structure that had been my college. My instincts screamed at me to embrace and cherish the hidden beauty that thrived in these spaces, a stark contrast to what I had been taught, discussed, and idolized within the confines of the architectural institution.

In those fleeting encounters, I discovered a wellspring of inspiration. They ignited a passion within me—a drive to explore, celebrate, and uplift the overlooked treasures of our built environment. With every breath, I vowed to seek out these pockets of soulful architecture, to let their essence infuse my designs with a tangible connection to the human spirit. It was in those humble encounters that I found my true path, diverging from the conventional teachings of my college, and venturing towards a future where beauty, community, and authenticity converged.

Yet, it was not merely the physical confines that troubled me. Our curriculum failed to explore the rich tapestry of our own heritage. Our journey through architectural history was overwhelmingly skewed towards European and American marvels, leaving a mere fraction of our precious time to delve into the wonders of Indian architecture that surrounded us. How could we hope to understand our own urban and rural systems when we were denied the opportunity to study the intricate workings of our villages, the ingenuity behind a farmer's house, the grandeur of historical forts and palaces, and the sanctity of our Devasthanas (Places of worship)? Our education neglected our building traditions, our philosophical foundations, and the wisdom of our past. We were thrust headlong into the modern era, oblivious to the transformative power it held and how it would shape us as budding designers.

Startchitects and design education

My introduction to the world of architecture came through the guidance of my seniors, who eagerly shared the names of renowned architects. Later, our professors further immersed us in the works of architectural giants. Charles Correa, Louis Kahn, B V Doshi, Laurie Baker, Kanade's, Raj Rewal, Le Corbusier, Frank Lloyd Wright—the list seemed endless. In the early semesters, we delved into the realms of these architectural legends, absorbing their philosophies and designs.

As time progressed, we were introduced to the contemporary icons—Norman Foster, Peter Eisenman, Zaha Hadid, Rem Koolhaas, Renzo Piano, and many more. Visiting faculty, who were practicing architects themselves, frequently referred to these luminaries to illustrate their points. We were expected to familiarize ourselves with the works of these "Starchitects," and the more we discussed them, the more our design sensibilities were deemed fashionable.

However, it was disheartening to realize that none of us had the privilege of learning directly from these Masters, not even the faculty themselves. Consequently, we found ourselves in a precarious situation where the interpretation and description of what we admired became a subjective matter. We became entrapped in imitating the modernistic styles of these celebrated architects, struggling to infuse our work with a meaningful narrative, often restricted to mundane problems at hand. In an attempt to broaden our perspectives, we embarked on journeys to study houses and institutions designed by local architects who were heavily influenced by the prevailing modern design trends. Naturally, the purist ideals of clean lines and box-like aesthetics became deeply ingrained in the minds of young designers like myself.

It's only now, after 25 years of practice I am beginning to see Modernism has had a profound impact on Indian architecture and design since its emergence in the early 20th century. With its emphasis on functionality, and the rejection of excessive ornamentation, modernism resonated strongly with Indian architects and designers who sought to break free from traditional architectural styles. Modernist architecture in India prioritizes practicality and efficiency in design. This approach became particularly evident during India's post-independence era when the country faced rapid urbanisation and housing shortages India aimed to establish itself as a modern, progressive nation.It offered a break from the colonial architectural styles that dominated India during British rule. It provided a platform for Indian architects and designers to assert their own identity and move away from the architectural legacies of the colonial period and offered solutions to socio political changes.Modernism embraced these innovations, allowing architects to experiment with reinforced concrete, steel structures, and other modern building materials.Indian architects and designers were exposed to international trends and movements through travel, education, and access to architectural publications.This global exposure contributed to the adoption of modernist principles in India.

While modernism aims for universal principles, very few Indian architects have incorporated regional influences, sustainable practices into their designs. They strive to create contextual architecture that responds to the local climate, culture, and available materials. Renowned architect Laurie Baker, for instance, seamlessly blended traditional architectural elements and techniques with modernist principles in his designs.

Many institutional and civic buildings in India were made as Modern Iconic structures, such as the Parliament House in New Delhi by Herbert Baker and Edwin Lutyens, the High Court buildings in various cities, and the administrative buildings of Chandigarh, reflecting modernist political view of simplicity, functionality, and monumentality. Modernist principles have influenced not only architectural design but also interior design and furniture in India. Clean lines, minimal ornamentation, and functional aesthetics became prevalent in furniture design. Designers like Charles and Ray Eames, Marcel Breuer, and Le Corbusier have left a lasting impact on the Indian design scene, shaping the development of modern furniture, design and education. Design schools focussed on Starchitects, learning by examples of modern buildings, teaching modern materials, technologies of construction, context studies and encouraged an individualistic approach to design creation.

Over 90% of India is built by masons, contractors, builders, not as taught in design schools

On ground, when one looks around, one sees In India buildings are built by people themselves mostly in villages or by a expert help called masons, sometimes contractors who manage various sets of labor and materials to help you build your house, or nowadays the builders who are selling the final products in the form of apartments, villas and facilities mostly in cities. This is happening everywhere without any intervention by design fraternity. The schemas are approved by local building authority, who rarely follow any guidelines and you are free to build your house the way you want.

So far post independence India has produced not more than 2-3 lakh architects and designers in last 50 years for 142 Cr people. That is roughly 1 designer for every 4730 people in India. When masons, contractors, and builders encountered new-age materials like concrete, steel, and glass, they faced several challenges and adjustments.

Traditional masons and builders had to adapt their skills and knowledge to work with modern materials like concrete, steel, plastics, and glass. This required learning new construction techniques and understanding the properties of these materials. They also had to familiarize themselves with new technologies and equipment, such as concrete mixers and cranes. Meeting quality control standards and balancing cost and availability of modern materials was a challenge. Additionally, they needed to follow architectural designs accurately, adopt safety measures, and ensure proper handling and installation procedures. The construction industry's shift towards modern materials has impacted the traditional Indian construction landscape, and the use of connected/embedded systems and digital materials is expected to be the future. Today, masons, contractors, and builders can be easily accessed, but the labor force may lack proper training and protection resulting in substandard construction of designs.

Modernism disconnected India from its design heritage by disregarding traditional techniques and materials. This led to a loss of cultural continuity and a lack of consideration for local communities. Modernist designs often ignored India's diverse climatic conditions, causing energy inefficiency. Urban development driven by modernist principles displaced marginalized communities and reinforced social disparities. The focus on expensive materials and monumental structures made modernist architecture inaccessible to the wider population, perpetuating elitism - "rich mans box". Additionally, the lack of preparedness for urban growth resulted in dysfunctional cities, neglecting traditional settlements and public participation.

What does this mean to an Indian Designer?

Traditional Indian designs have a deep connection with the local culture, traditions, language, symbolisms and beliefs. They are often designed to integrate with the social and cultural fabric of the community, taking into account local customs, rituals, and social interactions. Traditional designs have evolved over centuries, considering the needs of various social groups and fostering inclusivity within communities. For example, for a client whose beliefs revolves around worshipping god, speaking Kannada, a follower of Shiva, a Pooja place may become a central organising principle of his dwelling with visual language being developed from Saivite references elegantly blended into contemporary situation. A trader who believes in the tradition of Mahavira may organise his professional space around his connection with Jainism. Or a software engineer who loves football, who is a Vokkaliga should be able to organise his dwelling on his connection with his family traditions. Can these activities be made inclusive of how the space has to be designed?

Traditional Indian design demonstrates a strong understanding of the local climate and environmental, and cosmic conditions. The designs incorporate cosmic references, natural ventilation, shading devices, and building materials that help in regulating temperature and maximizing comfort. This cosmic/climate-responsive approach is more sustainable and suitable for the specific regional contexts, ensuring appropriateness and inclusivity for the occupants. For example, Seeing Vaastu as a cosmic reference guide in the design of spaces, placements, artefacts and connecting it to local climatic conditions, solving design details by local materials and construction styles may give long term sustainable solutions to design.

Traditional Indian design emphasizes the human scale and the relationship between buildings and their users. The designs often prioritize creating spaces that foster community interaction, social cohesion, and a sense of belonging. Public squares, courtyards, and communal spaces are integral parts of traditional designs, encouraging inclusivity and interaction among people. It also places a strong emphasis on craftsmanship and the use of locally sourced materials. The designs showcase intricate details and craftsmanship, involving skilled artisans and preserving traditional building techniques. This not only supports local economies and promotes the continuity of traditional crafts but also contributes to a sense of authenticity and appropriateness in the built environment.

Traditional Indian design has a long history of sustainability practices. The use of natural and locally available materials, rainwater harvesting systems, passive cooling techniques, and organic waste management are some examples of sustainable features embedded in traditional designs. These practices demonstrate an understanding of resource efficiency, ecological balance, and long-term appropriateness. They often exhibit multi-functionality and adaptability. Spaces are designed to serve multiple purposes, accommodating different activities and evolving needs over time. This flexibility ensures inclusivity by allowing spaces to be used by various individuals and communities for different purposes.

How should I respond ?

For a young designer looking to start the process of learning about traditional Indic design principles, here are some steps to consider:

1. Research and Study: Begin by conducting research on traditional Indic architecture and design. Read books, articles, and research papers that explore the subject. Familiarize yourself with key concepts, design elements, spatial arrangements, and cultural significance. Understand the historical context and regional variations in traditional design practices.

2. Visit Historic Sites: Plan visits to historic sites, temples, palaces, and other architectural landmarks that showcase traditional Indic design. Observe and study the architectural features, ornamentation, material usage, and spatial organization. Take notes, sketch, and photograph the details that inspire you.

3. Engage with Local Crafts and Artisans: Seek opportunities to connect with local craftsmen and artisans who specialize in traditional crafts. Visit craft clusters or artisan communities where traditional skills are practiced. Engage in conversations, observe their techniques, and understand the cultural and historical significance of their craft. Collaborate with them on small projects or workshops to gain hands-on experience.

4. Learn from Experienced Professionals: Seek mentorship from experienced architects, designers, or academicians who have expertise in traditional Indic design. Reach out to them for guidance, attend their lectures or workshops, and learn from their experiences. Participate in design studios or internships that focus on traditional design to work alongside professionals in the field.

5. Join Architectural and Design Organizations: Become a member of architectural and design organizations that promote the study and preservation of traditional design principles. Participate in their events, conferences, and workshops to network with like-minded individuals and gain exposure to a broader design community.

6. Document and Reflect: Document your observations, sketches, and research findings. Maintain a design journal or create a digital portfolio to record your progress and reflections. Reflect on your experiences, analyze the design principles you have encountered, and contemplate their relevance in contemporary design contexts.

7. Experiment and Apply: Apply the knowledge and inspiration you have gained from traditional Indic design principles in your own design projects. Experiment with incorporating traditional elements, materials, and spatial concepts into your designs. Be mindful of context and adapt the principles to suit modern requirements and sustainability considerations.

8. Continuous Learning and Collaboration: Design is an evolving field, and learning should be an ongoing process. Stay updated on research, publications, and advancements in the field of traditional design. Seek opportunities for collaboration and interdisciplinary projects to explore the intersections of traditional and contemporary design.

I believe the journey of learning traditional Indic design principles requires patience, curiosity, and an open mind. It is a process of continuous exploration, observation, and application. Embrace the opportunity to learn from the rich heritage of traditional design and integrate it with your own creative ideas to shape a unique design language.