Index

1.1 1.2 1.3 2.1 2.2 2.3 3.0 3.1 3.2 3.3 3.4 4.0 4.1 4.2 4.3 4.4 5 6

Introduction Aim Rationale for selection What is Contemporary architecture? What is Vernacular architecture? Elements of Vernacular architecture India International Centre Introduction Spatial Configuration Use of Vernacular Context to climate Triveni Kala Sangam Introduction Spatial configuration Use of vernacular Context to climate Conclusion Bibliography

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Use of Vernacular in the Contemporary

An American in Delhi 1.1 Introduction
Vernacular architecture is a term used to categorize methods of construction which use locally available resources and traditions to address local needs and circumstances. All forms of vernacular architecture are built to meet specific needs, accommodating the values, economies and ways of life of the cultures that produce them. Frank described vernacular architecture as "Folk building growing in response to actual needs, fitted into environment by people who knew no better than to fit them with native feeling", suggesting that it is a primitive form of design, but he also stated that it was "for us better worth study than all the highly selfconscious academic attempts at the beautiful throughout Europe".* Despite having a long a long history of over two centuries the interest in vernacular architecture is very recent. This is because: The environmental crises; resource depletion, global warming and energy crises gave the wake up call to the architects when they realised that the building industry (construction and operation) consumes a major part of world energy. Therefore exploration of green methods in architecture led to the idea of contemporary materials and techniques becoming a viable option. Increase in communication and transportation technologies gave a lot of information to architects about indigenous building methods.

Therefore the use of vernacular in the contemporary becomes a very important aspect as contemporary architecture is defined as nothing but the architecture of present day. This was embodied very well in the works of American architect Joseph Allen Stein. He adopted India and designed some of the finest buildings in the national capital including the IIC, the India Habitat Centre, the Ford Foundation and the Triveni Kala Sangam. Stein believed in using building materials in their original form. He never covered stone with plaster. When stones were not available for the India Habitat Centre, he went to the kilns to order Lakhori bricks and Mughal bricks. Stein integrated landscapes into his structures for IIC he took inspiration from the Lodhi Gardens next door and gave the building an inner and an outer courtyard. Stein was a contemporary architect who was interested in local culture, conditions and climate. He bought California modernism to Delhi and defined it as a part of the post-independence Indian Architecture. Use Of Vernacular in Contemporary Page 1

1.2 Aim
To study the Indian International Centre and Triveni Kala Sangam with respect to; 1) The use of vernacular elements in the contemporary context with reference to massing, spatial configuration and construction materials and their long term effect. 2) Context to climate in the buildings

1.3 Rationale for selection

In the time of delicate ecological balances it is time for us to go back to the basics our heritage taught us. The use of locally available material and climatically sensitive design in vernacular was such that no window was in the wrong place; now the use of air conditioning allows us to take that liberty. Taking advantage of airflows and the use chajjas and jalis was done to keep the structure cool. Standing in any of Delhi heritage monument and feeling the cool breeze will prove its effectiveness any day. Steins building were part of the larger context in the post-colonial era and the environment they were built, and till date none of them look alien in their surroundings. They are aesthetically pleasing contemporary structures which play their part in maintaining the skyline. The New Delhi buildings - notably the Triveni Kala Sangam arts complex (1957-77) and the ICC (1959-62) define the philosophy of using vernacular elements in contemporary. Both were immediately distinguished by their elegant formal spaces, beautifully muted by covered walkways, extensive planting and landscaping and their meticulous detailing.

Methodology
Selection of topic through discussion with teacher on pre synopsis Background Study on the Architect stein Collection on information on the subject and discussion with teacher Site visit Final compilation of data.

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2.1 What is Contemporary Architecture?

Contemporary architecture is formally defined as the building style of the present day. Today's styles, however, are quite varied and have a number of different influences. Examples of contemporary architecture therefore do not necessarily have similar or easily recognizable features as in classical architecture. Features of a contemporary home thus may include an irregular or unusually shaped frame, an open floor plan, oversized windows, the use of "green" components, a lack of ornamental details, or organic design.

2.2 What is Vernacular Architecture?

Drawing on root of the Latin word Vernaculus meaning native, such architecture tells us what is indigenous, common and shared in community. Vernacular architecture tends to evolve over time to reflect the environmental, cultural and historical context in which it exists. In addition, neighbourhoods and cityscapes are created and maintained in a consistent common vernacular style. These sometimes exhibit the harmony of a family repeating forms with consistency in adaptive variations such as many parts create the beauty of a collective whole. Vernacular traditions are dynamic and generated through continuous interplay of changes, creativity, stability and innovation. Instead of replicating old artefacts, there know how and skills have to handed over.

2.3 Elements of North Indian Vernacular Architecture

Courtyard

The courtyard is an open to sky space present in many North Indian houses usually placed at the centre. It becomes a common congregational space and establishes an internal connection. In hot climates a central placement of courtyards with an inward looking planning is beneficial as it tends to keep the internal air cooler and provide strategic openings for ventilation. The openings this way also get mutually shaded from other walls of the same building hence decreasing further heat gain.

In Picture; Courtyard of Patwon ki Haveli, Jaisalmer

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Chajjas or Sunshade

A chhajja is the projection or overhang cover of a roof or opening. It is generally placed over opening to counter the adverse effects of weather like excessive sunlight or rain. It was used extensively by Hindus for thousands of years, and then more recently borrowed by the invading Muslim empires into the common vocabulary of Mughal Architecture." It forms part of the architecture of Rajasthan, Gujarat, Punjab and Uttar Pradesh. In Rajasthan they are particularly large Jali

Jali is the term for a perforated stone or latticed screen, usually with an ornamental pattern constructed through the use of calligraphy and geometry. While acting as a decorative element, the jail also aids in cooling by only allowing perforated sunlight to pass and creating a small tunnels effects for the winds to cool them down. In picture; Jali work at Qutub Minar complex It gives protection from the harsh summer sun while giving in to the soft winter sun. It also helps by not providing any horizontal exposed surface where collection of dirt is easy. Early work was performed by carving into stone, while the later more elegant used by the Mughals employed the technique of inlay, using marble and semi-precious stones.

Direct and Indirect connections of internal external

Verandahs, porches, screened balconies: all have been used extensively in Indian vernacular architecture, each space was defines by its connection type to the rest of the world. For example a Jharokha symbolises indirect visual connection in comparison to a balcony which gives unhindered visual connections.

Tiles

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Gardens

When Mughals entered India one of the things they missed dearly were the well kept gardens of Persia and Afghanistan. So they tried to recreate them in the India and thus started the north Indian garden tradition. Thus all buildings right from the tombs to the palaces show provisions for laying the gardens. In Picture; Gardens Humayuns Tomb at

Locally sourced building materials

The greatest appeal of vernacular architecture is how it seeks to use locally available materials. This has many advantages: I. II. III. Reduced cost of transportation Provides livelihood to the local craftsmen available who are more well versed with the materials Maintains the ambience of the place.

Famous examples will the use of Jaisalmer sandstone in the local buildings, extensive use of timber in the hills and bamboo in china. In Goa and Karnataka, an abundance of red laterite stone makes this the medium of choice for vernacular construction, and in north India a clayey soil makes sunburnt bricks and mud mortar a commonly used medium. Bamboo construction can be found in the northeast, and roofs tiled with the so-called Mangalore tiles in the south. Similarly, a plethora of sandstone made medieval Jaipur into the famous Pink City, and a similar stone was used to face Mughal buildings in the 17th century.

Domical and Arcuated structures

A dome is a structural element of architecture that resembles the hollow upper half of a sphere. To put it simply a dome is an arch turned 360 degree on its central axis. The bulbous domes of the Mughals are the most easily recognizable sight in any nook or cranny of Delhi.

In picture; Lodhi Tomb

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Use of Indian Traditions in Building

Lutyens was the first to incorporate Indian traditions in seemingly modern buildings. Though hesitant to employ Indian flourishes like chajjas and chhattris, he eventually used them and made them his own. But this Lutyens school got overshadowed by the Delhi Public Works Department. After Independence there was a little shift towards Mughal architecture through stone ornamentation but that too was short lived. Then the next shift occurred with the creation of Chandigarh. This marked the advent of modernism in India and architects all over started looking at design philosophies differently. For example; brick, traditionally not a modern materials but it was never used in the Indian context as elite. And suddenly it was the new symbol of respectability. But now by 1980, architects and planners realised their folly of copying modernists trends and the next question was how to move forward in Indian architecture. The challenge was to keep the benefits of the advancements due to the international modernist movements and yet develop a link to Indian tradition. The answer lay in Delhi, where Joseph Allen Stein, an architect of Californian origin was quietly following his individualistic approach. These buildings despite using jallis, stonework and integrated gardens were still modern in their approach.

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3.0 INDIA INTERNATIONAL CENTRE

3.1 INTRODUCTION
Year of Construction: 1962 Plot area: 18,600sqm

In Picture: Entrance view at IIC

The India International centre was conceived in the 1950s as a hub of artistic and scholarly activities. It was both space for conferences, symposia and activities by national and international groups it also holds living spaces. The architectural character is characterized by careful relation of indoor and outdoor spaces and seeks to present the adjacent Lodhi gardens and the IIC building as one entity. Spaces: Guestrooms block; holds 46 rooms for living. Library and Office block Lounge and Dining block Domed auditorium

And the above are interconnected through two courtyards, the creation of blocks makes it easy to enter any one block without disturbing the activities in the other.

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SITE PLAN OF IIC COMPLEX

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Design Intent
Stein basic inspiration was Abbey of Montmajour (monastery) in France, he had visited seven years prior to taking up the project and was mesmerised by how all the functions took up unique forms and their relations with the nature and space around. The purpose was to be responsive to the cultural heritage as stein noticed effect of the ambience of a place on its architecture, as how the Japanese roofs took inspiration from the native pine forests and the curves on the desert dunes inspired the Persian domes. So he set out achieve a form and function which would relate to north India on the cultural plane too. Arial view of the IIC (sketch)

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3.2 Spatial Layout

The functions of the building are separate into blocks. And then a connection is made between them through verandahs, porticos and courtyards. Entrance As we enter the complex, we are greeted by an elegant exposed concrete portico which is essentially a free standing wall with pre-cast vaulting, extending across a north south axis.

We see the auditorium block to one side and the residential units, despite being right at the front; their privacy is maintained through extensive jali work in the front corridors. The curving facade of the residential block corresponds to the curvy walkways of the Lodhi gardens. Beyond the portico which also acts like a shaded walkway is a courtyard. The wall is put there to be a visual barrier between the internal happenings and any outsider person.

In picture: Shaded walkway

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The internal courtyard is uses for the formal get together and right next to is the lounge towards the north and this block is elevated which allows wind movement from the Lodhi gardens inside. It is flanked by two blocks out of which one is the lounge (above mentioned) and the other is the library and admin offices with his northern wall almost of glass. In picture: Internal view of Courtyard There are two hexagonal blocks, diametrically opposite to each other housing the auditorium and the dining area lounge. The Auditorium is towards the front (east) granting ease of access and the dining area is at the rear (south) end of the site offering an integrated view of the Lodhi gardens and IIC complex. The west end of the complex opens up to a semi open courtyard which integrates in to the Lodhi gardens.

In picture: View from the back showing the lily pond and the hexagonal lounge

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3.3 Use of Vernacular Courtyards

Three courtyards are used to link all the internal and external spaces together. And each of them has its own function. The entrance or the east facing courtyard welcomes you into the complex and provides entry to the residential units on the north and the auditorium on the south. It also gives entry to the stairs tower. Then there is a central courtyard which is part paved and part lawn, it has soft green kotah stone. Despite the central position of the courtyard it is not completely closed as the surrounding north wing of the services and the west wing of the guestrooms is elevated on piers. The guestroom block is given a curvilinear facade is makes it look if its receding into the Lodhi gardens instead of providing a typical boundary wall.

as In picture: Elevated dining Area

In addition this gives a framed view of the Lodhi tombs and there is space for wind flow too. This space is used for formal get together with a spill over space to the north of the complex from underneath the guestrooms. At last the rear courtyard, it houses a fountain, pool and an amphitheatre. This site is used for informal get together and acts as a spill over space from the dining area.

Building Materials

Simple blue-grey quartzite, or Delhi stone, was used in most of the construction. Cast concrete was used for framework and roofing. Jalis, blue and green ceramic tiles as highlights an updating of the Sultanate architecture of Delhi. The walls are built in what is called coursed random rubble masonry. The height of the wall is divided into a number of equal parts. Within each part (or course), randomly shaped stone blocks are used without any level horizontal or vertical joints. At the top and bottom of each course a level bed of mortar is placed, so that the wall appears to be composed of a regular layering of panels of irregular (or random) stone masonry. This ensures a balance between the spontaneity of random rubble and the order of normal coursed masonry.

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Jaalis

Stein innovation of the traditional Jali is the most striking example of how he blended the vernacular into contemporary. Traditional stone carved Jaalis could not be used due to high cost so he recreated them in blue glazed ceramic , these were used the auditorium windows and between the guest room balconies. This also provides a brilliant contrast between the grey exteriors of the building and also echoes the use of blue tiles in the Lodhi tombs And in the exterior south wall jaalis of fire clay tile and steel piping were used. Gardens

Stein was a master of building in the garden and his brilliance is viewed in the way the gardens at IIC were blended in this the Lodhi gardens. He used stone pavers for walkways to give authenticity and a sense of solidarity this neighbouring Lodhi gardens. Every plant and flower was picked and laced according to season so that it best served its purpose Trees play a vital ecological role in maintaining the atmospheric equilibrium, controlling climate and water cycles and keeping the air and water clean. Trees inside the IIC contribute to what its architect, Joseph Allen Stein, had envisaged for his creation, a place where 'a certain kind of relationship existsbetween the garden and the building and the water and the earth and the sky, and the learning and activities that take place and the things that happen.'* There are also two water bodies present. A little pond at the rear of the building and it is overlooked by the hexagonal lounge, serving the dual purpose of a desirable view and a cooling element. Use Of Vernacular in Contemporary Page 13 In picture: Lily pond

Roofing

Their vaulting roofline is to recall the arches and domes scattered around Delhi. The roof of the auditorium of IIC is domical and is composed of pre-castshaped elements. The Y-shaped pieces carry the outer layer, provides space for the distribution of lighting and air conditioning. And the ceiling has a honeycomb structure.

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3.4 Context to climate

All main rooms face north south except the dining hall and the lounge which overlook the lawns Great care has been taken to provide shading devices for the entire building form jali work to vertical sliding louvers.

The jaali work is present on the auditorium windows, between the guestroom balconies and the south facing service areas. The jaali work on the auditorium and guestroom tiles of traditional Delhi blue glazed tile is used similar to the one used on Lodhi tombs and on the service areas fir clay tile is used with metal piping.

The vertical louvers have been provided on the western facade of the hexagonal dining room. They can be pulled down when the sun angle is low and can act as a void to let the breezes from the Lodhi garden inside giving the dining area an open verandah-esque feeling.

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Water body are present to help regulate temperature.

There are two water bodies one at the front end and one at the rear end of the plot. The one at the rear end is a lily pond.

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.4.0

Triveni Kala Sangam

4.1 Introduction
The Triveni Kala Sangam (1959), founded after independence to revive traditional Indian art, music, and dance. On a busy road lined with concert halls and galleries, Triveni joins a sleek gallery wing to a taller classroom block, its walkways wrapped in concrete jalis and draped with planters. To minimize costs and highlight what he called " the beauty and natural quality of local resources," Stein built with indigenous ma t e r i a l s whenever he could.

Spaces: Classrooms Galleries Indoor auditorium Amphitheatre Apartments for instructors Canteen

Panorama of Front View

In picture: Internal courtyardAmphitheatre

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Design Intent
The design was conceptualised keeping in mind the traditional Indian values and the them present modernism. The Triveni building is made with clad reinforced framed structure with several infill materials and jali panel on the classrooms corridor and the stairs. Concrete blocks with plastered finish used on most elevations and rough cut stone facade viewed from the street. Principles for creation of this building:

Respect for natural forms and natural laws as expressed in structural functionalism. Respect for cultural values as expressed in the sensitive and intuitive responses of people. Respect for modern democratic, social and economic relationships as expressed in rationality and appropriately organised space. Respect for regional appropriateness in adjustment to climate and materials.

In picture: Front Facade of Triveni Kala Sangam

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SITE PLAN OF TRIVENI KALA SANGAM

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4.2 Spatial configuration

There are two entrances to the complex one towards the galleries and the classroom block and the other is toward the auditorium block When we enter through the gallery-cumclassroom block we see are greeted by a small reception lobby. Beyond this lobby is the amphitheatre like courtyard around which the entire complex is centred. There are two staircases present on through the front lobby and the other at the end of the corridor which runs parallel to the amphitheatre. On the Ground floor are public areas like galleries and canteen, on the first and second floor are the classrooms and the living spaces are on the third floor The lobby on its northern side (right side from the entrance) opens into a sculpture court and places where sculpture making class are held. Further ahead we see the living spaces and the auditorium which can be accessed from a separate entrance too. This separate entrance takes us directly to the entrance of thee indoor auditorium In Picture: Entrance to the Reception

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The amphitheatre enclosure is achieved by low height structure which relate to human scale and the stage is placed away from the buildings to not to get overpowered by the background.

The centre is organized into three blocks A four storey classroom block with a canteen and shaded dining/tea terrace to the north and a ground floor gallery block with a shaded roof terrace above to the west. Opposite the gallery is a covered stage opening into an outdoor garden theatre which is the heart of the complex. . The three-storey extension of 1977 to the north house additional classrooms, an indoor auditorium, and instructors' apartments. In Picture: View Of Amphitheatre and Canteen.

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4.3 Use of vernacular

Jaalis

Yet another innovative use of jaalis by stein was done here creating jaali work patterns out of precast concrete. The pattern is contemporary made with angular voids. .

In Picture; Jaali- Work Courtyards

The complex is built around an amphitheatre which is a modern variation of the courtyard in this complex. It acts like the heart of the complex and keeps the noise pollution of the outdoors way. Its orientation is towards south east and yet very well shaded from the sun. The classroom corridors face this amphitheatre and have Plants draping down from planter boxes placed between jails. It also houses a concrete pergola which is adorned by flowering bougainvilleas creating a beautiful backdrop for performances. In picture: Pergola Use Of Vernacular in Contemporary Page 22

Gardens

In Picture; View Of the Stage framed by jaalis and planters.

The internal amphitheatre is also utilised as a garden with the steps being utilised as green patches with grass grown on them. The practicality of a garden was limited with the kind of space constraints faced. But stein however found an ingenious way of addressing the problems; he created vertical gardens instead. On the faades of buildings (external or overlooking interior courtyards), he made space for planters arranged so that a near-continuous stream of creepers or other plants could be nurtured over the surface.

In picture: Planter Boxes forming the vertical Garden

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4.4 Context to Climate

Triveni kala sangam is in many ways a very sensitive building. Its construction process was very economical even in the time it was created. Harsh sun of Delhi was taken into consideration and mutual shading on buildings was used wherever possible. the jali not only provides shade but also created a channel effect causing the winds to cool down Ample use of soft surfaces (i.e. grass) in the amphitheatre which results easy absorption and less reflectance of sunlight and heat. The classroom block corridor is south facing and to counteract the effect of the sun jali panels and planter boxes are utilized. Shade from the neighbouring buildings in also utilised.

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Conclusion The study of the above two buildings shows how traditional values can be incorporated into modern technology based architecture. My basic learning was the spectacular fusion of the vernacular in the contemporary through the use of jali work and courtyards. Both the buildings show exemplary variation of the above two features used in the most context specific way. The jali a traditionally north Indian feature was dressed by using different patterns (angular pattern in Traven Kala Saga) and even material (blue ceramic and even metal in IIC and concrete in Triveni). The courtyard was also made versatile by leaving it semi open in the IIC and using it as an amphitheatre in Triveni Kala Sangam. Both these building have stood the test of time and still dont feel out place in their respective surroundings. Nor do they look archaic and thus is a way symbolises the constant change of ideas which the users of these building ultimately set to achieve. In Steins own words Two things have essentially guided my work. One is what you might call an interest in and search for an appropriate modern regionalism. I would put equal emphasis on both words, 'regional' and 'modern', because regional without modern is reactionary, and modern without regional is insensitive, inappropriate. The second one is to seek the character of the solution in the nature of the problem, as much as one possibly can*

* Steins obituary by Ram Rahman

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BIBLOGRAPHY

Books Building in the garden by Stephen White Articles The Hindu The Sunday Gaurdian

Websites Wikipedia DelhiIIC.nic.in

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