Saturday, 12 December 2009

Built Environment and Biodiversity

(This paper, "Architecture and Biodiversity in India:A Context to Aesthetics in Our Times", was presented to PAITHRUKAM 2004:  Seminar/Workshop on Aesthetics in Indian Architecture:  Past, Present and Future, at MES College of Architecture, Trissure, Kerala. This is Part 2 of the paper.)


Built Environment and Biodiversity


WE THINK OF ARCHITECTURE HERE, also, because it is major consumer of energy that affects ecology in a major way, and modifies environment through its six design fields. Architecture is no more “a plot and a monument”. The scope and context of architecture has widened with environmental awareness. Here we consider architecture as “built environment”, which has six design fields: Product Design, Interior Design, Architectural Design, Urban Design, and Town planning, now added by Regional Planning. Any of these six design fields have bearing on all other fields, which include land, water, air, and biotic and abiotic nature. These could be verified in any example at any place and time.  
  
   What legacy the Industrial civilization has given us? We know that industrial civilisation only takes from the earth but never returns. We may generalize it in brief. About 10 percent people of India may have made it theirs. They rule and force others to accept it (Industrialization). It is not a willing acceptance or by understanding it. It has left increasing gulf between the educated (now armed with computer education) and the illiterate, the rich and the poor (includes those below poverty line and the starving, the unemployed whose skills are redundant in industrial society and the educated unemployed).


      Yet in spite of environmental and ecological degradation all is not lost in India. There are a large percentage of people that still remains outside the folds of industrialization.  There are still a number of social and cultural sub-groups who are not trapped by the cult of monoculture. These diverse subgroups have their kinship with biodiversity in their regions. Their languages, culture, life-supporting skills, traditional wisdom, and of course architecture — vernacular architecture, are akin to the biodiversity. There are fifteen regional languages recognized by the State, leave aside fifteen hundred vernaculars, and as many bio-regions and as many “styles” of vernacular architecture.

      The ruling minority has made persistent efforts to colonize them or to bring them into its web of economy, education, planning, law and institutions but they have remained outside. Are they defiant in spite of being a weaker section or is the system not keen? It is perhaps both. The system has failed them again and again though no one will want to admit it. It is happier in self-gratification. In such a situation the people – the masses – become easy target for attacks by either the State and the power mongers or the terrorists.

      We fail to recognize even at the turn of the last century in the historical context, if not democracy, that no person or a group has any credibility without people. There is no credibility for any brand – economic, social, religious, political or any other – without people. We mention religion not with any bias but it is our mindset, irrespective of rites, rituals, castes, sects, creeds, or superstitions.

            It is a historic flux. We are parting our ways mentally, morally and culturally from nature and the living traditions, while dilly-dallying between old and newfangled ideas. We easily begin by falling for commercial brands issued in attractive packages and with compulsive justifications through multimedia and propaganda in the name of information and communications, and market economy. Leisure, for example, is free for anyone, but now it comes as entertainment industry with a price tag of money, time and health. We are indeed destitute in time by being helpless, complacent, or contented, or irresponsible to the society at large and the posterity.

No one ever needs to justify needs

            In such a state, we – individually and collectively – have only one option left to our discretion. It is to sift, screen, scrutinize and select between the needs and wants: personal, social and beyond personal. While the needs are permanent, universal and timeless, the wants always remain transient, temporary and passing fads. No one ever needs to justify needs. But the wants, now and then, need justifications. Manufacturers and traders tell us what we must want and have. Architects are not far behind them to advocate through their products and designs to tell people how they must live in a mass society. This is a joint venture to make people opt for the ways of industrial society.
    
      All products (and ideas) supplied and sold, or even donated, by the industrial society in the name of needs, wants, conveniences, philanthropy or altruism, must be tasted in the laboratories of environment, ecology and energy for health of man and nature, and scrutinize their price, cost, benefit and value. But it may not be our priority, not being a profitable venture.

      Science, religion or philosophy, unless responsible for the sustenance of all the living beings, may remain a dead irrelevant matter. In spite of all the glamour, the Einstein and the Nobel Prizes are irrelevant, even irresponsible to the large majority of the needy. Perhaps that is why mythologies have lasting value for people. Sooner or later we, and the future generations, may even loose them, or get them distorted.  Why does an arrow (archery) have a symbolic meaning and not the ICBM? Why does ‘Hermit’s Hut’ come in the discussion on architecture? Is there any example of mythical value in the modern architecture?

            Modern architecture is a by-product of industrial revolution, and is born in city. A city has always been a symbol of power. In modern times, metropolitan city has emerged not only as a symbol of unlimited centralised power but also as a parasite on the planet. It has extended its footprint beyond its physical boundaries of sovereign states for its sustenance into the regions near and far. It extends even beyond the sovereign state and beyond continents. This (globalization) does not mean that any place should adopt the dictate of International Style of architecture. It is not obligatory.

            Regional planning becomes a pressing problem in India due to the accelerated mechanization and industrialization, migration of peasants from their homestead and the neglect of hinterland, large population and biological diversity of the country. We must note the difference between the conditions of developed countries and India. In the West the urban population is about 80%, while in India it is about 30% that includes a large number of slums. In 1890 almost 30% of entire US population was living in the cities.

      Environmental awareness has brought up the grave issue to the fore of destruction of biological diversity and the need to conserve it. It is time now for architecture or the built environment to bring biodiversity into its discipline. Or revive itself in the realms of biodiversity instead of becoming an instrument or expression of inequity and exploitation of people, land and waters. This revival, having sufficient understanding of the Indian agrarian society, should bring forth the ethical and new aesthetic values; their roots are already in the land and her people. 

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PRESENTATION to this paper: Man and Nature (Within and Outside)




























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To be continued
See the link to previous post: Garden under a Glass Cage… 
Author: Remigius de Souza
14 OCT 2004
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© Remigius de Souza, all rights reserved.

Saturday, 5 December 2009

Garden under a Glass Cage

Architecture, Biodiversity and Aesthetics
(This paper, "Architecture and Biodiversity in India: A Context to Aesthetics in Our Times", was presented to PAITHRUKAM 2004: Seminar/Workshop on Aesthetics in Indian Architecture: Past, Present and Future, at MES College of Architecture, Trissure, Kerala. This is Part 1 of the paper. There are no pictures/images/photographs of any models in this paper, for obvious reasons!)

Prologue: Way of Nature 

THE ATTRIBUTE TO DESIGN IN NATURE is cryptically described by Martin Jones, bio-archaeologist:
“In whole organisms, randomness structure is uncommon. Everything seems finely tuned by brutal rigours of natural selection. There are no spare limbs to be found and hardly any dispensable organs. This forced economy of organism design has always limited the use of bodily form as evolutionary timepiece" (The Molecular Hunt, Penguin 2002).
This is most relevant definition of design even for man-made objects or institutions. Nature – within and outside – is the first and the last guru, irrespective of the tools – arts, sciences, religions or trades. All wisdom and knowledge originate in the nature. It is time now for ‘Srishtiyoga’ – Reunion with Nature.
Garden under a Glass Cage…

We are thinking of architecture because at primary level it is everyone’s need – from a shelter to farming to damning a river. It has emerged as a most costly commodity not merely economically but also environmentally.

Architecture – good or bad – is concrete manifestation of abstract thought. Any thought is always abstract. Language, script or graphic is abstract. So also, sciences, philosophies or religions are abstract. We comprehend abstraction by our perception of reality. Art also is abstraction; it is surreal. A farmer is an artist, who works with elements on the canvas of soil, where thought and senses are unified in action as a way of life. He works at tremendous risk. His work is concrete and spiritual at the same time. We are not referring to industrialized farming.

Architecture is primarily a utility; its interpretations, however, are abstract and various. A thought involved in architecture is abstract; it may even be superstitious, whether it is scientific, philosophical, social, economic or religious, or legal such as, building bylaws or development control rules for cities and regions. The superstition may appear by way of imitation, reproduction, adoption or mass production. Architect is a thinking person, unless of course one is physically, mentally and spiritually involved in the construction, even if it may be a modest artefact, where thought is dispassionately tested in action. The word architect is variously to various occupations, for example, building a nation in politics, writing a constitution for a nation, or creating virtual reality on computer.

Buddhist religious thought, for example, we assume, is translated in its religious structures, such as, Stupa, Vihara and Chiatya. However we are not informed about any example of Buddhist secular architecture. Hence we presume that when Buddhist religion is a person’s way of life it’s a concrete form. Can we interpret any architectural edifice – secular, religious or monumental – of any time or place as a way of life? The archaeologists do that taking help of many disciplines, though with their perception. Or is Buddhism yet another brand for mass conversions in defiance of another brand? Or is Buddhism, in our times, merely an intellectual kick in discourses or at coffee-table-talk?

It is said that Vihara was derived from the tribal village halls or men's clubs, and cave ethos share with ‘Gotuls’ or youth dormitories of Muria Tribe. This has been the way of life of the tribal, even now. The tribal communities were, still are, republicans. Knowing such facts, now even vernacular architecture is acknowledged along with classical, historical, ancient or so-called modern architecture.

Zen Buddhism has enriched daily living in its expressions in gardening, painting, poetry, drama, Ikebana, Tokonoma and tea ceremony that are elements of architecture and planning. In India too there are innumerable such expressions. Call them customs, rituals, religion, or traditions or whatever you may. Undoubtedly they originate in and relate to Nature.

The industrial civilization emerged with the Mechanical–Industrial Revolution (generally called Industrial Revolution), in the West. It started mass production; so much so, that communities turned into a homogenized mass society, which took to monoculture. It also started many institutions. It has institutionalized almost every aspect of private and collective life of an individual and the society, and reduced their autonomy.

It took a few hundred years to build (!) Ajanta Ellora. Here we notice a remarkable consistency and diversity both in the edifices as they materialized over a long period of time. How was it made possible? It took a few decades to build Taj Mahal. Now it takes a few months to build a skyscraper or a township.

Today technology renders several buildings and building types obsolete before their building-life is over. The West now has developed “controlled demolition technology” to ground multimillion dollar worth new buildings in the heart of cities, with total disregard to environmental-energy-ecology cost. The large industrial establishments are decentralizing and shifting their manufacturing units to different places and countries. Technologies and products including those for modern buildings are abandoned. Some prove hazardous to health.

We are in state of flux than ever before. Whatever may cause this flux it is man-made. Where can we draw a line between that which is permanent, universal or timeless and that which is transient or temporary? Homo sapiens have not changed biologically ever since they appeared.

Are the architects merely going by conventions of the past, or by those set elsewhere? Do they comprehend the present and foresee the future? Are architects obliged to accept, follow, or imitate blindly or piously the architecture of the 20th century that originated in the West? It, of course, is a by-product of the Industrial Revolution. A 20th century “form-giver” aptly said, “House is a machine for living in”. Now the investors and profiteers, hand in hand with science and technology, after exploiting the resources of the earth, have turned their eyes on biology and biotechnology [2]

Biotechnology is now becoming the buzzword of the 21st century in the industrial society. It, of course, is motivated to investigate and exploit new avenues for profit and power. It is banking on genes of every kind of species of animals, insects, plants, including man, after defiling land, waters and air, and biotic and abiotic nature, and after causing extinction/ annihilation of fellow human beings. Biological diversity however is the lifeline for the survival of mankind.

Who shall be the next master to be the 21st century form-giver? Who shall write the guidebooks? What shall be the new slogan of 21st century? It may be perhaps, “Garden under a glass cage is a house for the clones” who will live at the command by remote control in New York, London, Paris, Brussels, and Tokyo… or New Delhi, Mumbai!
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Presentation to this paper:
Man and Nature (Within and Outside)






















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To continue
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Notes 
1 Biodiversity: ‘Biological diversity means the variability among living organisms from all sources, including interallia, terrestrial, marine and aquatic ecosystems and the ecological complexes of which they are part; this includes diversity within species; between species and the ecosystems.’ (Article 2 of the Convention of Biological Diversity, UNEP 1992)
2 Biotechnology: (a). Biotechnology is the application of biological organisms, systems or processes to manufacturing and service industries (Spinks, A. ‘Biotechnology’ report of a Joint Working Party, HMSO, London 1980).
(b) ‘Biotechnology is the art of manufacturing living forms as though they were machines’ (Stephan R. L., and Clark K. “Modern Errors and Ancient Virtues” in Ethics and Biotechnology, Eds. Anthony Dyson and John Harris, Routledge, London, 1994)
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This paper was presented to PAITHRUKAM 2004: Seminar/Workshop on Aesthetics in Indian Architecture: Past, Present and Future, at MES College of Architecture, Trissure, Kerala.
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© Remigius de Souza, all rights reserved.

Monday, 16 November 2009

CIVILIZATION: A Smallest Poem on India

.. CIVILIZATION: A Smallest Poem on India which may be true for the whole world... 


Civilization, painted poem by Remigius de Souza, Mumbai
On the Gandhi Birth Anniversary Day (October 2, 2000) many NGOs in Mumbai organised a procession that was culminated   into a public meeting on national integrity at August Kranti Udyan, Govalia Tank.

We are patriotic to land and waters and all living beings (beyond a handheld palm-size map of the country).

We hail Environment + Ecology + Energy bestowed by the unwritten ancient Law of Nature, which is larger than all human artefacts, may they be arts and sciences, religions and philosophies... 

We are aware all boundaries are vulnerable to change through history of civilized societies, and even in the History of the Earth.


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© Remigius de Souza, all rights reserved.

Friday, 6 November 2009

Art of Recycling

‘Recycling’ is not a new concept but rather a practice for most Indian people. Those who live in the close contact with nature – natural environment – do witness the constant recycling that takes place there, though they may not give a discourse on the subject. They too adapt to the process of recycling. Hence community participation is one of the features of their collective living at societal level. Their educational system is intrinsic and a lifelong process for the young as well as the elders.

    The industrial society has discovered ‘recycling of industrial waste’ not out of the love for nature or to conserve the finite resources of the earth. It has been more for the love of wealth, to generate new avenues of income and profit.
 .
    Education, yet another division of labour, overtaken by Industrial Civilization, has been a tool to create the workforce to support the expansion of industrialization rather than transfer of knowledge and benefits to the people thus to make it universal.

(14-11-2003)

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© Remigius de Souza, all rights reserved.

Tuesday, 3 November 2009

Essays in early Indian architecture (Book Review)




By Remigius de Souza

Essays in early Indian architecture
Author: Ananda K. Coomaraswamy
Edited by Michael W. Meister
Publishers: Indira Gandhi National Centre for Arts, New Delhi, and Oxford University press, Delhi, Bombay, Calcutta, Madras. 1992 
Price: Rs 400/- pp xxviii plus 151, Illustrations: 164.

"Vastu, add the meaning, “real estate” (Meyer, “Liegenschaft”): “Vastu includes houses, fields, groves, bridges (or ghats, setu-bandha), ponds and reservoirs,” Arthasastra, III, 8”(A. K. Coomaraswamy, Indian Architectural Terms, P. 97)


THE BEGINNING OF 1993 saw two significant events in Indian architecture.
The INGCA and OUP made available five essays by Ananda Kentish Coomaraswamy (1877–1947) which were earlier inaccessible to the public.
The other event was the theme chosen by the National Association of Students of Architecture (NASA), India, “Back to the Roots” for their national convention held at Bhubaneshwar, Orissa (now Odisha).


Though it may not be perceptible, very few are aware of the Indian ethos in different areas of creative life and expression. But at the end of 20th century, with the imminent fall of ‘industrial civilization’ (or ‘economic civilization’), the awakening of ethnic identity is a global phenomenon. Parallel to the environmental movement, there is a ‘Anti-celebration to Columbus Day’ all over the world, and a new awareness in different disciplines.

The essays by Coomaraswamy reappear when people of India (not the statisticians) are groping for salvation in an ever-increasing chaos. The much sought-after development aping the west has only worsened the living conditions of the people of mainstream India. While this book may pamper the inflated Indian ego, it may be life-saving plank to multitudes in 20th century modernity called consumer civilization.


The common theme of the essays is to present a picture of secular, domestic, urban, rural architecture of India 2000 years ago, the remains of which do not exist because of impermanent nature of materials used. The book is about how the common man’s architecture, a hut of a villager that became a source – a form-giver – and developed into a unique architectural style, complex structural system and highly developed building vocation – into a tradition that materialised in thousands of and continued during the late medieval period under royal patronage (
Chapter IV. Huts and related temple types, P 103).

For instance, “Tree-cult”, tree worship which was adopted by the Buddhists in “Bodhi-gharas” was an animistic practice of the people before Aryans came (
Chapter II. BODHI-GHARAS, P 19).

Though Coomaraswamy does not mention so, the “
Tree-cult” still exists in India in different forms, for example, “Tulasi-vrindavan”, holy Basil (Ocimum sanctum L.) on a platform or in a pot, is a common feature of the Indian household. The plant is known for its medicinal values and is also an organic insecticide. “Brahman” – a banyan tree with a built platform, is a common feature of villages in Konkan region – a well known monsoon forest region on the West Coast of India. “Devarai”, sacred grove, is a “protected forest” by the people for the Indian villagers and forest dwellers, by unwritten law of ancient tradition, though not recognised by the development projects, or by the British-made “Forest Acts” that still continue in modern India.

Why Tree-cult?
Coomaraswamy has not posed this question here. Did some visionary scientists or wise men of the aborigine communities initiate tree-worship as a measure of environmental protection?

A. K. Coomaraswamy opens up the first essay on “
Cities and city-gates, etc.” with a statement, “…cities are despised and there are no ceremonies for urban life”(P.3). He quotes “It is impossible for one to obtain salvation, who lives in a town covered with dust” (Baudhayana Dharma Sutra, II, 3, 6, 33).

Elsewhere he says, “…but the village is still typical centre of Aryan life” (History of Indian and Indonesian Art, p 15) referring to Maurya period. Indian society has remained agrarian even under the wave of industrialization.


Among several features of city, Coomaraswamy describes city-gates: toranas and gopuras, which were used for protection and security or for honorific and ornamental purposes. In contemporary times, Mr
Shankar N. Kanade, architect, has used city-gates in “Jala Vayu Vihar” township at Bangalore (now Bengaluru), enhanced by adding elevated water storage tank. In present day context, more than being ornamental it gives identity to a place in urban chaos; it is a symbol of celebration, besides utility. Isn't it embedded mimetic memory in Indian mind!

Indian Architectural Terms
(P. 71 – 99) is a critical essay on two books written by Prof. P. K. Acharya, “Indian Architecture According to the Manasara-silpasatra” and “A Dictionary of Hindu Architecture”. It is a combative but constructive criticism. This essay helps to learn ‘how to criticise and how to take it, and gives access to ‘meanings’ of the terms.

Take the term,
Vastu, much in currency these days, for example: “Vastu, add the meaning, “real estate” (Meyer, “Liegenschaft”): “Vastu includes houses, fields, groves, bridges (or ghats, setu-bandha), ponds and reservoirs,” Arthasastra, III, 8” (P. 97).

He has presented over 100 sculptured relief works in photographs and drawings – some of them restored in exquisite drawings by him, as visual evidence, from monuments built in or carved out of rocks centuries ago. The author referred to textual evidences from Sanskrit, Prakrit and Pali law books, epics and Kavya literature. These reliefs were executed by sculptors, guilds of master craftsmen who documented epics of Indian civilization on stone surface. It is worth noting that the sacred texts were handed over by mnemonic method, though writing was known, for reasons of accuracy, which is still being observed. In the relief sculptures there is no scope for errors or adulteration or manipulations.


The population of India around 1st A.D. was perhaps 30 million or so, with growth rate of probably less than 0.01 percent per year. As the feudal power over people increased, which is now growing to a global scale through its invisible tentacles, the epic writer in stone is now visibly disintegrated.


What happened to the guilds as the population grew?
For instance, the communities of stone-cutters called “Wadar” and “Beldar” living in the slums of cities and towns not far from the famous monuments of Karla, Bhaja, Elephanta, Kanheri etc. and several forts in Maharashtra. Are these the descendants of the guilds of the ancient times? Just as the Brahmin descendants of the sages – Vashishta, Agasti, Vyas, Bhrugu, Vaishampayana etc. whose pedigree has been maintained by the high caste?

What Michael W Meister probably missed
in the conversation with Joseph Rykwert is to give 20th century parallel in modern architecture to A K Coomaraswamy’s thesis of “primordial hut as a form-giver” to historical Indian Architecture (Afterword: Adam’s house and hermits’ hut: A conversation, P. 125) . In the twentieth century modern (western) world architecture there are only “master form-givers”, whose works go down as second hand and third hand imitations to the masses: Indeed a true expression of economics of Industrial Civilization that give the fruits of its development and progress, prosperity and powers to the society by the “trickle down formula”. This formula is also applied to the education system to support industrial civilization.

In today’s context,
awareness of environment, ecology and energy which are being destroyed at unprecedented rate, Coomaraswamy’s work of timeless quality is all the more relevant, a ground prepared for ‘further work’.

It is a book for all:
scholars and architects, planners and politicians, pundits and leaders alike: a collector’s copy. It may also help a new vocabulary – a new form of expression to emerge – a departure from twentieth century architecture and other disciplines (born and developed in the West); a restoration of dignity of labour; a change in planning parameters; a right to manage their own affairs to the local communities. What John Papworth calls, “Democracy after all does not mean government for the people; it means government by the people. We hope, in Coomaraswamy’s words, “…mark a final victory of the conquered over the conquerors” (History of Indian and Indonesian Art, P. 5).

(NOTE: This is an edited version of book review, published in INDIAN ARCHITECT & BUILDER, Mumbai, May 1993, P. 85-86)

Image: Portrait of Ananda Coomaraswamy by Arnold Ronnebeck, 1929. This bust represents Coomaraswamy at about the same he was working on "Early Indian Architecture" and other wor
ks in transition (P. 103).

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© Remigius de Souza, all rights reserved.