MODERN ARCHITECTURE OF INDIA

After the British left India in 1947, Indian architecture dropped into an abyss. Indian architects, who
were relegated to the role of being assistants to the British architects under the British Raj, took their
own time to express their ingenuity. Perhaps, there was an identity crisis, a dilemma whether to bask
in the glory of the past or move forward with times using new ideas, images and techniques. While in
other fields like art, music and culture, the distinct Indian imprint was more enhanced in the post-
Independence period; no such thing was discernible in the case of architecture. It is no doubt that the
Indian architects were unable to achieve a transformative architecture despite the existence of great
potential at the time of Indian Independence.

The vision of new India was guided by three powerful political leaders:

 Mahatma Gandhi
 Rabindar Nath Tagore
 Jawhar Lal Nehru

All the three had their own vision for new India.

Gandhi ji wanted that farmers should be self independent and wanted to start with the influence of
past. He had the belief in POORNA SWARAJ.

Tagore had the similar vision as that of Gandhi but wanted to do with logical methods and new
technologies.

But Nehru had totally different vision. Since he had his schooling from out of country therefore he
wanted to bring western architecture in India for its new architecture fro which he did many
successful attempts by inviting architects from out of country. Thus it can be said that in bringing
international style, Nehru played a vital role.

Modernity, the Gandhi-Nehru Conflict and Democratic Polity were the important aspects of the
ideological frame. The Project for Modernity shaped India's own brand of Democratic polity and the
accompanying Icons of Modernity. Ravindran’s six attributes of Modernity were: Rural to Industrial
Society, Humanism, Secularism, Scientific Temper (i.e. absolute value in science), Socialist Nation-
State, Democratic Polity, Rationalism and Empiricism.

Since a new architecture was brought by Nehru with the sentiments of development, modernity,
progress, etc. but it was required to maintain the national identity which could be shaped by the
sentiments of anti colonialism, patriotism, revivalism, traditionalism, etc. Thus, the critical issue was
HOW TO BALANCE THE TWO?

The desire was not to lose the Indian-ness and also participate in the spirit of the age namely
MODERNITY.

NEW ARCHITECTURAL STYLE

The good and the popular – culture and architecture

The debate over the choice of an appropriate architectural style was finally settled with the decision to
build new capitals for Punjab and Orissa. The choice of ‘foreign architects’ clearly indicated the
political leadership wished to give to architecture India. Nehru invited many architects like Otto
Koenisberger, Le Corbusier, Albert Mayer, Mathew Nowicki, etc.

Otto Koenisberger prepared the ‘Master plan’ for new Bhubaneswar (1948) and was executed by the
Orissa P.W.D. Bhubaneswar was the first of new capital cities of Independent India. Similarly, master
plan for Chandigarh was designed by Albert Mayer but subsequently Le Corbusier was roped into
planning and designing of the new capital city with Pierre Jeanerette, Maxwell Fry and Jane Drew.
Chandigarh was planned by Le Corbusier as a CIAM (Congrès International d’Architecture Moderne)
city.

Indian architecture witnessed a revolution when the Punjab government engaged Le Corbusier to
design the new city of Chandigarh. Built in three stages, Corbusier divided the city into three sections.
The 'head' consisted of political, bureaucratic and judicial buildings, the administrative parts of the
city. The 'body' housed the university and residential complexes in the heart of the city. The 'feet'
consisted of industrial sectors and the railway station. Apart from the initial layout of the city,
Corbusier also designed several buildings in Chandigarh. The High Court building has a sloping roof,
supported by concrete walls which allow air to pass through them. The Assembly is a squarish
structure topped with a huge industrial chimney while the Secretariat is made up of hundreds of rooms
with an airy exterior.

About Chandigarh

Introduction

Conceptualized as a symbol of India’s new freedom, democracy

and its progressive thinking, Chandigarh was to be in Nehru's
words "a new city unlettered by the traditions of the past. ...an
expression of the nation's faith in the future. Chandigarh one of the
most significant urban planning experiments of the 20th century, is
the only one of the numerous urban planning schemes of Le Corbusier, the famous French architect-
planner, to have actually been executed.
It is also the site of some of his greatest architectural creations. The city has had far-reaching impact,
ushering in a modem idiom of architecture and city planning all over India and has become a symbol
of planned urbanism. It is as famous for it’s landscaping as for its architectural ambience.

The Secretariat

The first conspicuous building to come into view is the Secretariat

-- the largest of all from the buildings in the complex (254 meters
by 42 meters). Positioned at a sharp right angle to the mountain
range it is designed as a vast linear slab-like structure – a
workplace for 4000 people. An endless rhythm of balconies and
louvers on its linear facade

The Assembly

In front of the Secretariat is located the

most sculptural and eye-catching of all the
geometrical forms of the Capitol -The
Assembly. Characterizing the roofline of
the Assembly is a great hyperbolic drum
connected to a pyramidal by a small
bridge, inside, the legislative chambers are
dramatically illumined with shafts of light.

The High Court

The High Court is a linear block with the main façade towards the
piazza. It has a rhythmic arcade created by a parasol-like roof, which
shades the entire building. Keeping in view the special dignity of the
entrance for them through a high portico resting on three giant pylons
painted in bright colours. Very much in the tradition of the Buland
Darwaza of Fatehpur-Sikri, this grand entrance with its awesome
scale is intended to manifest the Majesty of the Law to all who enter.

Corbusier, an avowed modernist was to have a significant impact on architecture both directly and
indirectly. By the 1950’s his personal were had moved from purism and universalism to exploration
of site- sensitive and sculptural architectural ideas. In the planning and design of the capital complex
of Chandigarh can be found the literal resonance of Nehru’s vision for an Industrialized Welfare State.

Finally, he could put his theoretical ideas or city planning into practice. Corbusier prepared the master
plan of Chandigarh, designed capital complex, the cultural buildings namely the Museum and Arts
Gallery, College of Arts, Museum of Mam and a temporary Exhibition Pavilion.

Nehru was a die-hard Modernist. His vision or views can be better understood if one reads his
inaugural address at the seminar on Architecture, 1959. ‘I like the sun and air and not dark corridors.’
He explained that the dark did not allow the spirits to rise. He added, ’…the past was good when it
was the present, but you cannot bring it forward when the world has changed into a technological
period and put a Gothic cathedral and call it a railway terminus. It is ridiculous. I gave that example
because there is always the tendency to do that and there is likely to be more of a tendency in a
country like India where we hold fast to traditions…’

On Chandigarh Nehru said, ‘Now I have welcomed very greatly one experiment in India that is
Chandigarh. Many argue about it, some dislike it, some like it. It is totally immaterial whether one
likes it or not, it is the biggest thing, because it makes you think and imbibe new ideas……’

INSTITUTE OF INDOLOGY, AHMEDABAD, 1957-62

Indicative of doshi’s early affinity for corbusierian devices, such as a strict module, reinforced
concrete frame and screen and overhanging roof, the institute of indology is also an object lesson in
his ability to synthesize these with vernacular elements

Response to site, climate, local material and local ethos became increasingly important and can be
explained through followings examples

 IIT, Kanpur and ICCR Headquarters, New Delhi, Ar. A. P. Kanvinde

 Mazaar of Maulana, Delhi, Mazaar of Fakkruddin Ali Ahmad, New Delhi, Ar. Habib Rehman.

Joseph Allen Stein’s overriding concern for the environment informs his brand of Modernism. The
Lodhi Estate Complex of IIC, Ford Foundation, and UNESCO buildings, set in the midst of foliage
and fountains, are, till date, Delhi’s finest examples of Romanticist Modernism. Stein believed
environment and building are one … and therefore all are the elements of this synthesis of features of
habitation … and are harmonious with the environment. This is what posterity will call modern
architecture.

Ravindran commented that unlike the other Metros in India, Delhi was not burdened by an Indo-
Saracenic past but had its share of Improvement Trust Architecture, Art Deco and the PWD’s own
Modernism

The brilliant illustrations and introductions of the great works by architects in the ‘Nehru era’ made
the talk into an interesting introductory course in ‘Understanding the Post-Independence Architecture
of the Nehru Era’.

Hence it can be concluded that post- independence India embraced the international style with great
enthusiasm with the involvement of Nehru and many foreign architects in bringing new look of
Indian architecture. Thus, the legacy left behind is a new, improved and modern architecture which
helped a lot in the development of India after post- independence.

REFERENCE

 Modern Architecture of Indiaimppp.mht

 Le Corbusier, Leader of the International Style.mht

 India International Centre Discussion Forums.htm

 Notes of 4th sem

 Class notes