4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

ARCHITECTURE OF DELHI
Home
Background
Post 1947 Developments-Buildings Part1
Part2
Housing Sector

ARCHITECTURE AND IDENTITY

The question of how best- if at all- India's architectural heritage could be used to self consciously
create architectural expressions has been always a complex one. The issue has been further
compounded by the regional diversity of the country and its people. British hegemony tended to
impose a set a ideas on the whole country, altough there has been a continuos debate in India
about how they ideas should be treated. With political independence in 1947 came a desire for
new ways of thinking, which together with the entrenched ways, resulted in dual set of values that
continued to shape the work of architects. One set focussed on the future and the other on the
past.
The search for a symbolic aesthetic reflecting the aspirations of India has focussed largely on
what a building, building complex, or urban scheme is made of - its structure and materials- and,
more generally on what it looks like, its external appearance- its size, proportional schemes,
decoration and relationship to its neighbors and site.
While the focus on the issue of identity communicated through the exterior appearance of
buildings is fundamental, the internal spatial organization of neighborhoods and buildings and
the purposes they serve are also important.
Buildings and urban patterns also have a fourth dimension- time. There are two aspects to this
dimension. In the first place to understand the environment in the course of the everyday
activities of life, a person moves through it, and therefore the sequential experience of one
space after another, or more correctly, one behaviour setting after another, becomes important.
The expected sequential organization of the built environment is very much culture bound and it
changes over time as culture changes. The second aspect is that the built environment, at any
moment, is a compilation of the changes made in it over time. it is seldom static; it changes as
human needs and perceptions of the good life change- as people's aspirations change. These
changes may be carried out unselfconsciously by people as part of everyday life or self
delhi-architecture.weebly.com/architecture-and-identity.html

1/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

consciously in the purposeful pursuit of specific design objectives. The buildings around us thus
contain memories of the past.
The link between a pattern of built form and its meaning depends on an association between the
form and some referent. The relationship between the pattern (or symbol), the thought (or the
meaning specified) and the referent (idea or another with which the symbol is associated) is
often represented in a triangular form.
The symbolic meaning of a particular urban or architectural pattern depends not only on the
pattern itself but also on its geographical and cultural context. The indian patterns used by John
Nash in the Brighton pavilion on the south coast of England carry meanings very different from
those they would have if the pavilion was in India or built today or designed by an Indian
architect. The meaning would also differ if the building was located in a residential area rather
than a commercial one.
It is the design of the faade of the buildings that has most frequently been the focus of selfconscious attention- the presentation of a face to the world- the external appearance. There are
more subtle variables that carry meaning. The internal spatial organization of a building, its
degree of enclosure, the proportion of enclosed space to open, the plan layout, the sequential
experience as one moves through as set of spaces and the degree of penetration an outsider is
allowed into a building are all culture bound,
The variables of the built environment that communicate meaning are vast, having many values
and interacting with each other. They can, nevertheless, be categorized into a number of basic
architectural elements1) The overall configuration of a precinct of a city or a building carries meaning. The patterns
and masses that comprise an architectural style have specific associations. Thus the organizing
principles behind a specific pattern and its components are of great architectural concern in
communicating meaning.
2) The materials of which any building is constructed and the construction techniques used
carry meaning.
3) The illumination of buildings and their interiors has been a major carrier of symbolic
meaning. Usually one thinks of light in this way only in he case of ceremonial buildings such as
the Bahai House of worship designed by Fariburz Sahba. Certainly the explicitly symbolic use of
light has been associated with such places, but, except for the blind, every behaviour setting
possesses some level of light.

delhi-architecture.weebly.com/architecture-and-identity.html

2/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

4) The use of colour- colour serves many mundane purposes such as reflecting light or hiding
dirt but it is also a medium of aesthetic expression.
5) The uses to which spaces have been put and ther relationship to each other have meaning.
Some uses are sacred, some are mundane.
6) The activities that take place in specific spaces- the behaviour settings that comprise the
environment- are associated with particular cultures.
Creating Symbolic Expression in Built Form
Designing purposefully to communicate specific symbolic meanings is a complex task. It is even
more difficult if one seeks to do so in a new way. It is difficult to think of any architectural
expression as something completely novel, a total break from any precedent. While modern
architecture did introduce a new special order and construction ideology, it had a number of
antecedents. Complete spatial and visual novelty can only come with a radical restructuring of
society.
According to Lucien Steil, there are three modes of architectural production: imitation, copy and
pastiche. To Steil, the first is the truly creative. Imitation is the process of creating something
new- not simply novel- out of a thorough understanding of the principles underlying precedents.
The design objectives and the architectonic and technological mechanisms of achieving them
need to be fully comprehended; the affordances of specific patterns of built form must be
understood. A copy, in contrast, is a replication, or reproduction, of a precedent, while a
pastiche is a reproduction of a number of elements- compositional or stylistic- of some
precedent. A pastiche is thus a partial and imperfect copy. It focuses on the appearance- or
rather the impression of appearance- of an artifact, be it a small object or a city. Copying might
be seen to be the least productive design mechanism but it often requires great skill, particularly
in craftsmanship.
Indianization has different meanings for different people both in the sense of an idea and the
possible manifestations of that idea. One view is that the government and governmental
agencies such as the Central and State Public Works Departments and institutions such as
professional including architectural associations, for instance, should be run by Indians and
buildings be designed by Indians. A second view is that those institutions and their modes of
operation should be based on Indian traditions. In both cases not only were instrumental ends
sought but self-esteem and a sense of identity; there was a symbolic dimension to the
development of both the architecture and the profession.

delhi-architecture.weebly.com/architecture-and-identity.html

3/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

The goal has been to develop a symbol system that has, as Nikhil Perera puts it, a capacity to
accommodate diverse social and cultural representations with the nation.' It implied more then
simply copying the past.
While some of the efforts of the nationalist movement focused on the maintenance of traditions,
the movement was generally modern in spirit because it sought change. The questions were
Change to what and implicitly, Will we still be Indians if we change? The arguments in
architecture over the course of the last century reflected and shaped, at least partly,
contemporary national debates on the nature of progress and the meaning of being Indian. In
Indian architecture one sees this tussle between modernism, traditionalism and revivalism
reflected in built form.
The maintenance of traditions was one way in which local aspirations subverted colonial and
modernizing forces in India. Seeing traditions in architecture solely as the maintenance of past
building forms is, however, a limited view because a part of the Indian tradition consists of
foreign ideas successfully incorporated into indigenous life and indigenous architecture. In this
sense, much of the architecture, which has sought to amalgamate foreign and indigenous
elements over the past five hundred years, has been in the Indian tradition. Few people,
however, understand traditional architecture in these terms. To most, including architects,
tradition involves the maintenance of past social structures and past architectural patterns rather
than the use of past processed of change. This limitation is unfortunate.
Many buildings in India continue to be designed in a traditional manner not only in rural areas but
also in cities. Mistris continue their traditional role in society either working with a tried
vernacular architectural vocabulary, particularly in the design of religious buildings, or in a
transformed manner as contractors or designers. In contrast, there is the continued development
of architectural activities and increase in the number of activities, further separating design and
construction processes.
The terms modernization and westernization are often used synonymously. Westernization, in
the Indian context, usually means changes introduced by the British prior to Independence and
afterwards through the application of ideas from European and American sources.
Modernism is simply The State of being up-to date. The use of the term here implies changes
from the past in certain structural characteristics of a society a well as the adaptiveness of sociocultural systems to change. Modernism is an attitude. It is based on the perception that change
away from the past is required in order to make the future better.

delhi-architecture.weebly.com/architecture-and-identity.html

4/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

Architecturally, the term modern has been applied to whatever contemporary ideas were
regarded as good. The modern movement, however, represented a specific set of attitudes
towards design. Modern architecture responded to the need to provide for the new patterns of
behavior that resulted from political and technological change in the nineteenth and early
twentieth centuries. It began with the perception that the classical orders and composition do not
present a universal bias for the appreciation of beauty in architecture.
Regionalism attempts to out back into architecture what Modernism conspicuously took out, a
continuity in a given place between past and present. Regionalism is seen as the champion of
local values against the universalizing tendencies promoted by technological advances.

Critical regionalism in the Indian context

(With extracts from anjali shukla's article on critical regionalism)
In the early fifties policies of a progressive and forward-looking approach to everything gave the
Indian architects an opportunity to design and build.
The late sixties, however, saw the emergence of a question of identity. Questions like how well
did the forms conceived marry Indian actually. Their meaning and social relevance came under
scrutiny and questions arose as to whether the forms proposed were actually devoid of
sensitivity to Indian ethos and rootedness of regional styles, materials and climate. This quest
brought about the development of a conscious effort to bridge the gap between the two variant
schools of thought.
The seemingly divergent forces of traditional architecture and contemporary building methods
and materials created a conflict, which became complicated.
As the early seventies approached, this tension, struggle and questioning got weaker. In the
eighties and nineties it totally lost its body and meaning and got replaced by a very dangerous
complacency. There was a certain loss of collective thought a holistic approach that is totally
lacking today.
In the words of Paul Ricorur,." We face a paradox; on the one hand the nation has to root itself in
the soil of its past, forge a national spirit, unfurl this spiritual and cultural revendication before the
colonialists personality.
But in order to take part in modern civilization, it is necessary at the same time to take part in
scientific, technical and political rationality, something which very often requires the pure

delhi-architecture.weebly.com/architecture-and-identity.html

5/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

abandon of a whole cultural past. It is a fact that every culture has to sustain and absorb the
shock of modern civilization. There lies the paradox: how to become modern and to return to
sources: how to revive an old dormant civilization and take part in the universal civilization...
The realization of this crucial problem confronting nations just rising from underdevelopment, like
India, leads us to the question that, in order to get onto the road towards modernization is it
necessary to totally abandon the old cultural past which has been the "raison d etre" of a nation?
To resolve this paradox, Kenneth Frampton proposed the theory of critical regionalism. By way
of general definition, regionalism upholds the individual as well as local architectonic features as
against the more universal and abstract ones. Critical regionalism, as the name suggests,
involves the critical synthesis of a regions traditions and history, their reinterpretation and finally
the expression of these in modern terms. Hence, the essence of the concept is to mediate the
impact of universal civilization with elements derived indirectly from peculiarities of a particular
place.
The features of this theory seem most relevant in analyzing where the blind adoption of
architectural form without any questioning can be turned back towards a more relevant context.
Consciously bounded architecture: Critical regionalism manifests itself as a consciously
bounded architecture. Most of the contemporary buildings in DLF, Gurgaon, on the outskirts of
Delhi, do not seem to have any binding to where they are, only to a blindly borrowed image. This
is a glimpse of what is prevalent in other parts of the city as well.
Territorial orientation: It states that a building is not a freestanding object but established a
territory and is established in a territory.

Architecture as tectonic: It looks at architecture as a tectonic fact rather than the reduction of
built environment to a series of ill assorted scenographic episodes. Like the imagery adopted
for these buildings which is then just pasted on to the urban fabric.
Optimizing building systems: It stresses on optimizing the use of building systems like air
conditioning and a tendency to treat all its openings as delicate transitional zones to respond to
specific conditions of climate and light of a place. This factor is totally ignored insensitively.
Consequently, most of these buildings suffer inefficiency of resource management and
maintenance.

delhi-architecture.weebly.com/architecture-and-identity.html

6/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

Emphasis on the Tactile: It stresses that the tactile is as important as the visual.
Experiential qualities of space are irreplaceable: It claims that one cant replace
experiential qualities of space within, with information. Sensitivity towards local light, ambient
sessions of heat, cold, humidity and air movement are the tools of space making.
Reinterpreting vernacular elements: The most important feature is that critical regionalism
attempts to reinterpret vernacular elements in the making of space within and space without. It
endeavors to cultivate a contemporary place oriented by culture without becoming too simplistic
or direct about formal references or levels of technology.
With these features forming the backdrop, if one were to now understand and reinterpret the
qualitative and tactile qualities of traditional Indian architecture such as order, unity, geometry,
form and centrality in the context of modern materials and technology, it might just be the answer
t create an architecture of reason and relevance. An architecture which would not need to hang
its head in shame when, asked -what are you and where are you?
A fitting example would be of the India Habitat Centre by Joseph Allen Stein which is an office
complex with the entire modern systems and requirements of any building with such a scale. Yet
it has captured the essence of the Indian climate-light and shade and also the form of the
courtyard which is one of the most basic and suitable elements of space making in our local
traditions and reinterprets it in the modern idiom: The use of materials is very sensitive.
Thus, we are at a juncture where all architects and facilitators of large and small building projects
like the DLF Group of builders need to be keenly aware of the fact that lasting meaning for
anything they create lies in the roots which the built environment has into where it is. A great
depth is required to understand the phenomena that India is with its various nuances of
traditions, art, culture, climate and light and then to reinterpret it into the modern building type
with all the high technology building systems and materials.
All these concerns and concepts must have influenced architects in India fifty years ago when
India got independence. Yet it seems that, without undermining the work of a few great masters,
the thrust towards modernization blinded the makers of the nation to the need of mediating the
impact of a universal civilization with elements derived indirectly from the peculiarities of a
particular place. The light, nature, climate, topography, abstractions - religious, mythological and
symbolic --- the many different nuances of a sense of place--- all screamed to be noticed. It
was instead preferred to simply import western concepts to make the new cities and institutions.

delhi-architecture.weebly.com/architecture-and-identity.html

7/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

After fifty years a chaotic, rootless picture of the nation has emerged which addresses a
change. At such a time when there is an emergence of pride and a surgence towards
pschycological and political independence , in the true sense of the word it is essential to
examine the concept of Critical Regionalism. The understanding and use of this concept needs
a keen self -consciousness. As a step in this direction, Charles Correa stands out amongst
other Indian masters who has the vision to abstract the cultural history of India and root the
present in the past.
Sigfried Gideons concept of the Eternal Presence is the deep source which links Correa not
only to his youth in Goa, but also to the absolutely inexhaustible history of a subcontinent where
past, present and future co-exist in an undistinguishable continuum. His work has reflections of a
thought process, which embodies an understanding of the subtleties and ambiguities of
variations in air and light in various regions.
In his own words - "India is a source of spiritual sustenance that is as universal in its implications
as it is deeply rooted in its geophysical conditions and the mores of a particular place."
Correas work spans many regions of India, and the essence of the open- to -sky space
irrespective of its many variations, is the pervasive theme of his architecture. A study of his work
provides an insightful glimpse of his quest for Critical Regionalism.
Before staking any claims to fully understanding the concept of Critical Regionalism, it is
essential to be aware of the danger related to gravitating towards being too literal in interpreting
and reflecting the past. And so does the work of Charles Correa have a few instances of this
kind like the L.I.C. building. Yet, being an architect of the sixties, he managed to cast aside blind
adoption of western concepts and has dealt with trying to capture the meaning of India.
As he puts it himself - "at the deep structural level, climatic conditions, culture and its
expression, its rites and rituals." In itself, climate is the source of myth: thus the
metaphysical quantities attributed to open to sky space in the cultures of India and Mexico
are concomitants of the warm climate in which they exist : just as the films of Ingmar Bergman
would be inconceivable without the dark brooding Swedish winter.
"The fourth force acting on architecture is Technology. No other art feels its influence so
decisively the prevailing technology changes every few decades. And each time this happens
architecture must re- invent the expression of the mythic images and values on which it is
based."

delhi-architecture.weebly.com/architecture-and-identity.html

8/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

The sensitivity to such a large canvas with its many differences is indeed a challenge for the
Critical Regionalist - an architect of the nineties. Setting afoot in search of the pride of
being an Indian architect there is an urgent need to concentrate our focus on clear -rooted
thought and reflecting on the past .
The words of Karl Kraus are an appropriate summary to what the architect in India today must be
...In this noisy epoch which resounds with the horrible symphony of facts that produce news that
is guilty of facts: in this epoch let no particular word be awaited for me... Nor could I pronounce
any new word, for in the room from where I write, the noise is so loud, and whether it comes form
animals, children or only from mortar is not something to be decided now...Those who now have
nothing to say, since facts are allowed to speak, continues to speak. Let anyone who has
something to say, step forward and keep quiet.
The definition of what is legitimate Indian modernism has often been left to critics from the
developed world, who make patronizing journalistic forays into India or those theoreticians who
inversely complement themselves by recognizing the third world modernism as the only sign of
survival of a style they have long discarded. In architectural terms one is looking at contemporary
architecture that is set free from all isms and stylistic categories to inquire into the nature of
architecture as an aspect of the dynamic, living, and changing conditions that determine the
content of our actions.
The free movement of ideas in time and their growth and evolution within the human psyche,
are what invest architecture with its most powerful political situation, as a symbol and an
instrument of myth. Conceptualization and the consequently stylistic reductionism have always
inhibited its total expression.
In the ongoing debates on contemporary architecture, we have continuously attributed a purely
fictional hiatus between the traditional and the modern, the superstitious and the rational,
Western and eastern, Indian identity and internationalism and so on.
This form of highly individuated discussions on architecture locating the debates outside nature
and the social milieu that actually nurtures architecture throws up primarily three major issues.
The first issueIt has progressively destroyed the integrity of both the urban fabric and natural systems. All
over the world today it is an accepted fact tat the integrity of the urban fabric has been
compromised most, though the modernist era. The single most important criticism one can level
on modernism, is its callousness towards the city, in the way it asserted the narcissistic
delhi-architecture.weebly.com/architecture-and-identity.html

9/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

individuality at the expense of the integrity of the pre-industrial; city centers.

However, it is a well-known fact that urban design is nothing but an integral way of building that
sees every piece of architecture as a growth module in the city fabric. To this extent urban
design is antimodernist , along with architecture conversation, which again is but a reaction to
the callous postures of modernism to the old fabric.
The distinction between what is classified as the traditional and the modern in buildings, then
melts into this air and becomes the extended range of sensibilities that one can respond to as a
designer.
The second issueBy relying outside its own core for sources of abstraction and thereby creating a deep schism
in sharing of meaning between architects and communities, much of contemporary
architecture has forfeited the right as the prime mediator of the myth making process of
societies. A myth is the quintessential expression of the complex, dynamic value-frames.
The contradiction between communicability and abstraction is something that every
contemporary architect in India faces sometime or the other. Some of us have bluffed our way
through it, others have made commercial disasters of themselves and some have given up in the
middle. Few have confronted and come to terms with this great dilemma of contemporary
architecture in India.
The third issueBy excessive servility to markets and bartering the freedom to cohere the essence of our time,
contemporary architecture in India has become too vulnerable to global machinations of the
marketing of professional services. The architect is trapeze artist swinging between creativity,
technology and an uncouth market. The market feeds and imprisons the profession
simultaneously. Popular paradigms that are marketed by the architect at once define the
persons as well as provide the architect the lock that he can break to stay afloat in
contemporarily. We have to continuously draw those fine lines between marketability and
expression, and one can easily say that the unfair structure of the architect in India is the single
most important factor that endlessly stifles creativity in this country.
The poor profits we make, the miserable pay that is offered to the bright young fresh architect
compared to other professions are camouflaged in imaginary freedom to create and the sheer
delhi-architecture.weebly.com/architecture-and-identity.html

10/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

kick of design. Besides most agencies that we deal with in construction are unreliable and
hardly accountable. Materials are poor and a highly exploitative building labor market suck
competence out of the building workers.
It is this adverse market and the servility that it demands that has left the contemporary architect
in India, incapable of taking criticism or engaging in any meaningful dialogue about the direction
of our contemporary architecture.

How the architects approach the issue of identityCHARLES CORREA-"Our identity we are searching for is going to be pluralistic. It is not a
mono centric one."India is a pluralistic society. It has many layers of orders. Firstly overviews
are very important in looking for identity. Secondly identity is not a single pattern. It is not a single
pattern. Identity is dynamic and continually changing. Identity is a process. It is not an end in itself
but a by-product.
If identity is pluralistic and dynamic does that mean that anything goes? That anyone can come
in and build anytime, anywhere?
We might not know what something is but we surely know what it is not.
Architect should have the right instincts so that he can tell the difference between something
authentic and something superficially picked up.
There are three streams that create built form.
The first is what is being constructed in the rural areas. It is indigenous. And the second is new
popular.
The third is the architect. We are the purveyors of myths and of ideologies -very often with the
wrong ideologies. In order to change this there are two ways we can proceed.One is to go back
to the indigenous and other to try to invent the future. New attitudes of life styles should not
decide this approach.
RAJ REWAL-"I dont believe in blindly copying our past. We have to learn from the precedents
to solve our existing problems. I feel we have to re-invent modernity in terms of our own traditions
and cultural heritage. It is an important task to search for a modern architectural language, which
responds to our requirements, lifestyle, climate and building materials. Market economy and the
consumerist culture are facts of life and architectural language is based on it.
Traditional architecture was based on a vocabulary of design which may not be relevant today
even in Kashmir or Rajasthan. We are building with concrete with concrete frame structures, infill
walls and now also beginning to build partially industrial structures. The base of contemporary
architecture has to be new techniques of building and a sensible use of modern and traditional
materials.
ROMI KHOSLA " The search for identity in our architecture lies in creating buildings of the
horizontal (contemporary plane) which will recognize and develop out of the historical (vertical
plane) and not purely out of modernism." I dont believe that architecture is intended to respond
to technical and economic scenarios. Architecture evolves over time. The Indian sub-continent
delhi-architecture.weebly.com/architecture-and-identity.html

11/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

has a craft-based building industry that is beginning to get industrialized at the periphery. So,
buildings are still hand-made and have industrialized components attached to them- that is the
architecture of today. Tomorrow it may be different. Architectural patronage has always come
form the well-to-do middle class with a disposal income with which it wants to project its image.
Money multiplying factories and real estate flatted buildings seldom are at the cutting edge of
architectural ideas in the metropolitan cities of Mumbai and Delhi. The demonstration of
architectural bravado is more often that not confined to farmhouses, hotels and private
farmhouses as well as institutional buildings whose mangers wish to project a progressive
image of their institution. There is a wide range of work going on in India and each architect is
busy doing a wide range of work within his office.

The Indian architect is heroic, he will accept my challenge and is far bolder and more
courageous that his western counterpart. He is trying to fight practice against enormous odds.
Firstly, he has no professional support. For all intents our professional such as the Institute and
the Council are still suffering form birth pangs that have rendered them professionally sterile.
Secondly, he is unable to find enough space to work in because as we all know, the real estates
of Mumbai, Delhi, and New York are on the par.
Thirdly, he is powerless to influence the fate of his cities, which have been donated to the builder
who is essentially corrupt. In this architecturally hostile environment you do need to be heroic to
try and build good buildings.
Contemporary architecture is saddled with the same problems and beset contemporary life.
India has a vast architectural heritage and the phrase Indian architecture is as meaningful or
meaningless as the term Indian mind. In trying to define what is Indian, there would be tendency
to identify it as Hindu Indian.. We will then certainly have to accept that the Taj Mahal is an
imported structure. The truth is that India is like a funnel into which everything keeps getting
poured.
How lucky we are! That is the strength of our architecture.
AGK MENON
(Extract from AGK Menon's article "Interrogating modern Indian architecture)
"It is one of the paradoxes of globalization that even as it imposes transnational values and
process in local cultures, it simultaneously gives them a presence they never had before. The
more globalization disrupts, displaces and overlays local traditions, the more one is made
aware of the significance of what is lost in the process.
The interdisciplinary and intercultural scholarship encouraged by globalization brings to light the
value of historically evolved architecture of a region and the indigenous knowledge systems and
practices, which produced it.
With the attainment of Independence, the idea of a unified and homogenous Nation became
delhi-architecture.weebly.com/architecture-and-identity.html

12/13

4/17/13

ARCHITECTURE OF DELHI - Architecture and Identity

an ineluctable reality, and manifested itself in many forms of artistic expression, not least in the
field of architecture. The imperative to modernize, the urgency top catch-up of course
reinforced this idea.
Architects in India innocently traipse through the minefield of cultural representation, oblivious to
the contentious issues inherent in the positions they take. When they aspire to achieve
Indianness in their works, it is attempted without pausing to consider the ontological
significance of he quest; when they reject it, their position still bristles with their indifference to
the urgent ideological and philosophical issues of contemporary cultural formations. In the last
fifty years, architects have not considered this conundrum an issue, and have thus failed to
develop the colonial legacy into transformative architecture after Independence."
PROCEED TO "CITIES AS ,MOVEMENT ECONOMIES"
CONFLICT"
RETURN TO HOMEPAGE
PART1
PART2
Create a free website with

delhi-architecture.weebly.com/architecture-and-identity.html

HOUSING SECTOR

"DELHI-CITY IN

POST1947 BUILDINGS-

| Design by WPDesigner

13/13