Foreword
January2025
InagreeingtowriteaforewordtothisbookIwasattractedbythededicated andspiritedworkofthestudentswhosetaboutgatheringanddocumenting information,alabouroflove.Thisprocessisanexcitingprocesswhichno doubtimpactsasmuchonthewritersasitwillonthereadersandthe personalityaroundwhomthebookiswritten.Ihavenohesitationinwriting thisforeword.ReadingaboutthepersonalityofProf.Chhaya,hisgenerosity, humour,commontouchandaccessibilityareallindicatorsofahumble giant.
Thedominantcultureofthepresenttimeisbasedinwesternmaterialism. Acharacteristicofthesocietyinthe21stcenturyisthegross,lavish,glitzy lifestylesofafewagainstthebackdropofthepovertydrivenexistenceof many.Weseehugemansionsoccupiedbyafewpeoplebuiltinluxurious allinclusivedesignstocaterfortheneedsofeachoftheoccupantsof thesemansionswhilethemanyliveincrowdedabjectconditionswithlittle concernfortheindividualorevencollectiveneedsofthepeople.
Inthiskindofdualstreamsintheworldwherethegulfbetweenthetwo streamsiseverwidening,whatroledoesanarchitectplay?Perhapsatime toreturntotraditionalknowledge.Perhapsatimeforreflectiononwhatis sustainableandgoodforfuturegenerations,apropheticapproach.Gandhiji’s wasarealisticpracticalapproach,butinitwassomesymmetrythatisindeed interestingtostudyandlearnabout.HavingbeenbornatthePhoenix Settlement,Gandhiji’sfirstAshramwhereexperimentsincommunalyet individuallifestylewerecarriedout,therearemanystoriesthatIcanrelate abouthispracticalapproachtomakespacesaccessible,lifesimpleryet comfortableandensuringenvironmentalandhygienicrequirementswere notneglected.
Prof.ChhayaspenttimelookingatthearchitectureoftheGadhian ashramswheresimplicity,spreadofknowledgeanddevelopmentofthe humanspirityearningforliberationfromtheshacklesofcolonialexploitation wasthecharacteristicdrivingthestyleoftheashrams.Tocapturethisfullyis ahugetask.Butthefactthatthisattemptwasmadeisastarttoanew revolution.Arevolutionofideasonwhatisthepurposeandsignificanceof architecture.HowcantheGandhianspiritberevealedthroughthelanguage ofarchitecture?ThelifestyleandexperiencesofarchitectslikeProf.Chhaya canhelpusunderstandwhatisthesignificanceofthisprofessionandhowit caneffectivelycontributetothewellbeingofthefuturegenerations.
Hisownsimplicityandideasechotherealitythattheworldisfacedwith. ReadinganarticlebyNamrataDewanjeeIwasparticularlystruckbyasection wheretheauthordescribes,Prof.Chhaya’sanswertothequestion,“Howdo youdefinethemysticalactofdesigning?”Responsewas“Itisawayof reorganisingthingsandrelationshipstomaterials,tolivingcreatures,to peopleinawaythatyoufeelathome.Everythingelseissubsidiary”.
Reflectingenvironmentalconsciousness,adesiretoensurethatthenatural habitatisprotected,treesareprotectedandthatthedevelopmentis sustainableareallimportantconsiderationsthatProf.Chhayatookinto accountinhisdesignandencouragedhisstudentstolearnthisconceptof environmentalprotection.Gandhijitootookthesefactorsintoconsideration whenplanninghisAshram’s.Inthepresenttimeswhenwearesufferingthe consequencesofenvironmentaldamagescausedovercenturiesofneglect andlackofcaring,thisaspectofarchitectureisatthecruxofthenewthought thatneedstobedevelopedandpopularised.
Congratulationstothedevotedstudentsincompilingthisbookandhope thatthecrucialmessageofenvironmentalandsocialcareisuppermostin theflowofthewordsinthisbook.
ElaGandhi
SouthAfricanPeaceActivist
NC:Yes,butithappensinpractice,really,allthetime,andthenyoueither feelverysadthattheydidn'tacceptmyideas,orthenyousay,“Oh,these peoplehavenounderstanding,butthey'repayingforit,soIhavetodoit”. Therecanbeanegativewayoflookingatit.I,ontheotherhand,always enjoyedthefactthattheguyontheothersidewhoisgoingtopaymemy feesisactuallyathinkingperson.Ioncehadaclientwhosaid,“Idon'tknow anythingaboutthis;pleasemakewhateveryouthinkisgood”,andIgaveup thatjobimmediatelybecauseit’sinthecontinuousprocess.So,whendoes architecturecomeintobeing?Well,notinthefirstidea,notinthemiddle period,notinthedevelopmentofthedesign.Itactuallyiscontinuously transformingitself,andseveralyearsintoabuilding'slife,yougobackand seethattheyhavestartedusingitinawayinwhichyoucouldneverhave thoughtofandthisisveryamazing.Attimes,youfeelverybadaboutit,but attimesyouarereallyfascinatedbythat,“Wow,thisissomethingwhich Ididn'tthinkabout,buttheyhavefoundaway.”
Ithinkthatthequestionthatthereisasinglemindwhichmakesarchitecture isoneofthehurdles.Inthestudio,whatI'vestarteddoingisthatIdon'ttell thestudentsthat“That'sgoingtohappen”,butweplayakindofgame of-whatdoyoucallit?Anyway,it'sagameinwhichyourdesignsuddenly, withoutnotice,goestothenextstudent,andafewdayslater,itgoestoone morestudent,andfinally,itcomesbacktoyouafterhavingpassedthrough fivehands.Andyousay,"Ohhell,whathavetheydonetothis?"Thenyou againstartworkingandthestudentswhoarelessegoisticfindthisvery enjoyable,andthestudentswhohaveasensethat,“Oh,Iknow,andIwantto bethedesigner,”theyfinditextremelyanxiety-creating(laughs).Butsome wayshavetobefoundwherewegiveupthiskindofdesperateholdonideas, andforthat,therearesomanytechniques.
Forexample,oneofthetechniquesthatIuseinmyownpractice,butalso intheschoolandinthestudio,isImakexeroxesofplansataparticular scale-hundredsofthem-thensortofthrowthemaroundandcutpartsof themandstartbuildingupaplanoutofthat,bywhichwhatyoudoisthatyou findthingsbyaccident.Atleastthescalesaretakencareof,andyouarepretty surethatthesmallspace,themiddle-sizedspace,andthebigspaceareall thereintherightproportionsbecauseyou'vetakengoodworksofarchitecture, andItakethemfromallovertheworld,notjustfromIndia(laughs).Andit's anextremelyenjoyablewayoffeelinglessanxiousaboutmyresponsibilityas well.But,ofcourse,thenitgoesthroughanevolutionwhereItakemy responsibilityagainmoreseriously,myresponsibilityasacraftsmanwhohas
safety.Thismakestheworldseeminfinitelygentle,obedienttothetourist's wishesandwhims,readytooblige;butalsoado-it-yourselfworld,pleasingly pliable,neededbythetourist’sdesire,madeandremadewithonepurpose inmind:toexcite,pleaseandamuse.Thereisnootherpurposetojustify thepresenceofthatworldandthetourist’spresenceinit.Thetourist'sworld isfullyandexclusivelystructuredbyaestheticcriteria”.
Now,youmightthink,whyamItalkingaboutthis?Butthisisexactlythe stateofourarchitecturetoday;thatitisnolongerconnectedtothe necessitiesofexistencebutisonlytheprovisionofpleasureatanycost.So, itdisjointsitselffromtheworld.Thepilgrimconnectsourselvestotheworld, thetouristdisconnectsandbecomesthevoyeuroftheworldandcan, therefore,doanykindofdamagetotheearth.Andthisiswhatourarchitecture istoday.Thatithastolookgood,andithastogivepleasureatanycost,and everythingshouldbeundercontrol.Whatevertechnologiesyouneedmust beprovidedforthesenseofcontrol,fordisallowingtheuncertaintiesof existence.AndIwonderwhetherwehavecometotheendofaperiodhere,where architectureisdestroyingtheworldratherthanaddingorbecominga participantintheworld.Butifyouhavenomoney,insteadofatourist,you havetobecomeavagabond.Andwhatdoesthevagabonddo?
ZygmuntBaumansays,“Whereverthevagabondgoes,heisastranger.He canneverbethenative,thesettledone,onewithrootsinthesoil,toofresh isthememoryofhisarrival,thatis,ofhisbeingelsewherebefore.Entertaining adreamofgoingnativecanonlyendinmutualrecriminationandbitterness. Itisbetter,therefore,nottogrowtooaccustomedtotheplace.”Andso,you haveaworldinwhichthetouristsaretryingtosuckthemaximumjuiceout ofit,andthevagabondsaremakingwhatevertheymake,whatevertheycan possiblydo.Now,youlookatourcitiesandseethecontrastbetweenthe touristsonthelandwhomovefromBangaloretoAhmedabadtoPuneto Calcuttaasrequired,buttheyalwayshavealltheluxuriesattheirdisposal andlook,ontheotherside,atthemigrant.Thispersonwhoworksinthe softwareindustryisnevercalledamigrant.Eventhoughtheymovefrom placetoplace,it'sonlytheonewhodoesn'thavemoney,whodoesn'thave ahouse,whohastocarryasackratherthanabriefcase,isthepersonwhois calledthemigrant.
So,intoday’sworld,eitheryouhavetomakemaximumadvantageoutofthe worldthatexistslikethetouristoryouhavetobethevagabondandthese twochoiceswerethechoiceswhichweredeniedbythepilgrim.Thepilgrim
said,“No.Whateverlifeis,Iacceptthat.Ifitmeanslivingwiththeminimum, Iacceptthat”.LookattheWarkari,butitalsomeansthathesays,“With whateverIhave,Ihavethegenerositytobehospitable.It’sbecauseIhavea home,IhaveaplacefromwhichIspringout,andIwillmakethepilgrimage togoandseetheworld,togoandenjoytheworldbutwillbedeeplyrooted init.Iwillnotbeavoyeurtotheworld.”
Unlesswehavethepilgrimandtheattitudeofthepilgrim,wearegoing tohaveaworldgeographywhichissharplycutintotwoparts:thepartof recklesspleasureandthepartofsufferingfornoreasonatall.Architecture hassomethingtodowiththis.Whatisthearchitecturethatwemake? Howmuchdoesthearchitectureopenitself?Howmuchdoesitallowthe processesoflifetoplayoutratherthancontrolthem?Isitasealedbox?If notasealedbox,isitmadewonderfullywithgenerosityandlovetobethe vesselofhospitality?Withthat,Iwillleaveyoutoseewhatyoumightthink aboutyourownprojectbecauseyouwillhavetodesignsomethingforthe Warkaris.Whetheryouhavegotthespiritofthepilgrimageoryouhave imposedthespiritofthecurrenttimes,oftourismorofausteritywithout joy.Whatwillthisarchitecturebelike?Canwebesomehowconnectedto themindandheartofthepilgrim?Thisissomethingthatthiscompetition couldhaveawakenedinyou,andIhopeithas.IthankTheDrawingBoardfor puttingforwardthisasthecompetition.
Thankyouverymuch.
MB:Thankyousomuch,sir.Itwasasymphony,actually.Youbondedthree thingstogetherinyourtalk,andyouspokeaboutvagabonds,touristsand thepilgrims,andwehaveaquestionimmediatelyinourchatbox,whichI thinkisobviousandwhichcametomymindalso.
Doyouthinkweareallthreeduringthejourneyofourlifeasdesigners?At somepoints,arewevagabonds?Andatsomepoints,arewetourists?And dowewanttoenditaspilgrims?
NC:Ithinkinthebeginning,weshouldwanttobeginaspilgrims.Pilgrims doesn'tmeansomebodywhohasgivenuptheworld,whoisdoingtheir bhajan(devotionalsong)(mimicsplayingbhajans)astheygoalong. Apilgrimisonewhoislookingforthereal,fortheactual.Andso,firstofall,we areallpilgrims.Whenwearealittletired,wecouldbeabitofatourist.But weshouldtrytomakethattheminimumbecausewearedoingsomething
...becausetheworldishomeaswell,whereIwalktoismyhome, andwhereIcomebackisalsomyhome.Andmyhome, whereIbelongbothtothebiggerandalsotothesmaller, botharemyhome.
SB:Ithinkthisistouching.Uponourquestionregardingtherelationship betweenthecityandthehinterland,whatwehavefoundinthecrisisisthat themegacitieshavebeenthehardesthit.Thecity,themetropolis,wasthe centreofpower,economy,andopportunity,andeverybodywantedtolive inthecity.Andwhenthediseasehit,theworkforcethatactuallyhadbuiltit, theworkersthatyou'retalkingabout,therewasnospacefortheminthecity, andtheyhadtowalkbacktotheirruralhabitats,whichwerecomparatively saferandsecure.So,thequestionis:whatarethelessonsthatwedraw fromthis,andhowdowerethinkthisrelationshipbetweenthecityandthe ruralhabitats?
NC:It'ssomethingsimilartotalkingabouttheindividualasapoint versusanetwork,andIthinkwehavefallenintoakindofmodelofthinking ofthecityascompletelyandutterlydifferentfromtherural.I'llgivean example:Someyearsago,Itookstudentstodosomemeasureddrawingin Tamilnadu,andwewereintheareaaroundKumbakonam.Now,thatisan areawhichisallricefieldsandsmallvillagesorcallthemtowns,scattered across.Everytenkilometers,youcometoatown.
Theamazingthingwaseveryoneofthemhadaschool,adispensaryand healthfacilities.Theyhadsomekindofbusiness,eitheritwouldberice milling,oritcouldbebronzework,oritcouldbebasketry,orwhateverit was.Therewasaspecificitytoeachofthem.Andtherewasalso,veryoften, acollegesomewhere,acommercecollege,amedicalcollege,orsomething else.So,whathadhappenedwasakindofurbanismthatwasdistributed acrossthelandscape.Nosettlementwaspresentmorethanmaybe fiftythousand,ahundredthousand,ortwohundredthousandatmost. Kumbakonamwasbigger,butstill,alltheotheronesweresmall,andthey werewithintenorfifteenortwentykilometresofeachother,wellconnected.
Peoplewhowantedtobuyabasketcouldgotothatothervillage.Somebody whoneededtogetsomeworkdoneinmetalwouldgotoSwamimalai, andthatwaswithinhalfanhour'sbusride.So,thiswasadifferentkindof urbanism,whereapopulationofmaybetwomillionwasspreadoverthe landscape.Now,thisrequiresmanyotherbackups.Itrequiredagriculture whichhasacertainstabilitysothatthevalueoflandwasnotonlybestwhen itwasutilisedforbuildings,butitwasalso,initself,aproductivething.So, howdowegivevaluetoagriculture?
Thefactthatcraftsareatremotelocationsandskillsarenot concentratedinoneplace,isanotheraspect.Withtoday'scommunications, itisquiteeasytosendadrawingonWhatsapptoacarpenterthirtykilometres away,getthewindowsdone,andbringthembackonatempowithinthree daysoftimeorsomethinglikethat.So,thewholesystem,insteadofsaying, ‘Let'sallgatheratKumbakonam’,theyhaddistributed.Ifwethinkabout anurbanity,whichdoesn'tover-concentrateandleavevacantandvacuousthe remainingland,thisiswhathashappenedinmuchofNorthandNorthwest India,especiallyintheNorthwest.Wehavecreatedhugevacantlandsand greatconcentrations.Thatmightbepartlyduetotheclimate,thegeography, orthekindofproductionthat'spossibleetc.Wemayhavetothinkabout somemoreways,butthat'sone.
Secondistheideathatskillscanbedistributedacrossgeographies. That'swhatGandhijihadsaid-thirtykilometers.Istartedlookingatan oldplanofAhmedabad,andifyoutakealookatthewalledcity,atabout fivekilometersdistance,thereisthefirstringofvillages:Navrangpuraand Wadaj,allofthemwerethatdistance,ontheothersidealso.Thenattwenty kilometres,thereisthenextring.Inthisarea,itwasveryclearthatifyou wantedatraderingrain,thenyourconnectionswerewithAsarvaand Sadra.Ifyouareatraderinmetals,yourconnectionsweresoandsoand so.Therefore,theactualproductiontookplaceoutsidethecitybecause youdidn'twanttopaythetaxwithinthecity.Ifyoubroughtitintothe wallyouhadtopaytax.Youcoulddoproductionanddistributeitinmany otherplaces.Infact,thegeographybecamealivewiththesedistinctions. Whathashappenednowisthereisnosuchthingasaskill,thereiseither alaboureroranowner.So,ifitdidnotconcentratelikethisinoneplace, youneedtohaveasenseofproportionabouthowmuchconcentrationof moneyisrequiredforakindofshowingoff.Thatcomeswithanentiresystem. Yes,therehavebeenpeoplewhohavesaid,'No,wewillnotdothis',but Ithinkthatjustafterindependenceorbeforeindependence,ithadbecome thenormforeverygroupofsocialisedpeopletosay,'Wewillnotspendon weddings,wewillnotwasteonweddings'.Andnow,wehavesimplified.But now,thegreatIndianweddinghascomeback,andtherearepeoplewhosell youvariousthingsforit.Yeah,theywillbewillingtoselleverygood,long,big weddingandallthat.So,thisisalltobeseen.Itwillrequirethinkingabout thecityinparticularandrecognitionofhumandignity,notjustarecognition ofdistributionofresourcesbutarecognitionofthedignityofeveryperson whoisnearorfarfromthecity,whetherwithinthecityoroutsideit.When thathappens,thenwe'llstartgettingadifferentkindofplanning.
minoritycreatesanucleus,whichstartsbeingabletorespondtothenew challengesofsociety.
Iwaswondering,couldwe,asarchitects,becomeapartofacreative minoritythatretreatsfromthismadscrambleandbeginstogiveserious thoughttowhatwehaveandwhatwecando?Buttherearesomethings tobecarefulabout.Firstisthatacreativeminorityinspiresratherthan compels.Thisisveryimportant.Youcannotcompel.IfIlookatthefirst generationinthe1950s,especiallyonaninternationalscale,theideaofthe architectastheMessiahwhowouldcomeoutwithasolutionandthenthe politicianswouldhelphimimposeitwiththestateasthesupporterand soon–thisissomethingwhichwehavetomoveawayfrom.Thecreative minorityhastoinspireratherthancompelbutsuchminoritiesdeteriorate iftheyworshiptheirformer-self.Thisisveryimportantintoday’stimeinour culture–ifweworshipourformerselfwithoutcriticism,ifweconsideritas somethingwhichistobeworshippedthenwewillbecomeprideful,and wewillnotbeabletorespondtothechallenge.TheseareToynbee’swords. I’mnotusingmine.
Thecreativeminorityhastobeverycarefulthatitdoesnotbecome somethingwhichstiflesresponsiveness,whichdoesnotgiveoutadictum orbecomeadogmawhichitimposesuponsocietyanddoesnotalign withthelargeforces,andthere,Ithink,Matter’sjury’sconcernsarealittle unnecessary;astowhyarchitectsarenoteffectiveinsociety.Ithinkweshould notbeworriedaboutthatbecausewehavegoneintothewrongcornerswhen wehavetriedtodothat-whenwetriedtodothepoliticsoforganisingand triedtoworkintothegovernment,ortriedtoworkintothestate's mechanisms,andthentriedtomakeanarchitecture.There,itincreasesthe powerofthestate,whichisavery,verydangerousthingtodotoday.The creativeminority,ratherthanincreasingpower,hastocreatethedispersed non-powerswhichareinspiringadifferentmodeloflife.
Itisadifferentmodeloflifewhichleadstoadifferentmodelofarchitecture, andthecreativeminorityhastoallowitselfwithsomanyotherkindsof thinkersinordertobecomeaneffectivecreativeminority.Theotheridea comesfromArthurKoestler’sbook,TheActofCreation,againabookfrom theBabaAdamstyle.Boththesecharactersarefromthe1950s-60s.Here, KoestlerquotesaFrenchphraseinTheActofCreation:ReculerPourMieux Sauter,whichmeans‘drawbackinordertojumpbetter’.So,aculturewhich
isonatrajectoryofsupposedprogresswhichisgoingto,inamoment, destroyitselfifnotcarefulbecausethetrajectoriesarealwaysgoingthatway. Thecreativeminorityhastolearntoretractinordertojump.Thisposture ofretractionisnotabackward-lookingposture.Itissimplyamuscular concentrationofenergieswithinoneselfinordertobeabletojump.So,this drawingbackisveryveryimportant.
Howdowedrawbackinarchitecture?Howdoweregulateinarchitecture? Ithoughtabouthowwecandoitbecausewecantalkingeneral,buthow canwedoit?Ithoughtwehavetogobacktothearchaicbeginnings ofarchitectureandnottheculturalbeginnings,becausethereweareinto avery,veryslipperyterritorynowintoday’stime.Andfromwheredoesthe archaicarchitecturebegin?Itbeginsfromthespringboardofnecessity.
Today,necessityisthoughtofassomekindofaweakness,because weareweakhumanbeings;weneedfoodeveryday,sowehavetodo ajob,andthatjobisanecessityandsoon.No,lookatnecessityinamore profoundsenseofthefactthathumanlifeisuncertain,humanlifewants tocreaterhythmswhicharecomparativelystablebutnotalwaysthesame. Thesearerhythmsinwhichitwouldliketoparticipate;itiswillingtotake risks,butitisstilllookingforacertaincornerinwhichitcanbegintostart doingsomething.
Thiskindofnotionofnecessityissomethingwithwhichwehavetolearn towork.So,thenarchitectureasameanstocomprehend,accept,adaptto, andmaketangibletherhythmsofnature.Ithinkthisisfundamentaland mostprofoundlynecessarybecausewehavelostcontactwithsunlightwith agrowingplant.Thisdoesnotmeanwehavetoliveoutsidecities.Wehave lostcontactwithanythingwhichtalksaboutrhythm,whichtalksaboutthe factthatlifeisarhythmicprocessinwhichdeathwillalsooccurandyou acceptthat,youacceptdecayanddeterioration,butyoualwaysseethatthe rhythmissomethingwhichwillcontinue.Architecturebeganthere.
AsIsuggest,ourconcernwithlight,volume,mass,lightness,proportion–all ofthese-therootsareinseeingthe‘rhythmicity’ofexistence.Ifarchitecture movesbacktothat,thenitmightbeabletounderstandtheday,night, seasons,birth,death,growth,andthesenseofwonderthatthisrhythm creates.So,wedonothavetogooutside–ourownbodyisthesightofnature.
Ourconcernwithlight,volume,mass,lightness,proportion–allofthese-therootsareinseeingthe‘rhythmicity’ofexistence. Ifarchitecturemovesbacktothat,thenitmightbe abletounderstandtheday,night,seasons,birth,death,growth, andthesenseofwonderthatthisrhythmcreates.
NC:Now,onewayistothinkthatwearetryingtorearrangesome relationshipsinawaythatgreaterharmonycanarise.Weneverknow whatgreaterharmonyisperfect.Wehaveasenseforit,butweknowit somewhattentatively,soyourearrangeandhopeandthenbereadytomake amodification.Ithinkarchitectureisthatrearrangementofrelationships. Thatistheoriginalsense.Whenyoumadeahouse,youwereonlytryingto changetherelationshipsbetweenyouandtheworldasitisallaroundyou, thattheratdoesnotcomein,forexample,orthattheheatistakencareof. Youarerearrangingandthat,youhavetodoeveryday,almost.So,theactof architecturedoesnotend.Everyday,youhavetobealivetoit.Andtherefore, thepersonwhoisgoingtoinhabitthat,whichmaynotbethepersonwho designedthat,isequallyanimportantpersoninthewhole.Andsometimes wedonotknowwhoisgoingtoinhabitit.Andthenourimaginationhasto takeadifferentmodel.So,Ithinkbasically,architectureistherearrangement ofrelationships.
VP:Excellent.Letusturnalittlebit.Youhintedaboutthisalittlebit,but Iwanttoreturntoit.Whatisyourthoughtonwhatispoorlycalled the'SacredinArchitecture?’Letussay,theagencyorpresencingofhigher ordifferentkindsofconsciousnessintherearrangementofrelationships.
NC:ThewayIexperienceit,thesacredisreallyakindofsenseofwonder, akindofastonishmentthat,‘Wow!Thisistheworld’.Thatsenseofwonder thengetspersonifiedindifferentwaysbydifferentcultures.Thatisanother matter,buttheoriginisthisutterastonishmentthattherecanbeaworld suchasitisinaesthetictheoryinIndia,thereisthetheoryofrasas-thejuices, theemotions.Thereareninerasas.Originallyeight,butnowlateraninth onewasadded.Itincludeseverythingfromdisgusttohumourtosadness, tragedy,allkindsbutanyworkwhichbeginsinanyoftherasashastofinally endinoneoftworasas.Thefirstoneisadbhutawhichmeansastounding, astonishing,wonder,wonderstriking.Thatisadbhutaandshanta,thatisthe serene,thequiet.Now,thesearethetwowhichgiveasortofhintthatthere issomethingwhichisbeyondtheexplanations,whichissoastonishingthat oneisjustleftlikeachildwithanopenmouthandseessomephenomenon like,‘Wow!’,andthatIthinkispossibleinarchitectureinmany,manyways.
Sometimesasimplechangeoftexturedoesthatorthechangeofpacethat youarerequiredtodobecauseoftherhythmofthethingsthatarearound youorthelightorthelandscapewhichreappearstoyou,whichwasabsent forawhile,thehorizonwhichagainsays,‘Ooooh,it’ssuchaworld'.Ithink
thatiswherethesacredreallyis.Andtherefore,thebody,Ithink,withits structureofthesixdirectionsistheoriginbecause,justastheworkof architectureisabodyandmeasabody,andwhenweseethatthereis akindoftogethernessaboutbothofthese,whichincludestheworldof course,thehorizon,whichincludesup,down,gravity,right,left,allofthat, front,back.Atthatpoint,thesenseofastonishmentthattherecanbe arelationbetweenwhatatfirstlookslikeadeadthing,butthelightsuddenly madeitaliveandchangedandsoon.Ithink,basically,it'sastonishment finallyleadingtoaserenity.
VP:That'sfantastic.That'sthemostastonishingdefinitionoftheword sacredthatI'veeverheard.Icompletelyagreewiththat,becausesometimes we'llbesittingoverthereandI'mlike,‘Whatisthis?’Evenwhenyoustart lookingatitfromtheperspectiveofastrophysicsandsoon,orevenparticle physics,youlookaroundandlike,toproducethissunset,youthinkaboutthe astonishmentofwhathastohappen.Ihavenoideaifitisamagnificence, butitisabsolutelyadbhut.It'sastonishing.
NC:It'sastonishing.AstheysayintheUpanishads,'Wherewordscannot reach,thatiswhatitis'.
VP:Yeah.Well,sometimesintheUpanishads,thiswholediscussionabout AdvaitaandDvaitaandsoon,Ifeelthatsomehowitmovesinthedirection ofabstraction.ThisisacommonlinkbetweenGreekphilosophyandold Sanskritphilosophy.Itallmovesinthedirectionofabstraction.I'mnever happywithfantasticabstraction.
NC:That'swhythetantra(theactionsandpracticesdescribedinancient HinduandBuddhisttexts)isthemostimportant.Thepeoplewhoworkwith theirbodies.
VP:No,thetantrics.Whatdoyoumeanbythat?
NC:Yousee,whenItalkedabouttherasatheory,IwastalkingaboutAbhinav Gupta,whowasagreatphilosopherofKashmirShaivism.Theyareveryclose tothetantricpractices,sotheyformulatedtheaesthetictheoriesofIndia. It'sfantastic,whathecameupwith.Itisabsolutelynotabstract.It'sutterly concretebecauseitstartswithpersonalexperience.Astonishment.Though oftentheUpanishadsareexplainedinakindofabstractway,theUpanishads arealsotheforesttexts.Theyarethetextsofthosewhowereputting
thefar.Icansitinaroomlookingatthegrainsofwoodonthetable,andIam runningmyhandsoverit,feelingthegrains,andIcanhearthesoundof alittlecricketjustoutside,thenear.So,architecturecanmakemysenses alivetothenearandtothefar.Icanlookoutthroughthewindow.Icanstand ontheterraceunderthislargesky,butIknowthatIamonmyterrace,and IknowthattheskyisthereandIamhere.IamcontainedorIamhelpedby thisarchitecturetoinhabit,tobear,toenjoythisvastness.
Similarlyfortime,architecturecanhelpustobearthehugescalesoftime. Ibuildmywallwithstones,andIknowthatthestonestookmillionsofyears toform.Ihaveawoodendoor,andthedoorhasweatheredwood.Thetree tookfiftytoahundredyearstogrow,andittooksometimetomakeintoa door.Thenitwasfitted,thenitwaspolished,andthenitbecamewornwith time.NowIcanseethemarksofageandthepatinaoftimeonit.Architecture canshowthepastasslow-movingthings.Architecturecanalsoshowthe possiblethingsofthefuture.Itisabletosuggestthatperhapsonthisterrace tomorrowtheremaybeamonkeyjumping.Onthisterrace,whentherain falls,Iwillseewatergoingout.Idon’tknowwhetheritwillornot,butthe possibilitiesareopenedupbytheexistenceofarchitecture.Inthatmanner, Ipreventmyselffromgettinglostinendlessspaceandendlesstime.
Howdoesthishappen?Howdoesarchitecturedothis?
Thefirstthingismyproportion.IneedtoknowhowbigIam.Howbigisthe world?Whatismysizeinrelationtothetreefaraway?Howbigisthesea? I’msosmall.So,whenIbuildasmallcabinnearthebeach,Iamreallymaking astatementorakindofgestureofsaying,‘Yes,Iknowit'shuge,butIhave thislittlespace,andinthisspace,tosomeextent,Ifeelsecure’.HowbigamI? WhereamI?Thisistoldtousbythings.Justimagineifadoorhandlewas hugeandyouhadtousebothyourarmstoopenthedoorversusifadoor handlewastinyandmicroscopicandyoucouldn’tfindit;thenitdoesn’t makesense,becauseitisahandlewhichfitsmyhandorlookatittheother way,thatIhaveahandwhichfitsthehandle;thatwayathingisableto createasenseofproportion.
Similarly,aroom.Aroomcouldcreateasenseofbeinglong,ofbeingstable andaddressed,ofbeingoppressivelysmall,andsoon.Andthatproportion oftheroomwillwantmetoeithergooutorsittherehappilyenjoying somethingorbeingverytenseandworkedupbytheproportionitself.Then buildingstothesame,streetstothesame,thecitiestothesame.So,tomake
architecturetoourscaleisthequestionofproportioning.Ourscaleisgiven tousbyoureyesandfirstofallbyourbodilymovements.Icaneasilywalk fromheretothere;thatkitchenisnottoofar,thatroomisfaraway,and soon.So,withmybodyandmuscularmovement,Isensescaleandproportion withmyeyes,ears,nose,andskin.Allofthesegivemedifferentnotionsofthe senseofproportions,andaltogethertheyallhelpmetocreateaplace.
Italkedaboutmygrandmotherinthebeginning,andshewascreatingthis. Shehadherself,herclothes,herboxonwhichshewouldsit,thetreeunder whichtherewasshade,theflooronwhichshewas,andtogetherallthisin acertainsenseofproportioncreatedthearchitectureforherbeing.The architecturehelpsbytellingusoransweringquestionslike,‘AmIsafelyheld? AmIfree?AmIimprisoned?AmIcutoff?OramIconnectedtotheworld?’ Itdoesthisbydelimiting,openingup,andconnecting.So,verysimply speaking,floors,walls,roofs,windows,anddoors,createtheparaphernalia withwhichIdelimitthespacebutdonotownthespace.
Thisideaofownershipissomethingdifferent.Onoursiteplans,wedrawthe propertyline,whichisaverystrangenotionbecause,whenIamsittinghere inthespaceofmine,Iactuallyownabout4000sq.yardsofspace.Imean, that’swhatIpaidfor,andthereisaboundarylineandsoonandsoforth. IactuallyownaboutakilometrethatIcansee;Iownthewholesky,Iownthe windthatflowsfromhundredsofmilesaway,Iownthesunasitfalls,and Iownthemoon.Therefore,thesenseofdelimitingisnotasenseofcuttingoff, butitisthesenseofconnecting.So,howdoyoudelimit?Youmakeaprelim bydelimitingcompletelyandwithoutanyambiguitythatyou’reinside. Butyoucanbefreebycreatingthesenseofbeingheldwithoutthesense ofbeinglost.Thatistheartwithwhicharchitecturecanhelpustomake senseoftheworld.
Thenitdoessomethingelse.Itamplifies;itmakesvisiblethecycleoftheday, thenight,andtheseason.AsIsithere,theshadowsofsomeoftheleaves ofthetreearefallingonawall,andtheshadowsaremovingslightly.IfIsit hereforlongenough,theshadowswillmove,andsomeotherpartofthe treewillstartcastingshadowsheresothatittellsme,‘Now,it'sevening’, nowthesunislowinthesky,anditwillgostilllower,andsoitamplifies. Theworldisthevesselinwhichthesenseofthedaycancomethrough. Theroofandtheterracearethosewhichbearthenightskyandsoon.This architectureisabletoamplifyandmakeitvisible.Andtelluswhenisallthis happening?Whereisallthishappening?Andmostimportantly,itgives
containanything-justtheblueskiesandtheblueriver.Thesearethe temptationsthatarchitecturecangive.
Whenthethoughtisaboutplacesoflearning,intheMaritimeInstitute andNationalInstituteofFaithofLeadership,youhaveplacesoflearning whicharecladinaluminium,shiningaway.Theseclassesarefourtimesthe heightofstudents,allair-conditionedastheypromiseunimaginedcomfort. Andtheotherswhicharereadytoswallowyouthroughcreatingthatsense ofbeingofwritingwhatcannotbesaid.
Thenthereareexamplesforreligionatwork.Youhavethesehugely impressivestructures,withthelatestkindsoftechniquesofbuilding,but nosoulanywhereinthesespaces.Thatistheerasureoftheimmeasurable. Wearefascinatedbygiganticthings.Wewanttocreatehuge,almostchildish inoursense.Thisisthebiggestandthereitis.
Incontrast,ordinarypeople'swaysofinhabitingtheearthoftenseemmore responsiveandresponsible,delightingthesenses,givingordertotheir worldsasmuchaspossiblewithinenormousconstraints,ingeniousand enjoyableatthesametime.
ThesefourphotographsarefromavillageinTamilNadu,somewherenear Trichy.Thephotographtotheright-Whataningenioushousethisperson hasbuilt.Theycanusethetopfloorseparatelyfromthegroundfloor.Allis ataminimum.TheBauhauscouldhavelearnedfromthisminimalexistence andit'sapieceofsculptureatthesametime.Lookatthetempleontheleft. Theyseemtobeable,withaverylittle,todomuchmoreintermsofactually touchingyou,actuallymakingitpossibleforyoutoconnecttotheworld. Whenthesituationisverybad,theycanstilldosomething.
Fig.1.
Here'sahousewhichwasbuiltaftertheearthquakeinKutch.Istillcarrythis imagewheneverIwanttorememberhumantoughness.Fromeverything thatwasbroken,here'sahousebuilt,andithasalltheelementsofthehouse. So,itispossibletohavehopewithoutbeingtempted.Itispossibletohave positivitywithouthavingtemptationsdangledinfrontofyoureyes.The contrastbetweenthefancyrenderedimagesandwhatpeoplehavebeen doingforages.
Thereisthistempleintheforest,upthehill.Youtakearockanditseemsto havesomesignificance.Youpaintitwhite.That'sallthatyoudo.Everytime youcomehere,youofferahorsemadeofclay.That'sjustenough.That'syou, yourself,yourownbodyandyourownhand-madethingswhichyouhave putinthere.Acompleteconnection,theactofclimbing,theactofreaching there,allofit,asopposedtoakindoffleetingglanceatthefineryofakindof carnivalatmosphere.
Fig.2.
Fig.3.
ItcanbeassumedthatGandhiwasnotattemptingtomakegreat architecture(certainlynotArchitecturewithacapitalAmeantforthe connoisseursofthisart).However,hecertainlyhadshowngreatinterest tothecraftofbuilding.Hehadlearntcarpentryandleatherworkfromhis Trappistfriendsandobservedandperhapslearntfromhisgreatfriend HermannKallenbachinSouthAfrica.However,hisinterestinarchitecture needstobeunderstoodaspartofamultidimensionalsearchforfinding waysoflivingthatfosteredandsustainedlifeandallowedproportionate participationininterconnectedprocessesthatconstitutedwhatwecalllife.
Theethosofmodernindustrialcivilisationworkedontheideathat humankindshouldmasternaturesoastoextractmaximumbenefit.Humans wereattheapexofcreationandcouldthereforeusewhatnatureoffered forhumankind.Thiswasapartoftheideaofthesurvivalofthefittest–a continual(andifnecessary,violent)competitionbetweenspeciesthatwas alawofnature.Inconsequence,humansneededtousetheirintelligenceto achieveoverallelseandberuthlessinextractingmaterialandenergyfrom nature.Inprinciple,thisisalinearprocess–energyormaterial,onceused, degradedtoanon-usableform.Materialandenergybothweresubjectedto ahierarchyofquality.Thiscouldbecalledtheethosofmasteryovernature.
If,ontheotherhand,ifallthatexistsisunderstoodtobeinterconnected,and allpartsaredependentonflowsofmaterialandenergybetweenthem,and thisisacircularorcyclicalprocess.Inthiscase,thatwhichwasusedwasnot usedupbutbecameusefultosomeotherprocess.Thus,interconnectedness wasapositiveaspectofexistence.Thisethosofparticipationhadbeen operationalinprimitivesocietiesandinGandhi'sthought,wouldbethe wisdomofthefuture.
Ourcontemporaryunderstandingofourplaceintheorderofnaturewould benefitfromsuchanattitude,butGandhi’swasapioneeringvision,notof povertyasananswer,butofwiseenjoymentofthegenerosityofnature.
Theethicalbasisofinhabitation
Gandhididnotconsciouslybasehisphilosophyonecologicalorbiological principles.Nevertheless,itispossibletoseeinhisphilosophyanalignment withwhatecologyexplained.Thiswaspossiblebecauseherealisedthe destructiveandviolentcharacterofallthatcontemporarythought,and especiallycolonialthought,proclaimedastheessenceofcivilisation.Inshort,
hedeniedthe'worlding'thatcolonisationbroughtaboutandconnected withphilosophical,ethicalandpoliticalconceptsthatweredeeply embeddedinindigenouscultures.YetGandhididnotblindlyretreatinto traditionalphilosophiesorreligiousbeliefsofIndiabutwasalsodeeply movedbytheBibleandChristianthinkingandwasequallyappreciative oftheoutlooksandwritingsofRuskin,ThoreauandTolstoy.Inawayhe openeduphisworldtoallthewaysoflivingandthinkingthatwerenon exploitativeandsympathetictothevalueofallthattheworldgives.Thisis particularlyevidentinhistractHindSwarajwhichhewroteinGujaratiin 1909andtranslatedintoEnglishin1910.
Thisunderstandingwasalsothebasisforthevowsthateachashramite accepted.TheelevenvowsthateverymemberoftheSabarmatiAshram atAhmedabadfollowedhavethreevowsthatclearlyelucidateGandhi’s absolutecommitmenttobeingfullyresponsibleforhowweusematerials andenergy.Thethreevowsareasteyaornon-stealing,aparigrahaor non-possession,non-acquisitivenessandsharira-shramaorbreadlabour.
Asteya(non-stealing):Takingorusinganymaterialorenergywithout workingorlabouringforit,orusingmorethanwhatisnecessary,isaformof stealinginGandhi’sphilosophy.
Isuggestthatwearethievesinaway.IfItakeanythingthatIdonotneed formyownimmediateuseandkeepit,Ithieveitfromsomebodyelse.It isthefundamentallawofNature,withoutexception,thatNatureproduces enoughforourwantsfromdaytoday,andifonlyeverybodytookenoughfor himselfandnothingmore,therewouldbenopauperisminthisworld,and therewouldbenomandyingofstarvation.
M.K.Gandhi,AshramVows.
Aparigraha(non-possession):Possessionofmaterialorenergyiscontraryto theunderstandingthatthesearefreelygiventousbynature,andtherefore, ethically,noindividualorgroupcanbeallowedtoestablishexclusiverights overthem.Thisalsomeansthateveryindividualorgroupmustusematerial andenergyinthemostresponsiblewaysoasnottousurpallthatwhich rightfullybelongstoallcreatures.
Possessionimpliesprovisionforthefuture.AseekerafterTruth,afollowerof theLawofLove,cannotholdanythingagainsttomorrow…civilisation,inthe
realsenseoftheterm,consistsnotinthemultiplicationbutinthedeliberate andvoluntaryreductionofwants.Thisalonepromotesrealhappinessand contentmentandincreasesthecapacityforservice.
M.K.Gandhi,YerawadaMandir,1945.
Sharira-Shrama(breadlabour):Theideaofbreadlabourwasinitiatedand promotedbyJohnRuskinandLeoTolstoyintheirwritings.Gandhiwas greatlyimpressedbythisideaandmadeitapartofthepracticesthathe andhisassociatesfollowed.Itisapracticalmannerofachievingasteyaor non-stealing,butitsimplicationsarefar-reachingandwouldaffectthevery ideaofthemeaningoflabour,transformingitfrombeinganunpleasant andunavoidablerealitytoavitalingredientofafullydevelopedhuman participationintheworld.
Mancanbesavedfrominjuringsociety,aswellashimself,onlyifhesustains hisphysicalexistencebyphysicallabour.
M.K.Gandhi,AshramVows.
Onecanseehereacompletephilosophicalsystemthatsuggestsanew worldorder–onethatachievessustainabilityasitsfruit,inaspiritnotof sacrificingenjoyment,butinaspiritofjoyfullyparticipatinginworld-process.
ParticipationratherthanMastery
Wemightsummarisesuchaphilosophyasashortbutexpressivephrase: participationratherthanmastery.Inmanyways,anattitudeofparticipation wouldbeanattitudeofrecognisingtheinterconnectednessofall phenomenathatcomprisetheworld.Mastery,incontrast,requiresaclear separationofpartssothatsomepartcanestablishmasteryoverotherparts
Thetablebelowshowsthedifferencesbetweenthetwooutlooks:
