The insistence that archiecture should take a forehand approach towards social and cultural revolution that is happening all around, is noticeable specifically in the present work.The idea that in the present perspective, architecture should not only associate itself with the demonstration of technological innovation but also, social innovation, is the reason that the thesis premise is influenced with. This, in reflection to what Vittorio Gregotti mentions,
“In the course of [the lastJ thirty years, during which the obsession with history emerged and developed, the belief has taken root that architecture cannot be a means for changing social relationships...” (Frampton, Tectonics 26)
seems to be taking shape. Returning back to his practise and elaborating on the pre-stated idea of non-confirmation of his practise to architectural theories can be confirmed by the following quote,
“Honestly, architecture is a very dangerous profession....You develop a kind of style and you get trapped in the style... The only way to escape is to give priority to the emergent part of the iceberg, everything that is not really visible but that makes architecture. That is topography. That is geography. It’s history. It’s society. It’s anthropology...The idea that what is supporting architecture is not architecture. It’s actually everything that gives the sense for architecture.” (Lelyveld, 19)
While the idea of contradiction present and responded through his practise, is asserted when he says, “I believe in contradiction. I
really believe that we should not even try to sort out those contradictions. Architecture is about contradictions. Its about stability and instability. It is about memories and invention.... Architecture is very materialistic. But at the same idealistic.” (Lelyveld, 19)
And this nature shall be seen in the course of study while anlysing the decisions that made the making of the Jean Marie Tijibou Cultural Center. HIS LEARNING People and their influences on his career, concisely, can be expressed as under, Frie Otto, of his experimental work and curiosity to natural world, Z.S. Makowsky – of his mathematical approach , Pier Luigi Nervi to Jean Prouve – of conceptual gestation and execution, concept and craftsmanship, Franco Albini- of his stubborness to reject slipshod, Marco Zanuso – of handling material, Kahn – of dedication and of the most, his contractor dad for the ‘love’ of ‘making’.
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Undergraduate Thesis, School of Architecture, Avnish Mehta