A new book titled “NEW INDIAN ARCHITECTURE: 1947-2020", authored by Chandigarh-based architect Sarbjit Bahga and published by White Falcon Publishing, has recently been launched. It is one of the few Indian architecture publications in the post-Independence era. It features 104 projects designed by 15 foreign and 66 Indian architects. These projects have been grouped into 11 categories, i.e., Religious Buildings (5 Projects), Memorial Buildings (9 Projects), Cultural Buildings (14 Projects), Sports Buildings (6 Projects), Tourism and Recreational Buildings (9 Projects), Public Infrastructure (4 Projects), Agricultural Buildings (7 Projects), Residential Buildings (7 Projects), Educational Buildings (29 Projects), Healthcare Buildings (6 Projects), and Office Buildings (8 Projects). The projects are arranged in chronological order in each group so that changes and trends can become self-evident immediately.
See Full PDF See Full PDFIt is a compiled list of some research papers and books on Indian architecture.
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One could hardly imagine a time more exciting for an Indian architect to start a career than at the close of the 1940s, when India had just gained freedom from colonial rule. In many places around the world this was the time when enormous funds were invested in new and often very novel urban developments that were to provide, for better or worse, the model of metropolitan life for the generations to come. By that time, it was generally believed that architecture and urban planning have the power to shape human habits and inspire worldviews. This was also true for India, and at this particular moment it was crucial for decision makers and for the designers to decide on what style and what planning philosophy should they stake. What should the background image of the new Republic of India be, what values should be put through, what goals should be proclaimed? In my presentation, I am going to focus on these decisive years of modern architecture in India and on its major figures.
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Book review of "India: Modern Architecture in History" and author interview with Peter Scriver and Amit Srivastava
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IDC international journal
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Indian architecture isone of the most famous in the world. Its architecture was based on the concept of religious plurality. One might notice that the architecture of Hindu, Buddhist, Islamic and colonial or Indo-saracenic were distinct. Based on these styles four historical eraswere classified i.e., the ancient Indian, pre-Islamic, and colonial periods. This article seeks to reassess the general perception of Indian Architecture and its relation to the formation of Indian identities. It focusses in particular on the interpretation of the concept of plurality n the academic world by western art-historians. The socioeconomic factorsplays determining role in defining the architectural styles of south Asia.
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In this paper we address the role of architectural criticism in the conception and practice of modernism in India – since post-independence till the present. India has witnessed a vast difference in the culture of the built environment. And as Modern Style of architecture arose from enormous transformations in the west during the late 19th, and flourished to India, Architectural Criticism says, it’s about time, that a new style of architecture, a style that describes the ‘Indianness’, originates, takes over, describes, and flourishes to bring a new face to the context of Architecture in India.
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SHODHKOSH : Journal and visual performimg arts
At the time of Independence of India, the challenge was to create an image of a progressive nation through the mode of architectural expression to celebrate nation's independence. Though it couldn't happen right away as the majority of Indian architects at the time of independence were under the influence of architecture of the Britishers or were working in the architectural firms established by British architects. So, the change was gradual with its inception in pre-independence era of 1930s and 1940s, when some of the foreign architects designed and executed their projects with European expressionism and Bauhaus thinking in the country. But these were isolated efforts and could not take the shape of an architectural movement. These waves of rationalist thoughts kept on smoldering with war between the Revivalist and the Rationalists thoughts propagators throughout 1940s as well as at the time of independence and immediately after it. The journey progressed further with the arrival of foreign trained Indian architects. They brought with them ideas of modernism and thinking of Bauhaus rationalism. This movement further got expedited when the political patronage threw its weight behind rationalist thoughts over the Revivalist by inviting international Master of Modern Architecture to design on the Indian soil. Thus, this study is an effort to throw the light on the journey of Indian architecture from Swadeshi movement of 1930's to Rationalist Modern architecture immediately after independence.
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Between the mid-1980s and late-1990s, an unprecedented tide of new publications on contem-porary architects and architecture in India appeared in print. These included several mono-graphs as well as more comprehensive surveys, exhibition catalogues, and a new “journal” of In-dian architecture, Architecture + Design (A+D) launched in 1984. Using Bourdieuean tools of analysis, this paper examines these architectural discourses about Indian architecture as a “field of restricted production” to better understand the context and dynamics of the conspicuous ur-gency to publish Indian architects and their work at that particular time. In so doing, the paper highlights inherent problems with the representation and historiography of ‘postcolonial’ archi-tecture in the context of the hegemonic discourses of modernity and its ‘postmodern’ critiques.
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Generally, architecture can be termed as a field of art in building, a structure designed by human beings. Therefore, the grandeur and the height of a civilization is measured by the buildings it left behind which include religious buildings. This can be seen through Indian architecture that appeared as a result of the emergence of Buddhism and Hinduism. Between the main objectives of this study is to discuss the concept, goals and philosophy found in the architecture of India. In addition, the study also discusses the characteristics and elements of Indian architecture made up of Buddhist and Hindu architecture that has influenced some of the architecture of other buildings in the world. In this writing, the authors used qualitative methodology focusing on research on the analysis of documents and observations. The finding shows that the concept and philosophy of Indian architecture has been largely influenced by nation and world civilization. The study also identified the characters and elements. system along the western coast of India.
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Going through the cities of Delhi, Agra, Jaipur, Mumbai, Calcutta and towards southern part of India, you find many beautiful buildings. Some are monuments, palaces temples, churches, mosques and memorials. Many of them had their foundation before Christ and many after the coming of Christ. Many generations have been a part of this architecture which stands mighty and lofty reminding us of that glorious past which has been ours. This is because art and architecture forms an important part of Indian culture. Many distinctive features that we find in the architecture today developed throughout the long period of Indian history. The earliest and most remarkable evidence of Indian architecture is found in the cities of the Harappan Civilization which boast of a unique town planning. In the post Harappan period architectural styles have been classified as Hindu, Buddhist and Jain. The medieval period saw the synthesis of Persian and indigenous styles of architecture. Thereafter the colonial period brought the influence of Western architectural forms of India. Thus Indian architecture is a synthesis of indigenous styles and external influences which has lent it a unique characteristic of its own.
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