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Character, Identity and Symbolism Contemporary Interpretations of British Colonial Architecture

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Character, Identity and Symbolism Contemporary Interpretations of British Colonial Architecture Character, Identity and Symbolism Contemporary Interpretations of British Colonial Architecture Sagarika Chowdhury 1 and Sagar Gupta 2 1, 2 Sushant School of Art & Architecture, Ansal University, Gurgaon, India 1 sagarikachowdhury.barch15, 2 [email protected] Abstract: Architectural history and traditional culture of India has been overshadowed by rapid urban development in last few decades. In such a scenario, appreciation of architectural heritage in contemporary work is a sustainable building challenge faced by the architectural fraternity. Indian architecture of the 21st century witnesses numerous projects that claim to ‘interpret’ and ‘manifest’ traditional architectural styles, the inherited including Colonial, Greek and Roman, and the indigenous such as the Rajputana. However, a closer look at most modern ‘imitative’ works highlights that only a handful of parameters have been given due importance in this appreciation, while numerous other significant parameters face complete neglect. The research questions our methods of interpreting the traditional built environment and processes of inheriting from our legacies, with a wider intent to prevent further dilution of the architectural style they refer to. Design values, principles and elements in colonial architecture by Lutyens have been identified, and compiled for reference of modern Indian architects, so as to avoid notable gaps in the process of translation. Keywords: Architectural Symbolism; Colonial Architecture; Traditional Built Environment. 1. Introduction Modern interpretation of sustainability is based on three pillars: Environmental, Economic and Social. Environmentalists advocate the environment and capitalists advocate the economy; however, the social pillar fails to find considerable support for its recognition. Social aspects like heritage, culture, lifestyle etc. still remain unaddressed in discussions on sustainable development. This failure is also evident in the realm of architecture. The research deals with the subject of superficial symbolism, a socially unsustainable approach widely adopted for architectural design. Most modern symbolic projects based on specific styles forego key factors governing architectural experience, such as orientation, internal planning, and fenestration proportions. A sheer neglect of these architectural components, hence, causes these modern projects to be read as mere façade treatment glued over buildings, results in dilution of essential characteristics that define a particular architectural style, and misses out on any consideration of culture or heritage from an era. Colonial era significantly influences modern Indian architecture, and hence, the research uses ‘British Colonial Architecture’ to explore two key strands: (a) what constitutes the ‘symbolic and image’ in inherited architectural styles, and (b) details of the ‘lost’ in imitation of traditional architecture. Revisiting the Role of Architecture for 'Surviving’ Development. 53rd International Conference of the Architectural Science Association 2019, Avlokita Agrawal and Rajat Gupta (eds), pp. 61–68. © 2019 and published by the Architectural Science Association (ANZAScA). 62 S. Chowdhury and S. Gupta The research elaborates upon underlying geometry and spatial character of early 19th Century British Colonial Architecture in India with the intent to lay a foundation for a deep-rooted, relevant and sustainable modern interpretation of historic architecture. It is carried out in three key phases: Understanding British colonial architecture (theory and work) in the Indian context Understanding space and its parameters Identification of interface governing post-colonial architecture In order to narrow down scope and complexity, the research deals with ideologies and works of Edwin Lutyens in England (to understand colonial architecture), and then in India (Delhi) to explore how the design principles have been accentuated or subdued by him in the princely palaces, specifically the Baroda House and Hyderabad House, to suit the local context (Baroda and Hyderabad Houses are formal residences of Indian maharajas of the mid-20th century. Their scale is larger than the buildings found in Lutyens residential zone, but smaller than the western and eastern courts, and Rashtrapati Bhawan). A key focus is on the spatial geometry of Lutyens works in New Delhi, which often are used as references while designing modern ‘mimic’ buildings. 2. British Colonial Architecture in India Colonial architecture is a style from a mother country incorporated in buildings and settlements of the colonies of the mother empire in distant locations. The British Empire acquired large number of territories around the world. British Colonial Architecture was used to showcase this power and control of the Empire, in which British architects used English style of architecture, while incorporating local elements to suit the context. The process gave rise to different types of British colonial architecture in North America, Hong Kong, Australia, and India (Tadgell, 1990). 2.1. Indian Context and British Influence Architecture of major Indian cities that grew during the British rule for trade and administrative reasons (like Delhi, Mumbai, Kolkata, and Madras) is influenced by colonial architecture (Nilsson, 1968). Since European architects used architectural styles that were native to their ancestral home, architectural styles favored by the British were often Gothic or Neo Classical. During the late 19th century, Britishers began a movement known as the Indo-Saracenic revival. This form of architecture was most common in grand public buildings such as clock towers, courthouses and town halls, and possessed numerous common features: domes, arches, overhanging eves, vaulted roofs, pinnacles, open pavilions and pierces open arcading (Smith, 2010). Construction materials remained localized, for instance, majority of British structures within Delhi were built in red and white sandstone. The most evident connection between European city planning principles and India's emphasis on the use of North-South axis was the creation of Janpath, previously known as the Queen's Way, which formed the axis between Rashtrapati Bhawan (Viceroy’s House), India Gate and Connaught Place (Tadgell, 1990). Colonial Architecture in Delhi resulted with the shift of the Indian capital from Kolkata to Delhi in 1911, which ensued the construction of an overly ornate official British administrative center in the heart of the new capital city. 2.2. Lutyens: Theory and Work Sir Edwin Lutyens, an English architect, played a huge role in the planning of Delhi. Lutyens designs were embedded with principles of Neo-Classicism and Historicism. Most of his work was greatly inspired by Tudors Architecture, a form of architecture prevalent in England from 1480-1600 (Holland, 2018). Character, Identity and Symbolism 63 Contemporary Interpretations of British Colonial Architecture 2.2.1. Evolution of Lutyens’ Design Theory In his early years, Lutyens had been greatly influenced by the Arts and Crafts movement and his work always had underlying disciples which eventually led him to classicism. The vernacular buildings of Surrey and Sussex were his first inspirations (Baker, 1975). Deanery Garden (Figure 1) is a perfect example of Lutyens’ early romantic works in Arts and Crafts style. Sonning was the perfect location for the residential building which harmonized well with the existing general environment. The site was surrounded by an ancient wall which was a part of the village structure. Most components used in Deanery Garden had their own appeal. A medieval door led to the structure, and vaulting of tile and chalk on the roof suggested cloister. Vaulting continued along the same central circulation axis, granting a Romanesque strength to the pattern (Baker, 1975). Figure 1: Plan of Deanery Garden Figure 2: Plan of Papillion Hall Taking inspiration from the plan of Edwardian Butterfly House, Lutyens’ proposal for Papillion Hall (Figure 2) suggested keeping the existing structure at center of the expansion, and adding one storey and four separate wings radiating from it at 45⁰ each. Entrance to the house was marked by a flagged courtyard covering a water spring, and the forecourt was in the shape of an oval (Holland, 2018). While the concave nature of the entrance to the house appears welcoming, a completely different philosophical gesture is observed in the entrance to the Hyderabad house, elaborated later. Both the residential projects discussed have vast differences from one another, as Lutyens’ ideology and style underwent change during the course of his architectural practice. Deanery Gardens is based on the concept of Historicism, whereas the Papillion Hall extension has a more Neo-Classical resemblance due to the shift of Lutyens’ ideology towards this style during the late 19th Century. Classicism became more evident in Lutyens’ designs as he progressed in his widespread work. This phase also included the planning of Imperial Delhi, where Lutyens combined classicism with local elements and motifs. 2.2.2. Hyderabad House (1926-28) The biggest and the costliest princely palace was built for the seventh Nizam of Hyderabad, who was rumored to be the richest man of the world at that time. Rulers of Indian princely states looked up to British taste in fashion and architecture, which led to the appointment of Lutyens by Maharajas to build their palaces. Butterfly shape of palaces had been common in Britain for over three
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