DECONSTRUCTIVISM IN INDIAN CONTEMPORARY ARCHITECTURE14.139.111.26/jspui/bitstream/1/739/1/AKSHAYA. D.pdf · The study on ‘Deconstructivism in Indian Contemporary Architecture’

DECONSTRUCTIVISM IN INDIAN CONTEMPORARY

ARCHITECTURE

by

AKSHAYA. D

Submitted to N.I.F.T. in Partial Fulfillment of the

requirements for the degree of

Master of Design

Department of Design Space

Faculty Guide

Professor Mrs. Rupa Agarwal

National Institute of Fashion Technology

Mumbai

2016-2018

NATIONAL INSTITUTE OF FASHION TECHNOLOGY

Mumbai

2018

DECONSTRUCTIVISM IN INDIAN CONTEMPORARY ARCHITECTURE

By

Akshaya. D

Master of Design

2016-2018

Submitted by Ms. /Mr. ………………………….. to N.I.F.T. in partial fulfillment of the

requirements for the degree of Master in Design of the National Institute of

Fashion Technology at New Delhi and hereby certify that in the judgment of the

following members of the jury it is worth of acceptance.

NAME INSTITUTE/ ORGANIZATION SIGNATURE/DATE

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Remarks regarding fulfilling further requirements, if any: ……………………………….

Signature of Course-Coordinator Date:

(Design Space)

DECLARATION

The study on ‘Deconstructivism in Indian Contemporary Architecture’ is an

outcome of my original thoughts and efforts. It is produced with utmost sincerity

and authenticity. The research was conducted under the guidance and insights

of Professor Mrs. Rupa Agarwal at the Post Graduate Department of Design

Space (PGDS), Mumbai. No portion of this work has been submitted in support of

an application for another degree or qualification to N.I.F.T. or any other

University or Professional Organization.

Signature of the Student

Place: N.I.F.T. Mumbai

Date:

ACKNOWLEDGEMENT

This study would have been extremely difficult to complete if it weren’t for these

esteemed people, who helped me in every stage of the project. I would like to

extend my utmost gratitude to these great minds in way that is familiar to me. I

am delighted to give them the credit of participating in the brainstorming,

sharing their resources, guiding & motivating.

First of all, I would like to thank my mentor, Professor Mrs. Rupa Agarwal, for her

insights and contacts regarding this topic. Following that, it is essential that I

acknowledge the Department of Master of Design, Design Space and the

National Institute of Fashion Technology for opening doors for this project.

It would be my pleasure to thank Mr. A.N. Bandi, the Head of the Resource

Centre, N.I.F.T., Mumbai for making the library accessible at all times and also

recommending other college librarians to let me access their resources as well.

The man gave his inputs on the topic and uncluttered the direction I wanted to

pursue.

I would be ungrateful if did not thank my cousin, Ar. Mira Ramakrishnan for

enthusiastically helping me with the brainstorming and extending her

knowledge and resources for this study.

My heartfelt thanks and gratitude to the librarians of the 5 architecture colleges

that I visited within Mumbai:

Bharati Vidyapeeth College of Architecture, Kharghar,

J.J. School of Architecture, C.S.T.,

D.Y. Patil College of Architecture, Nerul (Mrs. Savita, Librarian, who was

extremely receptive and cordial),

Pillai College of Architecture (PiCA), Panvel (Mrs. Biji Jayakumar & Jeyashri

Gore, Librarians, who were warm and sincere people),

L.S. Raheja College of Architecture, Bandra (E) (Mr. Mandar Joshi and two

of his staffs who were so enthusiastic at helping me out).

My sincere gratitude to the faculties of L.S. Raheja College of Architecture,

Bandra (E) (Ar. Mandar Parab [H.O.D.], Ar. Mildred Jose, Ar. Anmol Warang),

(i)

D.Y. Patil College of Architecture, Nerul (Ar. Manohar Balasubramaniam, Ar. B.S.

Keshav), Pillai College of Architecture (PiCA), Panvel (Ar. Abhijit Sahasrabudhe)

for extending their knowledge and sparing their time for discussing my

questionnaire.

Special accreditation shall be given to Ar. Jinu Kurian and Ar. Mustansir Dalvi

(Professor at J.J. College of Architecture) for sharing their thoughts and unveiling

a whole new perspective on the topic.

I would like to thank the renowned architects who spared their time for the

interviews and shared their experiences and knowledge despite their busy

schedules.

I also respect the staff and owners of the buildings I went to visit for the study,

who allowed me to take a tour and patiently answered my queries.

It would be ungrateful of me if I did not thank the participants and respondents

of my survey and activity- the students of B.Arch from almost 30 colleges across

the country for the survey and from Bharatiya Vidya Peeth College of

Architecture, Kharghar for the activity. Their young minds were the scaffolding of

my whole study and their cooperation was immense. They obliged to spare their

time on my study and I would like to convey my heartfelt gratitude to them.

I should extend my thanks to my friends from Chennai, who meticulously fetched

respondents for my survey among B.Arch students. If it weren’t for them, I would

not have been able to get these many entries.

Finally, I would like to extend my thanks to my family who kept me going when

times were tough and encouraged me in multiple ways. They supported me

financially while I had to stay away & travel for this study and emotionally

whenever I felt overburdened.

Thanks to all the good souls that spread good thoughts and helped me have a

clear head to conduct this study.

(ii)

ABSTRACT

“Deconstructivism has been understood as a concept that intends on defying

symmetry and coherence. It tries to mimic the decay and disintegration of form.

It threatens the values of harmony, unity and stability. However, it has been

misunderstood as the architecture that leads to a total breakdown. The flaws do

not lead to the collapse of the structure. It proposes a new view of the structure

that the flaws are intrinsic to the structure and thus cannot be removed.”

The calculated flaw becomes a part of the structure that makes the building an

interesting piece of art by itself.

It started as a movement in the 1970s in Europe and spread across the

developed countries. Famous architects like Peter Eisenman, Bernard Tschumi,

Frank Owen Gehry, Zaha Hadid, etc., have been the pioneers of this style of

architecture. Later, it emerged as a concept employed by individual architects

to express their views or experiment with their works. The concept of

deconstructivism has a significant role to play in the post-modern era in World

Architecture. However, in the Indian Contemporary Architecture, it has not seen

the light of day. There has not been a compilation of the deconstructivist

buildings of India. It has always been avant- garde architecture, a piece of

textbook knowledge and is highly unpopular in implementation. The architects

and interior designers who take a leap of faith to incorporate it are threatened

by the clients for economical and time constraints. A documentation of the

architects who have practiced this and designers who have, even subtly

imbibed it in their spaces are worth putting on paper.

This research contains the case studies of buildings that can be recognized as

deconstructivist, with the thoughts of the respective architects. The buildings are

majorly from two cities- Chennai and Mumbai. The parameters with which each

of these case studies would be scrutinized are made common, so that it

becomes easier for the researcher to compare and contrast. The research will

involve different methodologies listed as interpretive, observational, analytical

and comparative in nature. Furthermore, two hypotheses framed by the

researcher shall be tested with the help of surveying and interviewing of B.Arch

students, professors and established architects respectively.

The inferences of the study may be of help to researchers who intend to put

together the evolution of Indian architecture or emergence of novel &

(iii)

experimental architecture in Indian context. If the hypotheses test out to be true

and usable, another dimension may be given to this concept.

The scope of this research is beyond just one dissertation project. It touches

upon numerous vast topics that cannot all be dealt with in detail in this study.

This study is confined to a mere categorization and compilation of Indian

deconstructivist buildings and a few hypotheses testing.

KEYWORDS: Deconstructivism, Contemporary Indian Architecture, structural

imperfection, experimental architecture, Indian architects, comparative study

(iv)

CHAPTER 1

1.1 INTRODUCTION

The topic of study is under the stream of space and built environment. It is about

a lesser known design movement of deconstructivism, which is a follow-up of the

major art movement- Post modernism. There is still a discussion as to whether it

should be called a “movement” or considered as just another tool of expression.

However, the idea of deconstruction as a tool has made its way into various

fields. This, as a concept has been taken up by a handful of architects abroad

and scarcely by any, in India.

“Deconstruction as a philosophical movement emerged from the writings of the

French philosopher Jacques Derrida in the 1970s. A deconstructivist approach

includes an attempt to deconstruct the elements of architecture. Often

elements from other traditions are incorporated in the composition, altering their

function and meaning to provide an innovative three-dimensional spatial

experience.” (McClure, Wendy R., & Bartuska, Tom J., the Built Environment).

The concept owes its origin more to the works of Derrida in literature, where he

thought breaking down the words and phrases could help in deciphering

hidden meanings to the sentences. He himself gave many architectural

metaphors in his works and thus, it came down to architecture after having

dripped through other fields like art, fashion, lifestyle, etc.

“Deconstructivism has been understood as a concept that intends on defying

symmetry and coherence. It tries to mimic the decay and disintegration of form.

It threatens the values of harmony, unity and stability. However, it has been

misunderstood as the architecture that leads to a total breakdown. The flaws do

not lead to the collapse of the structure. It proposes a new view of the structure

that the flaws are intrinsic to the structure and thus cannot be removed.” They

become a part of the structure itself. “A Deconstructive Architect is therefore

not one who dismantles buildings but one who locates the inherent dilemmas

within buildings”.

This was a short-lived, but impactful movement that gave rise to a significant

chapter in the history of architecture. Pioneers like Peter Eisenman, Bernard

Tschumi, Frank O.Gehry, Zaha Hadid, etc., became associated with this style of

architecture. Peter Eisenman worked with cuboidal grid and experimented with

the permutations in that. He utilised juxtaposition and fragmentary methods

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majorly. It was an expression of the psychoanalysis, for him. As for Frank Gehry,

he experimented with materials as well. The world famous Walt Disney Theatre

and the Guggenheim Museum in Bilbao were both made majorly of titanium.

The forms that he used were also experimentation. Zaha Hadid practiced this

concept for over 20 years executing about 80 built or unbuilt projects. She has

always been marveled for her beautiful mind and the amazing designs that

come from it.

From their works, the semiotic signifiers thus derived, would help in identifying the

deconstructivist buildings in India. Comparative study of the works of different

architects would give insights on the strengths and threats of the concept in

general. Also, a few sub-topics that are of current relevance may be linked with

this concept and the viewpoint of the researcher shall be conveyed in this

dissertation project.

1.2 SIGNIFICANCE / NEED FOR RESEARCH

Post-modernism was a movement that gave birth to other byproduct

movements like deconstructivism. This concept inspired a number of

monumental buildings abroad. However, in India it hardly made a mark. It serves

as an opportunity to be creative and explore forms, structure, materials and

textures. There has not been a compilation of the deconstructivist buildings of

India. It has always been avant- garde architecture, and is highly unpopular in

implementation. The architects and interior designers who take a leap of faith

to incorporate it are threatened by the clients for economical and time

constraints. A documentation of the architects who had practiced this and

designers who, even subtly imbibe it in their spaces are worth putting on paper.

1.3 PROBLEM IDENTIFIED

An infamous movement (that turned into a concept) has made its rounds in

international architecture for decades. However, the concept has not been

compiled in the Indian context. A concept so rich in creativity and

experimentation has not seen the Indian streets as much and even if it has, it has

not come to light.

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1.4 OBJECTIVES

To study the international architects who have practiced the concept

and narrow down to keywords that describe the concept best.

Use the keywords as a signifier to spot Indian buildings of that kind, using

Architectural Semiotics and list down the deconstructivist buildings in

India.

Form case studies of deconstructivist buildings in India- observe, analyse

and perform a comparative study.

Test the following hypotheses with the help of surveys and interviews.

1.5 HYPOTHESES STATEMENTS

1.5.1 HYPOTHESIS 1:

“Deconstructivist buildings can be considered as devoid of any cultural or

religious signifiers, thus making it a secular style of architecture.”

1.5.2 HYPOTHESIS 2:

“Deconstructivist architecture is believed to be mere on-paper designs and is

not meant for implementation.”

1.6 SCOPE OF THE STUDY

Firstly, it helps in documenting the rarely utilised concept of deconstructivism in

India. Secondly, it can serve as a beacon to architects and interior designers

that if it were popular and well-put the clients would not be reluctant to give it a

try. Thirdly, it serves as a tool to answer certain questions such as -

the possibility of utilizing this as a “secular” architecture much in

similarity to the “democratic architecture” by Frank Lloyd Wright

why deconstructivism has always been avant-garde (a concept that is

used in most extravagance and never trickled down to day-to-day

living)

why such a radical thought always ends in paper at an ideation stage

and hardly ever reaches implementation

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The blooming of parametric architecture can also be touched upon,

since it has, technically, sprouted from deconstructivism.

The proposed research tends to look upon the following from the Indian

Architects-

How have they heard about the concept of deconstructivism

How and when did they start incorporating this in their designs

Extent to which this can be incorporated in their designs

How difficult or inappropriate can it be for our country

How do they convince the client that it would be a success

If it is used in a different interpretation, how?

If it is used, then the difficulties in making it work- electrical, column

layouts, working drawings, etc.

evolution of the concept in India

reason of its unpopularity in India

future of the concept in India

About their design process of that building

If it has stretched its influence on other interior elements like furniture, door

designs, column/pillar designs, wall treatments, etc.

1.7 LIMITATIONS

There is a gap that all the secondary study is in reference to countries

apart from India, as there has not been much documentation in this

regard. However, the primary study is conducted in India since the topic

itself is in Indian context.

The number of architects who practice or have incorporated it in one of

their works is a handful.

The built-forms taken for the study may or may not be spread across the

country, due to challenges of tedious travel and lack of budget.

1.8 UTILITY

Post modernism is the birth place of deconstructivism. So, incorporation of

it leads to contemporization.

If the hypotheses are tested true, the outcomes are immense:

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“Secular architecture” with a built form devoid of connotation from

any faith or culture

Radical ideas leading to experimental designs

Smart cities incorporate the concept of deconstructivism in their

building plans

Parametric architecture seems to be the future and it is the child of

deconstructivism.

It instigates the clients to believe in unique works of art.

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CHAPTER 2

2. LITERATURE REVIEW

As the title suggests the dissertation deals with the concept of deconstruction in

architecture. However the literature review is constructed in such a way that it

sets the foundation with a brief note about the origin of the concept as a whole.

The emergence of the concept into architecture is immediately delved into. This

chapter has restricted itself to whatever the researcher thought was relevant to

the study. It includes the characteristics, consequences and effects, works of

international architects, deconstructivism in Indian context, about the architects

and their buildings which might be considered deconstructivist and finally

parameters to compare architects and buildings. These data have been

collected in the secondary study that took the researcher to 5 architecture

colleges across Mumbai, several online databases for research papers, blogs,

articles, etc. The consolidated data has been reviewed and utilised in a flow

that directs towards the objectives of this project.

2.1 ORIGIN OF THE CONCEPT OF DECONSTRUCTIVISM

The concept of deconstructivism is a byproduct movement in the Post-modern

era and originated from the works of Jacques Derrida, a French Philosopher and

Writer, in the late 1960s, in his books titled ‘Writing & Difference’ (1967) and ‘Of

Grammatology’ (1966).

According to Derrida, the deconstruction of architecture has to demystify such

illusion and to open the space of a different practice of architecture. A space

where the possibility of the relationship to another discloses itself as the

irreducible condition of each form of identity. “I would like to show how

deconstruction of architecture proposed by Derrida is not only concerned with

the theory of architecture. It also implies itself the possibility of a different

architectural practice, which cannot be identified with a new aesthetic and

formal style. I would like to explain that deconstruction of architecture implies

rather the deconstruction of the political and that it can be put into effect only

through the actual deconstruction of the architectural structure which the

Western tradition of the political has embodied itself into”. (Vitale, 2010)

6

The idea of deconstruction was to break down the phrases, i.e., ‘deconstruct’

them to find out the hidden or unintended meaning. Thus, the concept can be

related to recurring keywords such as ‘breaking down’, ‘fragment’,

‘dismantling’, ‘disjunctive’, ‘rupture’ and ‘layers’. It was when Derrida used

architectural metaphors such as “foundation”, “structure”, etc., in his works did

the great architects of that time figured that this concept could be a novel idea

in architecture (Hodge, 2006). Architectural theorist Mark Wigley did his doctoral

dissertation on “Jacques Derrida and Architecture: The Deconstructive

Possibilities of Architectural Discourse“(1986). He also collaborated with Philip

Johnson to curate the

Deconstructivist Architecture

exhibition in the Museum of

Modern Art in 1988. The exhibition

showcased the works of 7

architects: Coop Himmelb(l)au,

Peter Eisenman, Frank Gehry, Zaha

Hadid, Rem Koolhaas, Daniel

Libeskind and Bernard Tschumi.

The exhibition was the starting point

of the Deconstructivist idea in

architecture, wherein the projects

of Coop Himmelb(l)au, Eisenman

and Gehry presented were theoretical (as how the concept was intended, in

the first place (McLeod, 1989)) or unbuilt. Wigley linked the common elements of

these architects’ works to the early 20th century Russian Constructivism, a period

when traditional thinking in architecture was placed in doubt (Hodge, 2006).

Charles Jencks identified “deconstruction” as Neo-modern whereas Mary

McLeod established it as essentially Post- Modern (McLeod (1989/1998) as citied

in Mukerji & Basu, 2013, p.3). However, McLeod (1989) also states that these are

not the only inspirations: the other important formal influences being-

Russian Constructivism of the mid and late 1920s (Koolhaas, Tschumi),

German Expressionism (Coop Himmelb(l)au),

the architecture of the 1950s (Hadid, Koolhaas),

contemporary sculpture (Gehry),

extreme fragmentation of diagonal forms (Himmelb(l)au, Hadid,

Libeskind)

Figure1: Deconstructivist Architecture: 25 Years Later

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The origin of this novel thought in architecture has been disputable. One

argument is that deconstructive architecture does not constitute an avant-

garde. It exposes the unfamiliar hidden within the traditional. It is the shock of

the old. Deconstructive architecture is not an –ism, but neither is it simply seven

independent architects. It is a curious point of intersection amongst strikingly

different architects moving in completely different direction. It cannot be called

a new “style”. The projects do not even share a common aesthetic. What they

do share is the sense of disquiet in their works (Wigley, 1989 as quoted by

Papadakis, Cooke & Benjamin, 1989).

2.2 CHARACTERISTICS OF DECONSTRUCTIVISM

Schismatic post-modernism or deconstructivism, spearheaded by Peter

Eisenman, developed into an idea that showed an impossibility of postulating

any meaning or cultural consensus. It avoids historicist imagery, contextualism

and humanism, and instead exhibits a technological imagery using

fragmentation, dispersion and disturbance (Mukerji & Basu, 2011). It drifts away

from the basics of modern architecture such as ‘form follows function’, ‘purity of

form’ and ‘structural honesty’ (Khan & Raghuwanshi, 2003, p.1). ‘Function

follows deformation’ is a phrase that says that the forms are first distributed

according to the architect’s design and then assigned a function (Wigley, 1989

as quoted by Papadakis, Cooke & Benjamin, 1989). Deconstructivism is a

byproduct of or reaction to Post-Modernism. So, there are all the reasons for it to

have borrowed a few ideas from this era and the previous one. McLeod (1989)

gives an account of the characteristics that were borrowed from Modernism

and Post-Modernism:

Deconstructivism From Modernism

preference for abstract forms

rejection of continuity and tradition

fascination with technological imagery

disdain for academicism

polemical and apocalyptical rhetoric

Deconstructivism From Post-Modernism

rejects fundamental ideological premises of modern movement

rejects functionalism

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rejects structural rationalism

rejects faith in social regeneration

Deconstructivism supported aspects like form- generation, functionality, material

and construction technology with structural logic (Khan & Raghuwanshi, 2003,

p.6).

The distinctive features of the Deconstructivist Architecture stated by Mark

Wigley shall be the signifiers used to identify the buildings that may be declared

as “deconstructivist”. The forms are characteristic skewed geometry and

distortion of the structure. “Distortion of form” is a generic idea of

deconstructivism, which can be broken down further into:

Rotated grids

Warped planes

Diagonal elements

Shifted or displaced functions or features

Perforation of the building envelope

Exposed structural elements

Use of industrial materials

The focus is always directed towards the form, rarely utilizing the site, client,

production process or the program as the subject of investigation or radical

transformation. In the European context of deconstructivism the fragmentation

of society, impossibility of cultural consensus, obliteration of meaning and

disillusionment with structuralism constitute as the major aspects (McLeod,

1989/1998:690 as cited in Mukerji & Basu, 2013).

2.3 PECULIAR SIGNIFIERS OF DECONSTRUCTIVISM

In the present socio-technological scenario, the multiphrenic, schizophrenic,

individualized self is able to freely adopt floating signifiers where the relation of

the symbol and signified are broken down and the signifier is devoid of

meaning. They now represent luxury and power and exotic and foreign, thus

displaying indetermanence. A deconstructivist building has always been linked

to ‘meaninglessness’, among other things. A book called ‘Deconstruction

(Omnibus Volume)’ written by Papadakis, Cooke & Benjamin (1989) states that

deconstructivism represented abhorrence of meaning- a sentiment shared by

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Tschumi, Eisenman, Derrida- they termed it the “empty man”, a man without

qualities. Eisenman asserts it as ‘nihilism’ or meaningless volumes.

2.4 CONSEQUENCES & EFFECTS OF THE MOVEMENT

The introduction of deconstruction to architecture has contributed to an

attitude of critical skepticism and scrutiny, a questioning of existing conventions

of composition and form (McLeod, 1989, p.51). Effects of Post-Modernism have

been laid out as eclectic exoticism, simulacrum, floating signifiers and

interdetermanence (Mukerji & Basu, 2013). All of these can be applied to

deconstructivism as well, in the sense that-

the concept remains foreign till date (exoticism)

it is superficially borrowed from the Western counterpart, merely trying to

give an impression of the style (simulacrum)

without any context to India that it remains a “floating signifier” and,

Indeterminacy (indescribable) + Immanence (limited knowledge) =

“Interdetermanence”. It is a term used to describe the Post-Modern works,

coined by Ihab Hassan to perhaps signify “underdetermined”.

One major consequence of this concept is a potential narrowing of audience.

Most likely, only small cultural elite will appreciate the iconoclasm of forms, the

inversions of common sense and everyday expectations. Indeed,

deconstructivist architecture risks the elitist charges that modern architecture

faced with post-modern critique. Another consequence is a denial of urban

context and a renewed focus on the building as object. The fragmentation and

formal explosion of these works means that not only do they contrast radically

with a traditional urban fabric, but they cannot join readily with other buildings

to form defined public space. The single building once again becomes more

important than the city, individual creation more important than collective

accretion (McLeod, 1989, p.50).

2.5 WORKS OF INTERNATIONAL ARCHITECTS

It is worthwhile to look at the international experience in order to understand this

kind of architecture in India, wherein “parallel that elsewhere in the world

because, at a generic level, the architectural problems of India are not unique.

10

Their specific solutions may be” (Lang, 2002, p.151 as cited from Mukerji & Basu,

2011, p.2). Think of the term “starchitect” and most likely one of the seven

architects exhibited in the Museum of Modern Art’s (MoMA) 1988

Deconstructivist Architecture show comes to mind (Hill, 2013). MoMA’s

deconstructivist exhibition featured seven participants – Coop Himmelb(l)au

(Wolf Prix and Helmut Swiczinsky (Hill, 2013)), Peter Eisenman, Frank Gehry, Zaha

Hadid, Rem Koolhaas, Daniel Libeskind and Bernard Tschumi- all practicing in

different parts of the world. Other than Tschumi and Eisenman, the architects in

“Deconstructivist Architecture” for the most part denied a direct connection to

Derrida’s theories and even to one another. In the case of “Deconstructivist

Architecture”, the current of ideas – rather than the realization of buildings- was

of critical importance.

Baghdad- born, Britain based Zaha Hadid, was the first

woman to win the Pritzker Prize has also contributed a

number of notable Deconstructivist works to

international architecture (Rogers, 2011). Building

elements seem to float; the forms of the building are

repositioned to confront each other, twisting and

disrupting the traditional parallel planes of modernism.

A student of Koolhaas at the Architecture Association

School of Architecture in London, she is renowned for

the drawings and paintings she produces to represent

her projects. Of all the work in MoMA exhibition,

Hadid’s is most closely related to the

angular cubistic forms and intersecting

planes of Russian Constructivism (Hodge,

2006, p.19-40). Hadid’s first design to ever

be built is the 2003 Lois and Richard

Rosenthal Centre for Contemporary Art in

Cincinnati, Ohio. Known popularly as the

Contemporary Arts Centre (CAC), the

building is both blocky and soft, defined

by geometric volumes on the façade

and featuring an unusual ‘urban carpet’,

with the ground slowly curving upward

from the sidewalk outside into the

building and ultimately up the back wall.

Figure 2: The Zaha

Figure 3: Contemporary Arts Centre, Ohio

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A ramp resembling twisted spine draws visitors up to a landing at the entrance

to the galleries (Rogers, 2011). Zaha Hadid’s provocative architectural vision

began to take built form with the completion of her first freestanding building, a

fire station (1990- 94) for the Vitra furniture company’s campus, Germany. The

two-storey station is a long narrow building of concrete and glass featuring “a

linear, layered series of walls” that “puncture, tilt, and break according to

functional requirements.” From the front, the structure appears hermetic and

enclosed; its interior spaces are only visible through windows on the side and

back. The building’s dynamic cantilevered planes seem suspended in motion,

evoking the tension of firemen constantly on alert (Hodge, 2006).

Frank Gehry’s buildings confound

traditional notions of architectural

space and form. His approach is rooted

in a deep respect for art and art-

making as well as a desire to explore

the potential of new technology and

materials. In 1977, Gehry began an

ongoing renovation (1977-78) (1991-94)

of his family’s 1920s two-storey

bungalow in Santa Monica, California.

He appropriated off-the-shelf industrial

materials such as chain- link fencing,

corrugated metal and plywood and

used them to loosely wrap the north

and east facades. The bold volumetric

assemblage of the exterior was

matched in the interior, where select

walls and ceilings were stripped to

reveal lathing and/or the house’s

wood-frame construction.

For the Walt Disney Concert Hall in

Los Angeles (1987- 2003), Gehry

wrapped the complex billowing

structure with stainless steel to

create a shimmering curvaceous

building reminiscent of a ship’s sails

or a flower’s petals. The architect

Figure 4: Interior of Gehry Residence, Santa

Monica

Figure 5: Walt Disney Concert Hall, Los Angeles

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clad the floors, walls and ceilings of

the 2,265- seat auditorium with

Douglas fir, creating the sense of

being inside a basket or a musical

instrument. Designed well before the

opening of Gehry’s groundbreaking

building for the Guggenheim

Museum in Bilbao, Spain (1991-97),

Disney Hall marks his adoption of

Computer Aided Three-Dimensional

Interactive Application (CATIA), a software program originally developed for the

aerospace industry. By applying software like CATIA to architectural design,

Gehry has been able to transform his fluid sketches and sculptural paper models

into lyrical and complex built forms (Hodge, 2006). By the time he got to the

Guggenheim, completed in 1997, Gehry had perfected a shocking new style

that dazzled critics and

the public alike,

although many in the

architectural

community may

disagree on such points

as creativity versus

functionality. While

Gehry himself shirks the

Deconstructivist label,

his work – particularly

the Guggenheim- has

Figure 6: Interior of the Concert Hall

Figure 7: Guggenheim Museum, Bilbao

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been strongly associated with the architectural style that has been carried forth

by a number of other architects around the world. Luminous and shape-shifting,

the Guggenheim is hard

to pin down, seeming

almost to undulate in the

sunlight and the dappled

reflection of the Nervion

River upon which it sits

(Rogers, 2011). The

museum’s spaces are

organized around a large

central atrium, a sort of

futuristic cavern filled with

daylight entering from an

array of large glazed opening and skylights. The museum’s 20 galleries are

interconnected by a number of bridges, corridors, elevators and stairs. While the

building exterior, the atrium and some of the galleries on the ground floor are

characterized by complex geometries, curvilinear forms, and a large use of

daylight, the galleries are rather

simple ”white boxes” without

openings. While the exterior is

boldly clad with sheets of shiny

titanium, the interior makes a

large use of cardboard partitions

(Bianchini, 2017). The wildly

original design, as well as

construction of the building, was

aided to a large degree by the

use of CATIA. The many organic

volumes that make up the whole

are covered in titanium panels

that resemble fish scales, a

tribute to the museum’s location

(Rogers, 2011). Opened to the

public on October 18, 1997, the

museum became a sort of

“hallmark” of the private

organization the Solomon R.

Figure 8: Footprint of Guggenheim Museum, Bilbao

Figure 9: Exterior of Guggenheim Museum, Bilbao

14

Guggenheim foundation. The result was so positive that the new term “Bilbao

Effect” was coined to indicate the capability to positively influence a

debilitated local economy through the creation of a major cultural institution

(Bianchini, 2017). According to the Bilbao City Report of 2007 compiled by Jörg

Plöger, commissioned by Centre for Analysis of Social Exclusion, An ESRC

Research Centre, the chapter of ‘What Has Changed: Signs of Recovery?’ holds

a separate subheading about the ‘Guggenheim Effect’. It enumerates that

there were several studies that attempted to evaluate the effects of the tourist

sector which received a strong boost from the inauguration of the Guggenheim

Museum in 1997 (Roderiguez et al, 2001, Gonzalez, 2006, Plaza, 2007). Opinions

about the so-called ‘Guggenheim effect’ on Bilbao’s and the regions economy

are however divided. From one perspective, it is a fact that the tourism in Bilbao

has increased sharply. The Guggenheim alone has attracted an average of 1

million visitors per year since its opening (Plaza, 2007). Some voices criticize the

large amount of public money that went in to the building of the museum and

the public subsidies that are required for financing its liabilities. However, the

sheer scale of added tourist numbers seems certain to have created many

smaller service outlets. The indirect knock-on effects in the city are extremely

wide if immeasurable (J.Alayo, interview).

New Jersey- based architect Peter

Eisenman designed the first major

public Deconstructivist building in

America, the 1989 Wexner Centre

for the Arts at Ohio State University.

The Wexner Centre was something

of an experiment in

Deconstructivism; it’s certainly not a

blank, passive space for the display

of art but meant to be a dynamic

work of art within itself. It’s a five-

storey, open- air structure featuring a

prominent white gridwork that

resembles scaffolding in order to

appear intentionally incomplete, in

a permanent state of limbo. These

very design ideas have caused

significant controversy because, in

Figure 10: Wexner Centre for Arts, Ohio

15

some cases, they interfere with the function of the building, such as fine art

exhibition spaces where direct sunlight could potentially damage sensitive works

of art. Furthermore, the centre has no recognizable entry, with most of the

sculptural ornamentation on the sides where no doors exist. The interior spaces

are no less eccentric; some visitors

even report feeling nauseous

because of the ‘colliding planes’ of

the design. Controversial as it may

be, Eisenman’s Wexner Centre

remains among the most important

examples of Deconstructivism,

bringing abstract ideas and theories

to the fore and perhaps elevating

them above purpose and

practicality (Rogers, 2011). In the

MoMA exhibition, Eisenman was

represented by his proposed design for the Biocenter for the University of

Frankfurt, Germany (unbuilt, 1987). The design, for a centre for advanced

biological research, organizes the distribution of laboratories along a central

spine. The units branching out from the spine were initially based on basic

modernist blocks, the shape of which was derived from those of the four

nucleotides that constitute DNA and RNA (Hodge, 2006). Eisenman describes his

objective as “architecture as independent discourse, free of external values-

classical or any other; that is, the intersection of the meaning-free, the arbitrary,

the timeless in the artificial (Eisenman, 1984 as iterated in McLeod, 1989, p.47).

The Austrian firm Coop Himmelb(l)au

(Wolf Prix and Helmut Swiczinsky (Hill,

2013)) is often credited with

producing the first realizations of

Deconstructivist architecture in

Europe. The cooperative’s rooftop

law office extension in their home

city raised eyebrows when it was

erected in 1988 with its parasitic

appearance, and its Funder factory building in St. Veit Glan, Austria was

certainly eye-catching. In 1988, Coop Himmelb(l)au completed the UFA-

Cinema Center in Dresden, Germany, which consists of two volumes: the

Figure 11: Church of the Year 2000

Figure 12: UFA Cinema Centre, Germany

16

‘Crystal’, a massive glass lobby and and public square that seems to lean

precariously to one side, and the ‘Cinema

Block’, which hold eight cinemas with

seating for 2600. The firm says that with the

UFA- Cinema Centre, it aimed to

“confront the issue of public space”,

saying “By disintegrating the

monofunctionality of these structures and

adding urban functions to them, a new

urbanity can arise in the city.” Independent of Gehry’s influence, Coop

Himmelb(l)au and other international architects who produced important

Deconstructivist works were inspired by movements in modern art such as

Cubism and Dada, and Russian avant garde architecture of the 1920s (Rogers,

2011). Coop Himmelb(l)au’s Rooftop Remodeling (1983/1987-88), a renovation

of the attic space of a traditional apartment building in Vienna, showed another

aspect of deconstruction. The addition is a metal and glass construction whose

chaotic form is based on an analysis of the existing building’s structure much in

the way that deconstruction promotes analysis of existing texts to generate new

readings (Hodge, 2006).

Swiss-born architect Bernard

Tschumi was represented by his

elaborate plan for the Parc de

Villette in Paris (Hodge, 2006). The

Parc de Villette is unlike any other

public park, with its strange network

of bright red structures designed,

according to architect Bernard

Tschumi, not for ordered relaxation

and self- indulgence but

interactivity and exploration. Built

from 1984 to 1987 on the grounds of

a former meat market, the park

contains themed gardens,

playgrounds for children, facilitites

dedicated to science and music

and 35 architectural follies, all of

which are inspired by the ideas of

Figure 13: UFA Cinema Centre, Germany

Figure 14: Parc de la Villette, France

17

Deconstructivism. Visually and intellectually stimulating, the steel follies provide a

frame for activity, in contrast to the idea of a park as open green space

(Rogers, 2011). Comparisons have often been made between the follies and the

fragmented red forms that appear in the Russian Constructivist drawings of El

Lissitzsky and Kasimir Malevich, among others (Hodge, 2006).

Koolhaas and his Office for

Metropolitan Architecture, based in

Rotterdam, The Netherlands, were

represented in the exhibition by a

1982 unbuilt project for an

apartment building and observation

tower in Rotterdam. The monolith is

distorted by the towers, which tilt

and project from its volume, and

the towers are distorted by the

monolith, which appears to slice

through them (Hodge, 2006). With

famed architect Rem Koolhaas at

the helm, architecture firms OMA

and LMN gave Seattle one of the

world’s most stunning

Deconstructivist buildings in the form

of the Seattle Central Library. This

groundbreaking structure consists of

eight horizontal layers in varied sizes,

encased within a structural steel and glass skin which defines additional exterior

public spaces. Elevating the library beyond a mere receptacle for books, the

design focuses on information as a whole where all forms of media can be

accessed, reflected upon and discussed. Dutch architect Rem Koolhaas, a

founding partner of OMA, has largely defied labels, variously categorized as

Deconstructivist, Modernist and Humanist by critics. The Pritzker Prize winner may

at times be controversial for designs that seem visually disjointed or difficult to

actually use, but in the Seattle Central Library he has helped create one of

America’s most notable structures, and one of the most important

Deconstructivist buildings in the world (Rogers, 2011). Koolhaas’s work has been

less about violent fragmentation and sharp forms than that of some of his

Figure 15: Seattle Central Library, Washington

18

https://weburbanist.com/2011/06/13/deconstructivism-7-architectural-wonders-of-the-world/

colleagues in the exhibition. Like Eisenman, Koolhaas has given equal weight in

his practice to writing and theoretical speculation (Hodge, 2006).

Daniel Libeskind, a Polish-born architect whose practice at the time was based

in Milan, Italy, was represented by City Edge (unbuilt, 1987), an office and

residential development project for the Tiergarten section of Berlin. The major

elements of Libeskind’s scheme was a gigantic horizontal bar, elevated at an

angle by slender supports so that

at one end it hovers ten stories

above ground, overlooking the

Berlin Wall. Libeskind’s drawing

and models are jarring and evoke

a sense of conflict and chaos

(Hodge, 2006). Daniel Libeskind’s

Jewish Museum in Berlin is

considered the best example of

Deconstructivism in the world. This

zig-zagging structure, clad in thin

zinc sheeting punctuated by

windows in shapes meant to recall

wounds and scars, houses two

millennia of German Jewish

history. It sits upon a space once

occupied by the Berlin Wall, and

butts up to an 18th century

appeals court which is also part of

the museum. Its shape is said to

be inspired by a warped Star of David, and its jaggedness is likened to the

human condition. A huge void cuts through the form of the museum,

symbolizing the absence left by the thousands of Berliners who were killed or

deported in the Holocaust. The architect says, “I believe that this project joins

architecture to questions that are now relevant to all humanity. To this end, I

have sought to create a new Architecture for a time which would reflect an

understanding of history, a new understanding of Museums and a new

realization of the relationship between program and architectural space.

Therefore this Museum is not only a response to a particular program, but an

emblem of Hope” (Rogers, 2011).

Figure 16: Jewish Museum, Germany

19

https://weburbanist.com/2011/06/13/deconstructivism-7-architectural-wonders-of-the-world/

Hadid’s and Libeskind’s designs in the MoMA exhibition are arcane, almost

precious, space-age displays of refinement; others, particularly of Frank Gehry,

gain power from their matter-of-factness- their rough joints and inexpensive

materials(McLeod, 1989, p.48).

2.6 DECONSTRUCTIVISM IN INDIAN CONTEXT

Architectural deconstruction in India seems to have been superficially borrowed

inspired by the novelty of form in its western counterpart but not its theoretical

paradigm. Sensitivity to context and indigenous identity are not the sole

objectives of all contemporary Indian architecture. In some cases, the forms are

induced with Indian symbols, making them appear less exotic and the resultant

complexity communicates different values to a wider audience (Mukerji & Basu,

2013). “It is not that the question of how to be both modern [contemporary] and

Indian has been resolved” (Brown, 2009, p.162 as cited from Mukerji & Basu,

2011), the search for an Indian identity continues. The continual demands for

distinct cultural recognition from all corners of the nation bear witness to the

failure of reconciliation to a unified identity of Indian-ness (Mukerji & Basu, 2013).

There is an instigation that in a country like India with varied cultures and

customs, this kind of architecture could be common to all. A design, to appeal

to a larger audience generally needs to either have the regional contexts or a

common one that is devoid of any signifiers as such. Deconstructivism can be

considered to be among the latter. Frampton recommends a concern for

nature over culture, and the tactile over the visual (Frampton, 1983/2002, p.22 as

cited from Mukerji & Basu, 2011, p.4).

2.7 INDIAN ARCHITECTS WHO MAY HAVE USED IT

None of the internationally acclaimed Deconstructivist architects acknowledge

the title themselves except Eisenman and Tschumi. They call it their way of

expressing. Similarly, rather than a “style” of architecture, deconstruction is an

architectural trope much like juxtaposition or ornamentation from the Post-

Modern era. The Indian architects may also not be willing to call themselves

“deconstructivists”; rather they use it as an inspiration or a tool of expression.

Charles Correa’s Hindustan Lever Pavilion is an early example displaying a

striking fragmentation of space, and the Tillany Museum, Bangalore, by Inform

Architects, may be cited as a conscious effort at deconstruction (Mukerji & Basu,

20

2011, p. 14). In the Infosys Mysore campus, Hafeez Contractor employs the

formal hermeticism of deconstruction, by constructing gravity-defying structures,

with an approach of dissolution of all meaning for the Software Development

Block-4 (Mukerji & Basu, 2013). Sanjay Puri, the Mumbai based architect subtly

utilizes this concept in most of his works, AVLC Building, Lonavala being an

example for its design of interior spaces (Mukerji & Basu, 2011, p.14). Built

examples of deconstructivist architecture in India is not as vividly spotted as

other styles. Mukerji & Basu, (2011) speculates that building technology and skill

available in India is probably not favourable to such architecture. It may be

conjectured the absence indicates that the ideals of deconstruction are yet to

become noticeable realities of the Indian society. He also states that several un-

built design competition entries and students’ project reveal the contemporary

Indian architect’s fancy for this strain of post modernism.

Charles Correa’s creation of the pavilion for Hindustan Lever at the Industrial

Trade Fair (1961) stands as the early example of deconstructivism in India using

the concepts of fragmentation, warped planes and diagonal elements. These

architectural tools have often

been used to generate

contemporary designs. This

structure can be described as a

mass of random, folded,

exposed concrete slabs,

creating the image of a huge,

warped and crushed packing

crate with broken legends of

Hindustan Lever boldly stenciled

across. This pavilion was

designed as a deliberate

attempt to excite and invite

(Grover, 2011). It follows the idea of progression through a maze, creating a

path of ramps and platforms encased by walls. In this instance the space is

enclosed by a random folded reinforced cement concrete sprayed under

pressure in-situ. The platform provides both spatial and visual interest. The

toplight “cannon” openings are used to set up air convection currents (Uddin

Khan, 1984, p.30). An exhibition designed by David Adjaye and curated by Irena

Murray, displayed the Hindustan Lever Pavilion model, in tropical hardwood is

spectacular; its design still radical after the building was erected in Delhi in

Figure 17: Hindustan Lever Pavilion, Delhi

21

1961(Jackson, 2014, p.155). The book of Top Architects- Asia [2] (The Leader of

Architecture) published by Archiword gives a compilation of Charles Correa’s

works in which Correa explains how his design for the pavilion inspired another

building of his, a museum, in Winnipeg. He asserted that the search for the form

of the museum was of particular significance, as it led him back to one of his

earliest works, the experimental Hindustan Lever Pavilion (1961). He explained

how the random-plate concrete structure of it was able to generate an

ambience that expressed a heroic theme.

Hafeez Sorabe Contractor was born in Mumbai in 1950 in a closely knit Parsi

family. As the surname suggests, Contractor’s family has deep roots in the

building trades. By the early 20th century, Contractor says, his ancestors were

wealthy industrialists, well diversified into power plants and liquor (Brook, 2014). In

the book, ‘Architect Hafeez Contractor- Selected Works (1982-2006)’ written by

Prattima Manohar (2006), she quotes Contractor about his style-

"As an architect I have also refused to be bound by one set of beliefs.

According to me, the chase for a singular perspective of architecture (read

style) is in conflict with the present era where belief is often inundated by

exponential change”.

As iterated by Mukerji & Basu,

2013, in the Infosys Mysore

campus, Hafeez Contractor

employs the formal

hermeticism of deconstruction,

by constructing gravity-defying

structures, with an approach of

dissolution of all meaning for

the Software Development

Block-4. It started as a project

that aimed at erecting the

most employee-friendly work space. Mr. Narayana Murthy asked Ar. Hafeez

Contractor to design an avant-garde workspace that houses 2500 professionals

(White Flag, 2011, p. 27). The building is a composition of jagged facades and

lopsided fragments. It was inspired by the rugged profile of the landscape, to

echo the spirit of the site and the tenets of origami (Manohar, 2006). This

elevation is devoid of any concrete walls, solely built with laminated glass,

double glazing and ceramic frit glass for the outer skin (White Flag, 2011, p. 29).

Figure 18: Infosys Software Block IV, Mysore

22

The signs of distorted contours in all three directions give a sense of visual

rejuvenation. Protrudded, jagged planes of the structure form abstract

compositions with fractured geometry. The striking features of the building that

coincides with that of deconstruction are the various angles & inclinations and

skewed atrium pockets (Manohar, 2006). An open-plan with rectilinear profiles,

with an extruding triangle or “shell” that becomes the primary member of the

structure shall be observed. The glazing of the structure is done at this level. The

glass is bound in place using secondary and tertiary framing support structures.

The glass triangles are not merely aesthetic spaces but also functional in the

sense that it has been utilized to

create additional rooms. There has

been a confession from the

architect’s side about the

immense challenges in the

structural work of the building

(White Flag, 2011, p. 33). Another

creation of Contractor in lines with

deconstruction is the Textile Lab

and Research Institute,

Prabhadevi, Mumbai. Eccentric

curving shapes, fluid facades,

abrupt angles fashion the façade in to a contemporary instance. The

metaphoric interpretation of this structure is considered to be the flowing fabrics

and spinning wheel (charkha). The entire building is raised on a podium. There

are separate blocks for research combined with admin, conference facilities

and guest houses & staff quarters. The central atrium has a steel frame swathed

in Teflon fabric, symbolically representing the ‘charkha’. Other probable decon

works of Contractor may be the Security Exchange Board of India, Mumbai,

Infosys Progeon, Bangalore, Proposed Reliance Office, Mumbai and Jindal

Office, Gurgaon having a common feature that a one point projection with a

vertical member seeping through it.

The Architects Magazine blog (December, 08, 2016) written on the Manoj

Bhavan Highway Restaurant in Maduranthagam designed by Ar. Murali

Murugan of Murali Architects, Chennai. This restaurant owned by Mr.

Padmakaran, is situated along the 100 feet wide Chennai- Trichy National

Highway. The idea behind this project in this concept is to attract and arrest the

attention of fast moving highway vehicles from a distance. The use of geometry,

Figure 19: Façade of Infosys Software Block, Mysore

23

bold shapes, and sharpness, play of varying silhouette, material, texture, colour

and form is a refreshing attempt in architecture. The massive structures with

irregular angles create three

different faces to the onlookers.

It tries to denote that the

travelers feel welcome from all

directions. The three faces

create a visual axis that at first

appears as haphazardness and

chaos. The novel design creates

an atmosphere of building mass

and slanting walls that is utilised

in the rejuvenating interiors. The

use of concrete creates an unfinished look. Exteriors and interiors of the

restaurant make use of exposed concrete and plywood shuttering. Cantilevers

are formed by steel truss framework. Use of exposed concrete and neutral color

scheme of various tones of grey and white denotes balance and uniformity

complimenting the usage of the irregular angles. The director’s room is

cantilevered to overlook processing and flow. The niches formed inside the

building due to the irregular walls, is used for seating along the interior. The tower

adjacent to the restaurant building acts as a focal point till 3 km radius. It can be

described as a structure of verticality, vastness, massiveness and landmark.

Another probable decon creation by Murali Architects may be House of

Arunagiri.

Manit and Sonali Rastogi are

the creators of Morphogenesis,

based in Delhi and Bangalore.

They believe in sustainability

and try to imbibe it in every

design of theirs. Infosys

Campus, Nagpur is a

contemporary attempt at that.

This on-going project has a

bunch of modules or tubes stacked one on top of another to achieve column-

free spaces in a 4- floor format and vertically connected through an atrium and

staircase. It maintains an angle of ± 22.5° throughout to generate new ground at

elevated levels. The major breakthrough of this project is to attain a net zero

Figure 20: Manoj Bhavan, Madurantakam, Tamil Nadu

Figure 21: Infosys Campus, Nagpur

24

discharge of energy, water and waste. The master plan is radial ideated in

accordance to the topological condition and wind direction at the site. The

orientation of the building is such that 90% of the building shall be daylit and is

glare-free. Chettinad Health City located in Chennai is a centre for research

and healthcare. This city is an important hub for education and the reason for

the design choice of a bold and contemporary aesthetic embodies this youthful

and progressive stance. Almost the entire surface developed from geometric

tessellations resulting in a faceted and fluid surface texture across the entire

auditorium. Technically, the surface area was augmented for better acoustics

by creation of 3-D triangulated pattern. Lighting was designed in ribbon-like

coves running within the acoustic board lines. Resource optimization was

employed with the acoustic boards to create a tectonic play (Webb, et al.,

2016).

InForm architects is the brain child

of Ar. Kiran Venkatesh based in

Bangalore. The Tillany Museum

near Bangalore, by InForm

Architects, is considered to be a

conscious effort at

deconstruction (Mukerji & Basu,

2011, p. 14). The Tillany Fine Arts

Museum and Gallery is sponsored

by a charitable organization and

the social program of the

museum is to encourage highly

talented artisans and the ones

from poor not been able to

promote their work or have the

means to create art consistent

with their talents, and display their

work in the right environment.

Located near the village of

Baliganapalli, Tamil Nadu (about

60 km away from Bangalore), it

holds various paintings and sculptures. On the tabula-rasa site, a regular

Cartesian grid is subjected to local deformations generating three separate

bars. The central bar is manifested as a 40 foot high sky lit atrium with two

Figure 22: Tillany Museum, Baliganapalli

Figure 23: Elevation of Tillany Museum, Baliganapalli

25

interlocked flights of stairs and the floors on the two side bars become galleries

for exhibiting artwork (Descroll, 2013). Other examples with the use of

deconstruction by these architects are R Residence, KS Residence and

Clubhouse at VT.

Sanjay Puri Architects (SPA), founded in 1992, is one of the most sought after

architectural and design firms in India. His avant- garde architectural style is truly

unique and a true expression of his creativity. The essence of Sanjay’s design

theory is creating innovative design spaces that are contextual but at the same

time sustainable. “The ways spaces are being perceived and used are

constantly evolving and architectural and design is incorporating these

changes of perception based on demand as well as exploring new possibilities

of space dynamics.”

“My work strives to evolve innovative design solution that are contextual and

sustainable and create spaces that are exhilarating to experience while being

functional.” (White Flag, 2011, p.219)

Sanjay Puri worked under Ar. Hafeez Contractor through his 5 years of

architectural education and 4 years after, too. When asked about his

admiration for works of other architects, he replied the Jewish Museum in Berlin

by Daniel Libeskind, The Guggenheim Museum in Bilbao by Frank. O. Gehry and

BMW Welt in Munich by Coop Himmelblau. It can be noticed that all the three

architects are deconstructivists (Interview with Anil Mascarenhas for IIFL). His style

resembles deconstructivist architecture, according to an article in Wallpaper*

magazine, which analysed several Indian architects. Puri’s work is inspired by

those who have actively practised deconstructivism, such as Bernard Tschumi

and Rem Koolhaas. Several large volumes intersect and juxtapose at several

points in Puri’s design (Deepali Nandwani, Verve Magazine, 2017). In one of

Puri’s works, called The Street, an educational institution building, he has used

angular windows or the “Fenster windows” which are used by Frank Gehry in his

creation. The fenster windows are groups of tilted windows which according to

Gehry are “like a swarm of bees coming at a wall” (C. M. Mathewson, 2006).

“What’s the point of a house that looks similar to someone else’s? I prefer the

abstract – deviating from the boxes to explore spaces in a different light,” he

says. Sanjay Puri, the Mumbai based architect subtly utilizes this concept in most

of his works, AVLC Building, Lonavala being an example for its design of interior

spaces (Mukerji & Basu, 2011, p.14). The AVLC project was a 4,921 sq. ft. plot of a

leisure centre that would comprise plenty of lounge areas, cafeteria, souvenir

26

shop, badminton court, table tennis room, squash court, mother care room,

siesta room and children’s room, among others. The basic plan of the place was

to delineate the entire unit into several platforms of varying heights. Cafeteria,

library, office, lounge and internet café are separated only by ground level. The

beautiful natural surroundings shall be visible from each space within the

building. The floating panels in

the ceiling are linear trapezoidal

planes of varying heights and

depths highlighted with the use

of reflective lighting. Irregular-

shaped linear platforms in white

sandstone, with rising and falling

wood partitions separate the

rooms. The floating ceiling

panels and layered walls help in

achieving the abstract sculptural

feel. The exterior comprises of 24

ft. high wood and glass exterior

skin. Internal lounge platforms of

varying heights extend out in to

the landscaped foreground

creating continuity between

interior and exterior. The ceiling is

adorned with AC ducts and

structural system & electric cable

trays painted in black, the

floating panels in wood and

shades of white giving the

sculptural effect vividly. The

wood partitions are responsible

for privacy to the lounge areas,

display spaces, internet café and

library. The rear wall has been

fragmented into a series of panels accentuated by reflected light, thus again

giving the perfect sculptural backdrop. Each level consist a number of wooden

partitions that significantly change the direction in plan and vary in height and

thickness simultaneously. This in turn, creates a sense of rhythm and achieves the

sculptural effect. This project is famous for its inspirational designs which can

Figure 24: Entrance of AVLC Building

Figure 25: Interiors of AVLC Building

27

cohabit peacefully with nature functionally and creatively. There were two

major restrictions before the commencement of the project: the main steel

portal frame had already been ordered. Thus, the design had be worked

around the preconceived rectangular framework Puri managed it by weaving

of glass- wood skin in and out of the rectangular frame and creating angling

facades. This constraint would not be apparent even slightly in the built form

and was noted down from the words of the architect himself. Another restriction

was that it had to be completed within 6 months which meant the designs had

to be finalized within a week. In a week, they were ready with the designs,

issued working drawings, appointed contractors and commenced work, under

restricted budget. However, a considerable amount of design was improvised

on site during construction (White Flag, 2011, p. 219-225). “A while ago, I began

exploring the thought of sculpting the entire space; instead of breaking the

project into forms that juxtapose, what if I approach the building more

holistically?” he muses (Deepali Nandwani, Verve Magazine, 2017). The Bombay

Art Society has a design of fluid forms enmeshed together in parts emerging

from each other in parts constitute this small building.

2.8 PARAMETERS TO COMPARE ARCHITECTS

The parameters are based on design considerations inclusive of socio-cultural

and environmental aspects. The justification for selecting the parameters is done

on the basis of practicality. For analytical study of the architectural designs of

the selected architects, few parameters have been established such as-

Understanding their philosophy, ideas and inspirations

Aspects such as-

Functional

Spatial

Structural

Material

Aesthetics

Economics

User

Socio-cultural

Sustainability

28

These parameters change with time and technology availability. Each architect

has their own way of interpretation and analyzing various solutions for a single

problem (Khan & Raghuwanshi, 2003, p.5).

According to Frank Gehry, the list of requirements in a project that should be

intending on satisfying-

Functional requirements for current and future programs

For cultural characteristics of the organization

For efficiency of operation

For being a good neighbour

For the context and scale of the environment

For the feelings and emotional reactions to living in or visiting the structure

(Boland, Collopy, Lyytinen, Yoo, 2008).

29

CHAPTER 3

3. RESEARCH METHODOLOGY

The research design of the study is defined as the overall strategy used to

consolidate the data in a logical and coherent manner.

3.1 RESEARCH DESIGN

The study started as an exploratory one and transformed in to a descriptive

one. It predominantly would involve qualitative data and relatively less

quantitative, as the scarcity of influence of the movement has already been

established.

This study can be called a descriptive one since it aims at laying out the facts as

it is (by generating case studies), observing the buildings in isolation

(observational and interpretive study) and comparing it among the other

chosen architects’ works (comparative study), analyzing the pros and cons with

the help of the primary data collected through interviews conducted with the

architects, the officials/owners, structural engineers and labourers of those

buildings (analytical study) and the observational notes produced by the

RESEARCH DESIGN (DESCRIPTIVE)

SECONDARY DATA

COLLECTION

BOOKS, RESEARCH PAPERS,

JOURNALS, BLOGS, ARTICLES, ETC.

PRIMARY DATA

COLLECTION

INTERVIEW WITH

ARCHITECTS & PROFESSORS

INTERVIEW WITH

INMATES VISITS TO

BUILT STRUCTURES

METHODS USED

CASE STUDIES

HYPOTHESIS 1- CARD SORTING

HYPOTHESIS 2- SURVEY & INTERVIEWS

30

Infographic 1: Research Methodology

researcher. In addition to that, the two hypotheses shall also be tested in terms

of its feasibility and validity. A mixed methodology is considered to be used in

the study. It comprises of the above mentioned strategies- observational,

interpretive, comparative, and analytical. The research methods used in the

process are interviews, surveys, observation, interpretation, comparison and

analysis. The methodology shall be in the form of case studies.

3.2 SECONDARY RESEARCH

The work that has been done so far in this study is the extensive secondary data

collection from our own library and 5 other architecture colleges around

Mumbai, research papers from various online databases for research, blogs and

articles written on reputed portals, journals, etc.

about the concept in general

collect images and descriptions built examples abroad and in India

semiotic analysis of the already existing structures and spaces to narrow

down to keywords associated

about architects who practice or have in any one of their works

incorporated Deconstructivism

3.3 PRIMARY RESEARCH

A conversational interview with these professionals shall open avenues for

the problem

Visits to the built spaces which has been done with this as inspiration &

semiotic analysis and validation from the architects

Interviews & surveys with architecture students who are budding shall be

asked about their idea of deconstructivism and if it can have a future.

3.4 METHODS USED

The main objective of this research is to generate case studies of certain

unidentified deconstructivist buildings among us. This has been proposed

due to the reason that the secondary data with a deconstructivist

perspective has only been buildings of the West. Thus, generating case

studies of Indian buildings in this viewpoint would be of help to the

forthcoming researchers.

These case studies ideally are constructed with primary data but a few

details derived from the secondary data as well. To define a case study, it

31

is an empirical inquiry that investigates a contemporary phenomenon

within its real life context, especially when boundaries between

phenomenon and context are not clearly evident (Robert Yen, 2009)

There are two hypotheses framed to be tested on the lines of the topic.

The first one tried to verify if deconstructivist style can be considered

“secular”. For this, the method of closed card sorting has been chosen.

Card sorting is a method used to help design or evaluate the information

architecture of typically, a site. In a card sorting session, participants

organize topics into categories that make sense to them and they may

also help you label these groups. Card sorting will help you understand

your users' expectations and understanding of your topics. A closed card

sort works best when you are working with a pre-defined set of categories,

and you want to learn how users sort content items into each category.

The second hypothesis tries to find out the mentality of students and

professors of the architecture fraternity about deconstructivism being

treated as a style for mere on-paper designs and not for implementation.

This involved a survey and conversational interviews with the students and

professors respectively.

32

https://www.usability.gov/what-and-why/information-architecture.html


Chapter 5- HYPOTHESES TESTING

In addition to the case studies, two hypotheses were framed and each of them

had their own research methods. The inferences were made from the studies

and concluded in accordance to the statements.

5.1 HYPOTHESIS 1

5.1.1 STATEMENT

Deconstructivist buildings can be considered as devoid of any cultural or

religious signifiers, thus making it a secular style of architecture.

5.1.2 SECONDARY DATA

The term “secular” can be defined as having personal opinions and faith and

yet being neutral about it in general and respecting others’ faiths. In that case,

even a religious centre can be secular in the sense that it is subtle and does not

project itself superior. It is neutral in a way that it respects its own faiths as well as

others’. This is extremely similar to the definition for “pluralism” which is the

tendancy or tolerance to embrace the diversity and learn to live with it.

A deconstructivist building has always been linked to ‘meaninglessness’, among

other things. A book called ‘Deconstruction (Omnibus Volume)’ written by

Papadakis, Cooke & Benjamin (1989) states that deconstructivism represented

abhorrence of meaning- a sentiment shared by Tschumi, Eisenman, Derrida-

they termed it the “empty man”, a man without qualities. Eisenman asserts it as

‘nihilism’ or meaningless volumes. In the research paper, “Reflections of Post-

Modern Culture in a Post-colonial Context: Selected Experiences from

Contemporary Architecture in India” written by Ar. Arjun Mukerji, Research

Scholar and Dr. Sanghamitra Basu, Associate Professor from Indian Institute of

Technology Kharagpur, India, the author mentions that this type of architecture

would be common to all in a way that it is alien to all. Thus, it instigates a sense

of “inclusiveness” in a peculiar sense. If that is taken to be true, then in a country

like India with innumerous cultures and religions, a deconstructivist building shall

be called “secular” as it is devoid of any signifiers belonging to any culture or

religion.

58

5.1.3 RESEARCH METHOD

Card sorting is a method used to help design or evaluate the information

architecture of typically, a site. In a card sorting session, participants organize

topics into categories that make sense to them and they may also help you

label these groups. To conduct a card sort, you can use actual cards, pieces of

paper, or one of several online card-sorting software tools.

BENEFITS OF CARD SORTING

Card sorting will help you understand your users' expectations and

understanding of your topics. It is often most useful once you have done some

homework to find out about your users and understand your content. Knowing

how your users group information can help you:

OPEN AND CLOSED CARD SORTING

Depending on your needs, you may choose to do an open or closed card sort.

They differ as follows:

Open Card Sort: Participants are asked to organize topics from content

within your website into groups that make sense to them and then name

each group they created in a way that they feel accurately describes the

content. Use an open card sort to learn how users group content and the

terms or labels they give each category.

Closed Card Sort: Participants are asked to sort topics from content within

your website into pre-defined categories. A closed card sort works best

when you are working with a pre-defined set of categories, and you want

to learn how users sort content items into each category.

For this study, a closed card sorting activity was conducted. It was chosen so,

because the intent of the activity is clearer to the researcher. If it were

conducted as an open card sorting, it would make the process even more

vague and cumbersome. Then, the results shall not be obtained for the

hypothesis.

59



5.1.4 PREPARATION

The categories and the respective cards were prepared before going to the

field. On the field, the participants were “recruited” with a mandatory

requirement that they were taught about deconstructivism. It was essential for

the activity since the topic is the sole subject of the study. Without prior

knowledge of the topic, it would have not made sense to the participants.

The titles that were set for the closed card sorting method were:

Buildings with Cultural signifiers

Buildings with Religious signifiers

Religious buildings without any signifiers

Religious buildings with Deconstructivist concept

Deconstructivist buildings without any cultural or religious signifiers

For the participants to understand, if they were not aware of the word “signifier”

which is a semiotic term, the word was replaced with “representation”. Thus,

they were able to relate to it better.

TRIAL RUN: The participants were asked to first try out with 6 key words as a trial

run so that they understand what has to be done and get a hang of the game.

The key words were components or architectural elements that are quite

characteristic to certain kind of buildings. Funnily, participants were breaking

their heads for the trial run itself. It was delightful to see their interest and

enthusiasm for this activity. The keywords were:

Threshold steps

Bell Tower

Courtyard

Calligraphy

Jharokhas

Minarets

Figure 54: Trial Run for Card Sorting Method

60

REAL DEAL: After the trial run, the participants were asked to sort the real deal of

cards. There were 20 cards with pictures of buildings or parts of buildings with

which they were asked to categorize under the given titles according to their

understanding. Each participant took nearly 15- 20 minutes for the entire

process.

The following picture is a typical sorting of the cards, under the titles with

appropriate cards under them set out by the researcher.

Buildings with cultural signifiers-

1. Havelis are vernacular houses of predominantly the western India.

2. Chettinad pillars are components of the vernacular to the state of Tamil

Nadu.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

Figure 55: Researcher’s arrangement of the cards

61

3. Stepwells are most prevalent in parts of Rajasthan and Gujarat.

4. The terracotta tiled roofs of Kerala houses are characteristic of the place.

Buildings with religious signifiers-

5. Buddhist temple with a stupa and vimana

6. Iskon temple with the typical shikara gopura and finial

7. A gurudwara with golden dome and finial.

8. ITC Chola, a hotel in Chennai incorporating the vimana of a temple for its

balcony roof design.

Religious buildings without any signifiers-

9. A Bahai temple in Spain that looks serene and is a spiritual place but is

devoid of signifiers.

10. Lotus temple in Delhi is a common spiritual place.

11. A Shiv temple in Pune by Ar. Sameep Padora (sp+a ) does justice for a

temple in an urban area.

12. The spiritual dome in Pondicherry does not have any religious

representation.

Religious buildings with the concept of Deconstructivism-

13. A church design by Ar. Sanjay Puri. If the cross is not considered, the rest of

building is clearly decontructivist.

14. A proposed design for a temple in Khardi by Ar. Sanjay Puri.

15. The structure of Ramakrishna Mission designed by Ar. Snehal Shah.

16. A temple design by Ar. Sanjay Puri for Iskon. The silhouette is maintained

to be of the shikara gopura but is fragmented for an urban twist.

Deconstructivist buildings without any cultural or religious signifiers-

17. Design by Ar. Sanjay Puri for a commercial or institutional project.

18. Manoj Bhavan, a highway restaurant in Madurantakam by Ar. Murali

Murugan.

19. Origami House of Ar. Sanjay Puri

20. Deoli Club is clearly a deconstructivist building devoid of any

representations.

62

5.1.5 ACTIVITY

The activity was conducted in Bharatiya Vidya Peeth College of Architecture,

Kharghar amongst a sample size of 15: 12 students and 3 faculty members of the

college. Most of the students that participated in the activity were final year

students who were just about to start their final year thesis work. They

enthusiastically engaged in the activity which turned out to be fun for them and

enriching for the study.

ADITHI, 3rd YEAR

Figure 56: Participant of Card Sorting Method

63

JAYALAKSHMI, 5th YEAR

AARTHI, 5th YEAR



64

GIRISH, 5th YEAR

MUSAVVIR, 5th YEAR SAMIR, 5th YEAR


Figure 60: Participant of Card Sorting Method Figure 61: Participant of Card Sorting

Method

65

SIMRAN, 2nd YEAR

ADITI, 5th YEAR



66

REJAISH RAMACHANDRAN

Faculty of Urban Design

SHERIL

Faculty of Design, Building Construction,

Services, Theory

TRUPTI KAMAT

Faculty of Design, Building Construction,

Services, Theory


Figure 65: Participant of Card Sorting Method Figure 66: Participant of Card Sorting Method

67

JINISHA, 5th YEAR

MANALI, 5th YEAR



68

BHAGYASHREE, 5th YEAR

WASEEM, 5th YEAR



69

5.1.6 RESULTS

The responses of the participants after they have categorized the 20 cards

according to their understanding of the titles and their interpretations of the

pictures on the cards were recorded in the form of photographs, initially.

ADITHI, 3rd YEAR

JAYALAKSHMI, 5th YEAR AARTHI, 5th YEAR

Figure 71: Response from a participant

Figure 72: Response from a participant Figure 73: Response from a participant

70

GIRISH, 5th YEAR MUSAVVIR, 5th YEAR

SAMIR, 5th YEAR ADITI, 5th YEAR

SIMRAN, 2nd YEAR




71

REJAISH RAMACHANDRAN

Faculty of Urban Design

SHERIL

Faculty of Design, Building Construction, Services, Theory

TRUPTI KAMAT

Faculty of Design, Building Construction, Services, Theory




72

JINISHA, 5th YEAR

MANALI, 5th YEAR



73

WASEEM, 5th YEAR

BHAGYASHREE, 5th YEAR



74

5.1.7 INFERENCES

After the compilation of the responses from the participants, a spreadsheet was

made that contains the number of times a card repeated itself in a particular

group. This frequency was then converted into percentage. The descending

order of the frequencies, most occurred to least occurred was arranged.

Hence, the following inference has been made. The excel sheet containing the

figures are attached as well.

These groups were determined to see if the participants are able to use

semiotics to identify important components and categorize. This does not have

any use in the study.

87%

80%

73%

60%

53%

33%

27%

13%

13%

80%

67%

67%

60%

13%

13%

27%

Figure 86: Result of Card Sorting Figure 87: Result of Card Sorting

75

However, the following groups have high significance and relevance to the

study. The titles are “religious buildings without any signifiers”, “religious buildings

of deconstructivism” and “deconstructivist buildings without any cultural or

religious signifiers”. Due to prior knowledge about the Lotus Temple in Delhi,

Mantri Mandir at Pondicherry, etc., the respondents’ judgment was hacked.

Identifying religious buildings with deconstructivist concept have turned out to

be 60% at maximum, followed by 47%, 40% and 33%.

40%

33%

33%

27%

20%

20%

20%

20%

20%

13%

13%

13%

13%

60%

47%

40%

33%

27%

20%

20%

20%

13%

13%

Figure 88: Result of Card Sorting Figure 89: Result of Card Sorting

76

The following title is the most important part of the study and this helps entirely in

knowing the perspective students have about the forms of deconstructivist

buildings.

It is found that 93% of the times at maximum, a deconstructivst building was

identified as being devoid of signifiers. It is followed by 80%, 73%, 67% and 53%.

93%

80%

73%

67%

33%

33%

20%

13%

13%

53%

Figure 90: Result of Card Sorting

77

5.1.8 CONCLUSION

The closed card sorting method was helpful in understanding the mindset of the

students of B.Arch about deconstructivism and its utilization as a secular style of

architecture. The term “secular” can be defined as having personal opinions

and faith and yet being neutral about it in general and respecting others’ faiths.

In that case, even a religious centre can be secular in the sense that it is subtle

and does not project itself superior.

A survey was conducted among 100 B.Arch students which included questions

about this hypothesis. From the students’ survey it was found that 45% were

neutral about the idea and 38% agreed that it is plausible while 13% disagreed

that deconstructivist style could be considered “secular”. On correlating the

results from the survey and the activity (93% of the times at maximum, a

deconstructivst building was identified as being devoid of signifiers. It is followed

by 80%, 73%, 67% and 53%) to the hypothesis, one can say that if being devoid

of cultural and religious signifiers is a part of being secular, deconstructivist

buildings are highly on the affirmative side of it.

5.1.9 LIMITATIONS

Even though the demographics for the test was B.Arch students, it had to

be restricted to students that are aware of deconstructivism. Therefore,

students from 2nd year and above were asked to do the activity.

There were pictures on the cards that were well-known among the

architecture crowd. This induced a preconceived bias in their

categorization.

If the first pointer mentioned above had to be maintained, then 1st year

students may be excluded. However, the second pointer of bias due to

knowledge could have been avoided if it were for 1st year students,

Another striking limitation, pointed out by a faculty that took part in the

activity, is that just via pictures deconstructivism cannot be determined. It

has deeper meaning to it, which could not be acknowledged through a

mere 2D picture of buildings.

78

5.2 HYPOTHESIS 2

5.2.1 STATEMENT

“Deconstructivist architecture is believed to be mere on-paper designs and is

not meant for implementation.”

5.2.2 SECONDARY DATA

The deconstructivist ideas have always been taught in the history of architecture

and as having the most creative and experimental kinds of designs. It has

always made its round as avant-garde. Mukerji & Basu (2011) states that several

un-built design competition entries and students’ project reveal the

contemporary Indian architect’s fancy for this strain of post modernism. It can

be seen the most in competitions and jury entries as it triggers creativity, but not

in implementation as much.

It can have many speculations such as: India being a culturally rooted country,

the concept is way too radical for implementation. Or, it can also mean that the

country is not as developed to facilitate construction of such an advanced

design (Mukerji & Basu, 2011). There are various voices to this. However, a set of

concrete alternatives shall help in a better understanding of the state of affairs

in this regard.

5.2.3 RESEARCH METHOD

The secondary data suggests that the mentality of people in the architecture

fraternity about deconstructivism is that it is a mere experimental concept that

can be done for superficial reasons and cannot be used for implementation.

The research paper that stated this was written 7 years back and the scope for

urbanization and futuristic ideas are blooming. In such a situation, the researcher

would like to see if there has been any change among the mindset of people

about this. The method used to figure this out has been chosen as survey and

conversational interviews with students and faculties of architecture

respectively. With this, it can be determined if the mentality has changed in

time, or it remains same despite globalization and urbanization. The sample size

for the questionnaire amongst students was set to be 100. The idea was to get

insights from all across the country. It was succeeded by fetching entries from 30

different colleges across 10 cities from the country. It was an online

questionnaire, for better convenience and accessibility.

79

5.2.4 PREPARATION

QUESTIONNAIRE & SURVEY

A sample size of 100 students pursuing B.Arch (reason being, this concept is

unfamiliar to students without the architecture background) to fill out a

questionnaire that was framed with the goal of understanding a few aspects:

Demographics Data

Awareness & Knowledge Testing

Familiarity & Usage Testing

Acknowledgement Among Colleges & Competitions: For Hypothesis- 2

Personal Opinions

Awareness About Deconstruction In Indian Context

To Find If It Interests Them

Qualitative Data- Their Opinions: For Hypothesis 2

Opinions About The Hypothesis- 2


Closing Thought

To spread the word across colleges in Mumbai, a poster was made with the QR

code and URL of the questionnaire giving them easy access to the

questionnaire. This poster was given to the 5 college libraries and also put up on

the notice boards. It fetched few responses. (Refer Appendix (i))

Figure 91: Poster for fetching entries

in survey

Figure 92: Poster for fetching entries

in survey

80

As an alternative, the URL was shared on social media such as Facebook and

WhatsApp. It was also sent to friends who in turn took charge making sure that

the sample size was met. Finally, 105 entries were obtained. From that, a random

of 100 was chosen for the study and the inferences were done.

INTERVIEW WITH SKETCHING

An interview with the teachers of architecture from various colleges was

conducted by means of a question bank that targeted at understanding a few

aspects:

Demographics Data

Awareness & Knowledge Testing

Familiarity & Usage Testing

Acknowledgement Among Colleges & Competitions: For Hypothesis- 2

Personal Opinions

Awareness About Deconstruction In Indian Context

To Find If It Interests Them

Qualitative Data- Their Opinions: For Hypothesis 2



Personal Thoughts

Better Understanding with comparison

Inputs On Final Product Brainstroming

Expressing Their Insights- Inclusion Of Sketching

The interview was done with 8 faculties, of which 7 are teaching as full time

professors while 1 is a practicing architect who acts as a guest lecturer.

5.2.5 SAMPLE QUESTIONNAIRE

The unfilled questionnaire has been attached that has the questions that were

put forth for students and professors. The questions are marked with their

purpose and utility in the study. The questions were common among students

and teachers until a point and more qualitative questions were added in the

professors’ questionnaire to extract more insights from them.

(Refer Annexure (iv) for the sample questionnaire for students and Annexure (v)

for professors)

81

ANNEXURE (iv)


ARCHITECTURE (QUESTIONNAIRE FOR STUDENTS)

Hello! I'm Akshaya, doing M.Des (Sem IV), Design Research from the National

Institute of Fashion Technology (N.I.F.T.), Mumbai. This is for my final year

dissertation in the topic "Deconstructivism in Indian Contemporary Architecture".

Thanks in advance for sparing your time for my survey. Please answer all the

questions to the best of your knowledge. On the flow of the questions, you might

be able to understand the objectives of my research. If you have any insights or

suggestions on this topic, feel free to drop a mail to the ID- [email protected]

Now, let's start, shall we?

*Required

1. Name * _______________

2. Year * ________________

Mark only one oval.

1st

2nd

3rd

4th

Final Year

3. Institution * _________________

4. Have you come across the term "deconstructivist architecture" in

your syllabus? *

Mark only one oval.

Yes

No

Maybe

DEM

OG

RA

PH

ICS D

ATA

A

WA

REN

ESS &

KN

OW

LED

GE

TESTI

NG

127

5. Which of these terms do you think fits the description of "deconstructivist

architecture" best? *

(Multiple selections is possible)

Tick all that apply.

Deformed, distorted & fragmented

Exotic, bizarre, complex & irreproducible

Haphazard, unplanned, pointless & reckless

Planned chaos, creative tool, exploratory & experimental

Lethargic, tacky, unintended & unusable

Devoid of meaning, cultural consensus & context

Other: _______________

6. Which of these architects do you think follow "deconstructivist architecture"? *



Frank Lloyd Wright

Frank Gehry

I.M.Pei

Bernard Tschumi

Le Corbusier

Peter Eisenman

Philip Johnson

Zaha Hadid

AW

AR

EN

ESS &

KN

OW

LED

GE T

ESTI

NG

128

7. Which of these buildings do you think can be categorized as

"deconstructivist"? *



Option 1 Option 2

Option 3 Option 4

Option 5

AW

AR

EN

ESS &

KN

OW

LED

GE T

ESTI

NG

129

8. How often do you use this concept in your designs? *

Mark only one oval.

Frequently 1 2 3 4 5 Never

9. Do you participate in design competitions?

Mark only one oval.

Yes

No

Maybe

10. Mention how strongly you agree or disagree to the following statements *

Mark only one oval per row.

Strongly

Agree

Agree Neutral Disagree

Strongly

Disagree

Deconstructivism designs are

acknowledged in the End

Juries

It evaluates one's creativity

and

exploratory intent

It is only fit for designing on

paper, not for implementation

Design entries for competitons

and pitches encourage

Decon ideas

Professors appreciate the

deconstructivist ideas in class

assignments

Decon ideas are feasible for

India

FA

MIL

IAR

ITY

& U

SA

GE T

ESTI

NG

U

ND

ER

STA

ND

ING

AC

KN

OW

LED

GEM

EN

T A

MO

NG

CO

LLEG

ES &

CO

MP

ETI

TIO

NS-

FO

R H

YP

OTH

ESIS

- 2

130

11. What would this style represent, if it were in your designs? *



Creativity & Imaginative

Unimplementable & unusable

Radicalism & Experimental

Reckless & lethargic

Other: _______________

12. Are you aware of any Indian architect who uses this style of architecture? *

Mark only one oval.

Yes

No

Maybe

13. How strongly do you agree that this style may have a future in Indian

context?

Mark only one oval.

Strongly Agree 1 2 3 4 5 Strongly Disagree

SPECULATIONS (This section intends on understanding the thought process of the student)

14. Does Deconstructivist Architecture interest you? *

Mark only one oval.

Yes

No

Maybe

PER

SO

NA

L O

PIN

ION

S

AW

AR

EN

ESS A

BO

UT

DEC

ON

STR

UC

TIO

N IN

IND

IAN

CO

NTE

XT

TO F

IND

IF I

T IN

TER

ESTS

TH

EM

131

15. Which of the following do you feel may be the difficulty faced while

constructing a Decon building in India? *

The answers may be subjective. Express the answers with respect to the Indian

situation. Mark only one oval per row.

Most

Difficult

Difficult

Manageable

Convenient

Most

Convenient

Contextualizing

Human Interaction

Technical

difficulties such as

plumbing,

electrical, etc.

Furniture

arrangement

Climatic conditions

Cost &

Maintanence

16. Which among these do you think could be the reason for Decon being

unpopular in India?*



It involves advanced technology that India is not up to date with

India is a culturally rooted country where radical designs seem misfit

It is theoretical and not practical

It has not occurred to the architects to make use of this style

Other: ________________

QU

ALI

TATI

VE D

ATA

- TH

EIR

OPIN

ION

S: FO

R H

YPO

THESIS

- 2

OP

INIO

NS A

BO

UT

THE H

YP

OTH

ESIS

- 2

132

17. Mention how strongly you agree/ disagree to the following statements

Mark only one oval per row.

Strongly

Agree

Agree Neutral Disagree Strongly

Disagree

"India is a culturally diverse

country"

"Deconstructivism does not

signify any culture/ religion"

For anything to be "inclusive", it

should either encompass

everything or nothing at all

There is a possibility of India

embracing Deconstructivism

as a "secular" idea

18. Any personal views about Deconstructivism in India?

______________________________________________________

19. Is there anything you would like to add to this research?

______________________________________________________

OP

INIO

NS A

BO

UT

THE H

YPO

THESIS

- 1

CLO

SIN

G T

HO

UG

HTS

133

ANNEXURE (v)

(The following questions, in addition to the above were given for professors)

20. How do you think decon could be made contextual to India?

_____________________________________________________________

21. Decon is tagged avant-garde and radical. Surrealism is also quite radical.

From one of the data from 2°, one of the architects mentioned that he used this

concept to grab attention. From the History of Visual Merchandising, surreal

paintings were also used for the same. Do you think it is fair to compare the two?

__________________________________________________________________

22. Erno Rubik was a professor in an architecture school. He made Rubik’s Cube

as a teaching tool to understand 3D objects. Kindergarten gifts were conceived

by Friedrich Froebel for children but were used by Bauhaus artists for

visualization. What about a product that helps one stimulate decon ideas?

___________________________________________________________________

23. Talk about the connection between

Decon & Smart cities

Decon & Parametricism

Decon & secular architecture

24. How do you identify with Decon architecture and Indian context?

____________________________________________________________________

25. Sketch your idea of deconstructivism while also describing.

Mention the

material,

geometry,

inspiration,

structural innovation,

effects

Utilization- public spaces like library, museum, café, etc., or

private spaces like offices, residences, etc.

Explorations

processes

EX

PR

ESSIN

G T

HEIR

IN

SIG

HTS

- IN

CLU

SIO

N O

F

SK

ETC

HIN

G &

PR

OTO

CO

L M

ETH

OD

INPU

TS O

N F

INA

L

PR

OD

UC

T

BR

AIN

STR

OM

ING

BETT

ER

UN

DER

STA

ND

ING

WIT

H C

OM

PA

RIS

ON

134

5.2.6 RESULTS

A spreadsheet was made of the responses of 100 students that pursue B.Arch

and another with the responses from the professors. Since the professors had

more qualitative questions, the entire dialogue between them and the

researcher has been transcribed. The excel sheets have been attached and

inferences have been made as well.

The dialogue between the professors and the researcher has been attached for

reference. There were 8 professors of different colleges such as Pillai College of

Architecture, D.Y. Patil College of Architecture, L.S.Raheja College of

Architecture and J.J. College of Architecture.

(Refer Annexure (vi) & (vii))

82

ANNEXURE (vii)

RESPONSES FROM PROFESSORS


ARCHITECTURE

1. Name: Ar. Mandar Parab (H.O.D.)

2. Institution: L.S. Raheja College of Architecture

3. Subject: Design and Construction

4. Experience: 20 years


architecture" best? * (Multiple selections are possible)







Other: _______________


(Multiple selections are possible)

Frank Lloyd Wright

Frank Gehry

I.M.Pei

Bernard Tschumi

Le Corbusier

Peter Eisenman

Philip Johnson

Zaha Hadid

167


"deconstructivist"? * (Multiple selections are possible)

Option 1 Option 2

Option 3 Option 4

Option 5

8. What is the first thing that comes to your mind when asked about

“Deconstructivism”? Organised Chaos

168


Strongly

Agree


Strongly

Disagree



Juries

▓


and exploratory intent

▓



▓

Design entries for competitions


Decon ideas

▓

Students incorporate the


assignments

▓


India

▓

10. Are you aware of architectural design competitions conducted in India?

Memorial in Mumbai (Baba Saheb Memorial)

11. What would this style represent, if it were in your designs? * (Multiple

selections are possible)





Other: _______________


Yes (Kamal Malik)

No

Maybe

169


context?




Yes

No

Maybe


constructing a Decon building in India? * (The answers may be subjective.

Express the answers with respect to the Indian situation)

Most

Difficult

Difficult

Manageable

Convenient

Most

Convenient

Contextualizing

▓

Human Interaction

▓

Technical difficulties

such as plumbing,

electrical, etc.

▓

Furniture

arrangement

▓

Climatic conditions

▓

Cost & Maintanence

▓

170


unpopular in India?* (Multiple selections is possible)





Other: ___________________________


Strongly

Agree


Disagree


country"

▓



▓




▓



as a "secular" idea

▓


Driven by market forces


Nice, experimentation should be done


Should blend with regionalism

171





It depends on how strong you are in putting forward your ideas. It is a good

idea, but you cannot just stimulate the idea. It depends on the mindset,

upbringing, institutions they are in, one who mentors them, etc.





Different ideas are being put across. However, you can never say what can

help, that is difficult. The manner in which the thought process works is very

important. It requires exposure for creativity. Why does one have to follow just

Frank Gehry or Zaha Hadid? Why couldn’t one initiate a new style of avant-

garde?



This does not necessarily have to be connected. Smart cities have

different criteria for construction.


Ofcourse, these two can be related. Parametricism is a tool. It can be very

important to explore decon ideas.


Maybe. It can be a thought.


Yes, there may be a scope for this. You never know. But it has a lot of factors

to consider. If such ideas are accepted by clients, then sure, why not? Also

however, clients are keen looking for fruit-bearing.


Mention the

material,

geometry,

inspiration,

172


effects



Explorations

Processes

Figure 93: Ar. Mandar Parab’s depiction of Deconstructivist building

173

TRANSCRIPTION:

(5.58 minutes)

MP: Very interesting, actually. Just give it some time. What is it? I mean, what do you

want me to draw for? If it all, it has be something like, you know “utilization of it as a

public space”, or what?

AD: No, so when you’re sketching, what is the utilization you’re thinking of? Just, just

imagine some design that you want it to be… If you want colours also…

MP: No, no, it’s okay… *after a long pause* It could be something, like, if you’re

thinking about a house, your own personal house, it could be in the form of

something like a cliffhanger. Okay, where you have space completely, without

interference. Okay, so the whole thing with your cantilever, so it just projects out…

the appearance can be made, you know, very experiential space where, you know

the approach is like, the site could be something like hilly which could be sub-terrain.

Like you do not know where you’re reaching. And then when you come out, you

come out into a place which is like a cliffhanger. You enter the space, and the

moment you’re into any of the spaces, the spaces would be something which is very

dynamic in nature. It will be in a place with those rocky, boulders and all that. It

would be dreadful if you look down. It would be termed as “cliffhanger”.

AD: So, what about the materials you’d use? Conventional ones or experimental in

that also?

MP: To suit this, it will be something that stands out also. It would not be a material

which is not comfortable, but… Something as basic as this. It will be like you’re

entering a cave, where you end up in a space which is endless, like a big vacuum in

front. Very personalized residence.

AD: What about the internal orientation? Like, where the bedroom comes and all

that..?

MP: That really doesn’t matter. To me, these are all spaces which one can only

dream of. Practically these are very difficult. It doesn’t matter if it is a bedroom, it is

just the volume and even if I lie down there, it doesn’t matter.

174


ARCHITECTURE

1. Name: Ar. Mildred Jose


3. Subject: Architecture Design, Architectural Theory, Humanities, Building

Construction, Working Drawing










Other: _______________



Frank Lloyd Wright

Frank Gehry

I.M.Pei

Bernard Tschumi

Le Corbusier

Peter Eisenman

Philip Johnson

Zaha Hadid

1

1

1

1

1

175



Option 1 Option 2

Option 3 Option 4

Option 5


“Deconstructivism”? Fragmentation

1 1

1

176


Strongly

Agree


Strongly

Disagree



Juries

▓



▓



▓



Decon ideas

▓



assignments

▓


India

▓


NASA Competitions, trophies by NASA, in the name of an architect- endowment

competitions







Other: _______________

1

1

177


Yes

No

Maybe


context?




Yes

No

Maybe




Most

Difficult

Difficult

Manageable

Convenient

Most

Convenient

Contextualizing ▓

Human Interaction ▓


such as plumbing,

electrical, etc.

▓

Furniture

arrangement

▓

1

1

178

Climatic conditions

▓

Cost & Maintanence

▓

▓







Other: ___________________________


Strongly

Agree


Disagree


country"

▓



▓




▓



as a "secular" idea

▓

▓


The unpopularity is not just for Decon. It is the same for any new idea that

arises in the field. Indian clients are orthodox, and the solutions are foreign- with

respect to Decon. There used to be a time when the western influence was

appreciated, but now it has come to a standstill. Nowadays there is an attempt

at going back to Indian influences.

1

1

179


If different scales of buildings could be shown that constitute decon ideas

and a palette with the % of the intervention of the style is visible in the building

could be added, it would be nice. The user should also be identified- individual

or public. The typology or classification should also have a palette of visual

impression, function and context. Also, my first question would be “Why decon?”

So, justify it by giving a series of radical ideas that can be identified and how

decon is most radical or unnoticed with Indian context.


*already mentioned above*





Theoretically it can be compared; however they are different fields

altogether. In that case, it wouldn’t make any sense to compare the two.





I don’t think making a product helps in stimulating decon idea. Because, first

of all, if it is a product, people need to spend their money to even see if it works

for them. For example, if I’m going to buy a top, I have to first view it- I won’t buy

if I don’t like it. So, I think the best way to make the people aware of the

concept and put the seed into their minds, installation will be the best bet. It can

be installed in different places also.



I don’t see how these two could be connected. Perhaps, in terms of

exploration, it can be.


Oh, yes. Parametrics could be connected to decon- in terms of geometry.

180


I don’t believe India could have secular built spaces. So, I don’t know

about this.


It can be possible, yes. But, until it happens, you never know. In India, it takes

a lot of time for any new idea to be appreciated.


Mention the

material,

geometry,

inspiration,


effects



Explorations

Processes

Figure 94: Ar. Miildred Jose’s pictorial depiction of Deconstructivism

181

TRANSCRIPTION:

(3.15 minutes)

AD: So ma’am, what is going on in your head while sketching this?

MJ: Basically, what I just feel is, the smaller circles are the trends, and suddenly

there is a larger circle that comes in, which is kind of a driving force or a kind of

pressure on the other forces which tries to say that “You’ve to be like me”. That is

deconstructivist architecture for me.

Or if I’m saying, there is a set of people who are walking along a straight path to

reached from a point A to Z, suddenly there is one person who deviates, and he

says I reach point Z by this method, and says “why not try this, this has more

creativity?”, that is deconstructivist style for me.

Now, I build an architectural model, just composed of many things, and suddenly I

say I want to make a focal point, which breaks the language of the entire skyline

and I create something like this, that is deconstructivist for me.

There is a girl who loves to dress. This is the kind of trend, spaghetti kind of strap,

which is trendy with a certain colour. Suddenly she goes bizarre in terms of the cuts

in her dress, and says this is a trend I want to make. That is deconstructivist for me.

All these things talk about an explorartion that is made. There is a trend that is

continued. There is something tried to be broken and that is why there is a new

exploration that is being made. This exploration deals with creativity and it is also a

risky path as well. See, everything has a straight path and some paths which are

risky. That risky path can either lead you to fame or it can kind of, diminish your

fame which already there existing in the society.

That’s it, I can’t draw more.

182


ARCHITECTURE

1. Name: Ar. Anmol Warang


3. Subject: Design Dissertation, Architectural Design, Advanced Building

Construction, Advanced Building Services










Other: _______________



Frank Lloyd Wright

Frank Gehry

I.M.Pei

Bernard Tschumi

Le Corbusier

Peter Eisenman

Philip Johnson

Zaha Hadid

183



Option 1 Option 2

Option 3 Option 4

Option 5


“Deconstructivism”? Dynamic

184


Strongly

Agree


Strongly

Disagree



Juries

▓



▓



▓



Decon ideas

▓



assignments

▓


India

▓


Reside Mumbai, Build Trust International (BTI) [However, these people are into

local materials, rural rehabilitation, slum rehabilitation, etc. So, decon ideas

don’t work here], Birla







Other: _______________

185


Yes

No

Maybe


context?




Yes

No

Maybe




Most

Difficult

Difficult

Manageable

Convenient

Most

Convenient

Contextualizing

▓

Human Interaction

▓


such as plumbing,

electrical, etc.

▓

Furniture

arrangement

▓

186

Climatic conditions

▓

Cost & Maintanence

▓







Other: ___________________________


Strongly

Agree


Disagree


country"

▓



▓




▓



as a "secular" idea

▓


The major concern about us Indians is that we pick up anything and

everything that seems western and think it is good. If a foreigner does decon, it

would be appreciated, but if an Indian does, it would be rejected. Also, there is

the problem of merely copying- with architecture, it stays for long.

187


It would be best to find out the reason why decon started. It might help you

understand why it is being accepted by people with money, how it affected

modern art, why it is difficult for decon in a place of diversity. Study the

beginning of modern architecture, where it all stopped. “Decon started

because of photography”. Since, it nullified the works of painters, and they had

to find alternatives, it eventually led to modernism.


It does not need to be contextual. It is context-neutral. Just like art deco, this

was utilised everywhere and anywhere but did not hurt anyone’s feelings.

Someone patronizing it wouldn’t make difference.





No, it is not fair to compare the two. They are not in the comparable states.





Yes, it is a nice idea. Maybe, it should be a product that is something big and

can be dismantled or deconstructed to form different forms.



Decon is just a design tool. It cannot be related. Perhaps it could be a

part of the smart cities.


They are related, of course. They go hand in hand. Parametrics is also

used as art tool these days. So, it requires the knowledge of the softwares.


Agreed. Decon does not generate from any particular religion. This would

happen when it becomes a tool to regionalism. That is not so with decon.

Relatively, decon is very young. It has emerged after the world got

188

connected. It actually belongs to a few people. But it cannot be

patronized with one clan.


It is possible.


Mention the

material,

geometry,

inspiration,


effects



Explorations

Processes

Figure 95: Ar. Anmol Warang’s pictorial depiction of Deconstructivism

189

TRANSCRIPTION:

(11.24 minutes)

AW: You will not get much out of the recording. Because it is there on the

drawing. You might want to read the drawing again later. This was something I

was discussing sometime back, with my students. Imagine you are walking

through a place and it is a series of events or series of experiences you are

gonna cater. That is the purpose of that space. You have an option of designing

the space like this *draws*. So, that’s Space No. 1, Space No. 2, and Space No.

3. This serves the purpose. Space No. 1, Space No. 2, Space No. 3 serves the

purpose. When a person walks in from here, the person sees something. And

then, the person walks here and he turns back, and sees something. And then

he moves out, gets into this space and sees something very similar. By the time,

he’s here, he knows what to expect when he looks back. By the time he’s

already here, he knows what to expect inside, when he is here, he really knows

what to expect- might or might not see. When he is here, he is dead sure of

what’s behind.

Now, there’s another way of doing the same process, and I could do it like this

*draws*. This is the first space, this happens to be the second space, and this was

the third space. Now when I’m here, I experience something ahead and I look

back, my experience is different. Because here I was looking at something

expanding and I turn back, it’s contracting. Instead of going straight, I’m

allowed to or I’m made to do this. So, what I now see here, matters. What I

experience here now matters. Now I’m here, my experience is completely

different. So, when I move ahead, I’m not sure of what to expect when I turn

back. Now I’m made to go like this, I’m still not sure. Here, I was sure what to

expect next. But, here I’m still not sure what to expect next. I see something

different. I walk here, I see something different. I turn back, I see something

different. This, for me, is deconstructivism. You know, I deconstructed the

experience which the same person had at different points of time within that

given space. And, by changing the form, now “how much to do?”, “What I’m

going to have?” sort of then becomes calculative. Also, parametrics comes

down to find out the best possible angle, the best possible inclination, the best

possible opening size and all. I could leave it to my head, or my judgement. But

this experience, is what is gonna make the space deconstructivist, according to

me. Whereas, this was linear. So, that according to me is deconstructivism.

190

AD: So, which one would you prefer? As in, this is very unpredictable. But it can

also be confusing, right?

AW: That’s how it works. It brings in a bit of curiosity. But, with it could come a

little bit of confusion, that would lead to chaos. And that’s why I said “dynamic”

as the first word that comes to my mind about deconstructivism. Because

“dynamic” is that. Dynamic is ‘something that could change over a period of

time’. It could be different at different points of time in history. And this is that

space which is different at different time for that same person. Whether I do this

or I do this is a little dependent on a lot of pointers towards design requirement,

client, budget and blah blah. But, in terms of experience, this would be a better

experience to have, no, rather than having this? And, that’s why I say that this

cannot be a gimmick. To have it on a building like this, and then say “I’ll make a

puncture here” could end up becoming a gimmick. But, whereas before

starting only, if I thought that I’d do this, then it’s more of a process through

which it has evolved. Okay? And, that’s why I think that it cannot be something

that’s being added on as a smaller element to something that’s already done.

And that’s why any building that’s like, “Teda meda cladding kardiya, toh

deconstructivism hogaya” [“Some misfit cladding is done, it has become

deconstructivism”], it’s not that. It’s not exactly how deconstructivism is done.

AD: Yeah, it’s misconceived like that. So, what do you think about the materials

that could be used and like other aspects of it? Do you think that’s important?

AW: Of course, material becomes important. Because, see, the process itself is

technology- based, in a way. And the kind of form that is envisaged is not a

standard form. So you will have to get out of conventional materials, without a

doubt. It’s important. Geometry has to be looked in a different way. I always

have this argument with most of my students, that there is geometry in

everything. And it’s so beautiful that nature has the best possible geometry, yet

every part of nature is different. The day you find two leaves which are exactly

the same, is when you realize that something’s wrong here. Two leaves are not

ever the same but they follow the same geometry. That’s what deconstructivism

is. Two spaces that are not the same but should follow the same geometry.

That’s how it should be. That’s what I feel. What do you mean about inspiration?

I don’t get it. What do you want?

191

AD: No, for example, one of Gehry’s buildings, was contructed near a river. So

he took the inspiration of a fish and the idea of the coastal region and all that.

So, how important do you think inspiration is in decon?

AW: See, literal inspiration, I don’t think is meaningful, not so much. Again, it’s not

regional. The idea itself is not regional; the idea itself is not specific to a culture,

or a particular region or a particular climate. The idea here is to design a space

and built form that takes care of everything. It is supposed to give you good

space, it is supposed to be responsive to that climate, it is supposed to use

materials in the best possible way it can. That’s what it is, so literal inspiration, I

don’t think matters so much. But then eventually, as every architect does,

somewhere down the line you have to have an inspiration to get an end

product. Because, you can’t just make a statement saying, “I did it because I

felt like doing it”. It’s taken in a very negative way. So, you say (ki) I did it

because I got inspired by XYZ, and then you design gets more accepted

among the people. Structural innovation is part of decon. Because technology,

structural innovation, innovation in material- all these have made decon

possible. 200 years ago, these ideas were unbuildable. They are buildable now

because of structural innovation. They’re buildable now because of material.

AD: So, I think you explained the “effects” best. I mean, from your pictorial

representation, the effects are so clear. So, do you think in Indian context,

should it go only for like, public spaces like museums, libraries, cafes- of that sort

or could it be for private houses also?

AW: Of course, it could be for private houses, offices, and residences. It can be

for any build forms. The point here is that the designer / architect needs to

understand the crux of the philosophy, use it to design a space. It could be the

experience I just spoke of, or it could be an experience inside a house. It could

be an experience inside an educational institute, or an experience inside an

office. That clearly does not matter. I don’t think it can be specified that “this

philosophy is best for public buildings or…” I don’t think it can go the Gothic

way- where Gothic architecture was meant for public buildings. I don’t think it

will go that way. It is going that way because it’s an expensive at. So eventually,

it is the government that always has most money. And hence, government

projects are the ones where it gets done. Or Ferrari World can happen because

Ferrari has a lot of money. The government sponsored project in India, for the

not-so-well-to-do people cannot be that because the end product is expensive.

192

That’s the problem. I don’t think it’s use-specific. I don’t think it can be activity-

specific. It is now, because of cost constraints.

AD: So, the processes you’ve already said. Explorations as in, it doesn’t have to

be elaborate right? Even if you’re taking the decon idea, it doesn’t have to be

very elaborate. Maybe it could be for a smaller space also?

AW: It could be this table! It could be an exploration of how best to use this

table. Does it have to be a rectangle? No. What is the best possible shape that it

can have? What is the best possible height required? What are the best possible

angle/ inclination required? It could be this table, it could be a phone, and it

could be a pen. It could be anything. I don’t think it’s bound by the scale or the

size or volume of it. For sure. Explorations have endless options. And architecture,

is one of the last explorations decon has actually come to. If you go through the

history of decon, it has come to fine arts, painting, fashion. Much later in life

have decon buildings started really taking shape.

193


ARCHITECTURE

1. Name: Ar. Manohar Balasubramaniam (Assistant Professor)

2. Institution: D.Y. Patil College of Architecture

3. Subject: Design Dissertation, Thesis, Building Services, Professional Practices,

Building Construction, Environmental Studies

4. Experience: 5 years (Teaching); 35 years (Professional)









Other: Cry for Attention, Shock Value, Classic example of meaningless,

senseless, useless architecture.



Frank Lloyd Wright

Frank Gehry

I.M.Pei

Bernard Tschumi

Le Corbusier

Peter Eisenman

Philip Johnson

Zaha Hadid

194



Option 1 Option 2

Option 3 Option 4

Option 5


“Deconstructivism”?

Confusion, meaningless activism

195


Strongly

Agree


Strongly

Disagree



Juries

▓



▓



▓



Decon ideas

▓



assignments

▓


India

▓


Yes. Amaravati Project.







Other: With functionalism


Yes

No

Maybe

196


context?




Yes

No

Maybe




Most

Difficult

Difficult

Manageable

Convenient

Most

Convenient

Contextualizing ▓



such as plumbing,

electrical, etc.

▓

Furniture

arrangement

▓

Climatic conditions

▓

Cost & Maintanence

▓

197







Other: ___________________________


Strongly

Agree


Disagree


country"

▓



▓




▓



as a "secular" idea

▓


Not necessary & not needed


Environmental aspect


Not necessary

198





No, architecture is serious business.





It is purely need based and also the circumstances. Decon in third world country

is not a well thought out occurrence. When a homeless person makes use of the

unutilized pipe for shelter, I see decon there. Unintentionally, decon attracts

attention for wrong reasons.





None of them are connected, in my opinion.


Formal, orderly, functional; more sensitive to the environment.

199


ARCHITECTURE

1. Name: Ar. B.S. Keshav (Professor)

2. Institution: D. Y. Patil College of Architecture

3. Subject: Humanities (Core)

4. Experience: 15 years (teaching), 30 years (Professional)









Other: _______________



Frank Lloyd Wright

Frank Gehry

I.M.Pei

Bernard Tschumi

Le Corbusier

Peter Eisenman

Philip Johnson

Zaha Hadid

200



Option 1 Option 2

Option 3 Option 4

Option 5


“Deconstructivism”? Rebellious

201


Strongly

Agree


Strongly

Disagree



Juries

▓



▓



▓



Decon ideas

▓



assignments

▓


India

▓


Yes. IIM Jodhpur.







Other: _______________


Yes

No

Maybe

202


context?




Yes

No

Maybe




Most

Difficult

Difficult

Manageable

Convenient

Most

Convenient

Contextualizing ▓



such as plumbing,

electrical, etc.

▓

Furniture

arrangement

▓

Climatic conditions

▓

Cost & Maintanence ▓

203







Other: ___________________________


Strongly

Agree


Disagree


country"

▓



▓




▓



as a "secular" idea

▓


It will be a passing phase, if at all it catches on.


It can catch on if architects make an extra effort to reach out to the public-

Bridge the gap. They should not take the public for granted.


Don’t think it will be contextual.

204





Yes. It can very well be compared.





More on the lines of 3D softwares.


Decon & Smart cities- _____

Decon & Parametricism- They can be connected

Decon & secular architecture- No


No identity. Bringing it will be difficult.


It will be like an amoeba- shape-changing, malleable, acceptable geometry.

205

17/3/18

Ar. Jinu Kurian

1004, 10th floor, Bhumiraj Castarica

Sector 18, Sanpada

Navi Mumbai

He thought this topic was superficial and juvenile. He asked to read Derrida and

Ferdinand Saussieurs (Post Structuralism and Structuralism). He asked to trace its

influence in art. Also to refer works of Peter Eisenman, Bernard Tschumi, Coop

Himmelb(l)au. Understand constructivism. He felt, with decon, only visual

elements are assessed and taken to call it “decon”. It has no depth. Becomes

mere stylistic interpretations of decon. It started off as a theory and got

condensed to a “style”. As far as he knew, in India, Ar. Sen Kapadia, the

Founding Director of Krvya (1992), Juhu used to associate himself with decon for

a while. Suggested I could contact the early students/ faculties of Krvya. In the

late 90s and early 2000s- his works were loosely based on “decon”. He felt any

movement finally distilled down to just the elements of it. He gave the contact

of Ar. Abhijit Sahasrabudhe from Pillai College of Architecture who was working

under Sen Kapadia and now is a professor.

206


ARCHITECTURE

1. Name: Ar. Abhijit Sahasrabudhe (Asst. Professor)

2. Institution: Pillai College of Architecture, Panvel

3. Subject: Design, Architectural Theory

4. Experience: 3 years (Teaching), 4 years (Professional)









Other: _______________



Frank Lloyd Wright

Frank Gehry

I.M.Pei

Bernard Tschumi

Le Corbusier

Peter Eisenman

Philip Johnson

Zaha Hadid

207



Option 1 Option 2

Option 3 Option 4

Option 5


“Deconstructivism”? Slants

208


Strongly

Agree


Strongly

Disagree



Juries

▓



▓



▓



Decon ideas

▓



assignments

▓


India

▓


NIFT Kharghar, NID Gandhinagar, IIT Gandhinagar, War Memorial Delhi, IIMs







Other: _______________


Yes

No

Maybe

209


context?




Yes

No

Maybe




Most

Difficult

Difficult

Manageable

Convenient

Most

Convenient

Contextualizing

▓

Human Interaction

▓


such as plumbing,

electrical, etc.

▓

Furniture

arrangement

▓

Climatic conditions

▓

Cost & Maintanence

▓

210







Other: ___________________________


Strongly

Agree


Disagree


country"

▓



▓




▓



as a "secular" idea

▓


As a culture we are not ready to accept. The clients don’t accept. It is physically

difficult to assemble as well. May be, if the concept is considered in terms of the

essence rather than the forms, India is not there yet.


Understand what is deconstructivism. Then you’ll stop associating it with the

physical form. It is basically destroying the ‘construct’ or the meaning. Or,

maybe reassembling it. Understand it through linguistics and architecture and

then go on with this. You should look into why decon originated and then to why

we in India are still not there.

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Take care of the climatic requirements, style does not matter.





Yes.





Probably.



Parametrics is about the geometry and the algorithm involved. So, it is similar to

decon in a way that they are both outcomes of softwares and computers. The

ability to draw is the idea here.


It can be used for religious buildings as well. Like how Ar. Snehal Shah has

done.


I think it helps with creating interesting spaces. But how far our culture and our

reality accept it is still in question. According to me, we are still not past

modernism. So, deconstructivism is still a long way to go.

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27/3/18

Ar. Mustansir Dalvi

J.J. School of Architecture

See, deconstructivism is not a style. It is a mere tool to understand the thinkings

and philosophies of literary criticism. When you go back in history you would find

that this became a fresh way of writing, after delving in the same stale style for

2500 years. This in a way changed our philosophical thinking as well. It gave way

for post-structuralist thinking. So, essentially deconstructivism in its true sense

means that everything need not be 100% perfect and structured, and also that

you would not be certain of everything. This concept took its toll on various other

fields apart from literary- into popular culture, feminist theory and then, also in

architecture. So, the same idea was carried onto architecture that it intended

on breaking norms of the fundamental architecture one had learnt. When we

were taught the basics in such a way, decon says that “no, it need not be that

way. It may not be the case”. So, the forms and planning can be argued about

in terms of decon. But that is not the entirety of it. There were buildings with this

concept all across the world more or less in the same time but none of them

acknowledged this as a “style”. It was just that different architects were doing

different things that coincidentally had a common agenda. Well, in India, it

seems irrelevant however there are imitations of it. So, deconstruction in

architecture can be used for analysis, say using methods generally included in

deconstructivism to indulge a fresh perspective.

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Documents

DECONSTRUCTIVISM IN INDIAN CONTEMPORARY ARCHITECTURE14.139.111.26/jspui/bitstream/1/739/1/AKSHAYA. D.pdf · The study on ‘Deconstructivism in Indian Contemporary Architecture’