Deaf to bestowal: tales of decay & neglect of heritage in India

*Ongoing works*

Abstract:

Historic building conservation is often challenged by a lot of issues in its process. From urgency of drawing attention to the building at risk or to be demolished to clash of ideologies or to simply fit into the idea of ‘development’ which is based on lack of study, expertise and guidelines on conserving heritage buildings in almost all parts of the world. We therefore ask the basic question ‘why do we need architecture as a catalyst for a unique identity?’ and therefore ‘what is architecture?’ We will address recent issues in the real world and thus look at the Hall of Nations Pavilion in New Delhi which was recently demolished to make way for concrete and glass buildings. We will also look at other such examples across India and elsewhere with building of varying degrees of importance. The simple question being ‘what are we giving by taking away?’ while discussing possibilities in architectural education to realize and revitalize the attitudes of nationalism, pride and appreciation towards works of great arts.

O U T L I N E

1. INTRODUCTION

• Identifying what encouraged me to write about this topic
• Background information
• Ask an important question about the subject
• State the topic to be discussed with main points that will develop the argument

The Hall of Nations, the world’s first and largest-span space-frame structure built in reinforced concrete, holds special significance in India’s post-colonial history — it was inaugurated in 1972 to commemorate twenty-five years of the young country’s independence. The demolition was met with widespread condemnation by architects and historians alike, not just because of the loss of an important piece of Delhi’s heritage, but also for the covert manner the demolition was conducted.

2. BODY

A. The nature of public buildings in post-colonial India and the construction of ‘Indian’ identity

B. Modernist theory, Le Corbusier and demonstrating supremacy through buildings

KEYWORDS: Architectural education; Conservation education; Heritage Conservation; Importance of Identity

Important stances in history and Hall of nations and generating its heritage value-national, political and historical importance.

C. The Argument of Eminent Domain

Doctrine of ‘Eminent Domain’ recognizes the superior right of the government to take over any property in the interest of general public. This is to be done only after compensating the land owner of such property. In the case of Hall of Nations, the land on which the Hall was constructed was already a government property. Hence, the common way in which eminent domain is generally understood did not arise. Does this however mean that right of ownership of land in the Sovereign can be allowed to override moral rights? It would amount to making section 57 of the Copyright Act infructuous.

D. Heritage and Moral rights

Moral rights are personal legal rights belonging to the creator of copyright works. These rights apply to the creator of the work, including where the creator of the work may not necessarily be the copyright owner of the work. Architects can exercise moral rights irrespective of who owns the copyright of the works they created. An architect has the right to be attributed as the designer of a project when it is constructed, and when the work is publicized or represented in print. So not only do Raj Rewal and Mahendra Raj have the right to be recognized as the creators of the Hall of Nations, they also had the right to be consulted upon if their project was to be demolished or even altered. In the instant case, their repeated pleas not to demolish went unheard.

E. Comparison case studies

• Celebrated case of Mr. Amarnath Sehgal

• Villages in India

• Taoist temple in Beijing
• The case of Mecca F. ‘idea of utopia’ in India and Alternate utopias for the future.

A public process with an unequal distribution of rhetorical power is bound to have its effects.

Discussion

The Delhi High Court’s refusal to see it as a heritage structure — ‘not older than 60 years’ had some logic to it, but only ‘some‘. Inaugurated in 1972, to commemorate twenty-five years of country’s independence, its demolition witnessed widespread condemnation by architects and historians, a lot of hue and cry from the public, and political rhetoric. Unfortunately, all were emotional appeals and not reasoned arguments.

3. CONCUSION

How really ‘public’ are the public buildings? Where do works of architecture fit in to Copyright laws? If a building is politically important, does it automatically become historic in its history and intent? How much of control and impact does political bodies have on heritage structures of a nation? Can it be pushed and to what extent? What does ‘context’ mean here? The meaning of architecture and thus heritage changes in a transient ideological position of a nation as India. In purely strategic terms, the question is relevant, since policy — usually in terms of government policy and even architectural criticism — often uses straightforwardly economic criteria to make decisions or draw conclusions. Approaching architecture as an industry, while apposite in certain instances, fails to allow for the role of the architectural in forming part of a nation’s, or a community’s, culture. Yet, it is clear that the presence of architecture in the daily lives of citizens underscores its ineliminable cultural presence. Discussing Heritage and unique ‘identity’ and hence sense of ‘Place’-nationalism and heritage. (Even as we document our past achievements, it also contains valuable knowledge for the creation of contemporary culture. In this sense, past is an essential tool for thoughtfully moving forward and a rear-view mirror on what Lewis Mumford called, “the usable past’’.)

Louis Kahn said that a building reveals its true identity once under construction and again as a ruin:

‘The spirit of its making comes back. It welcomes foliage which entwines and conceals. Everyone who passes can hear the story it wants to tell about its making.’ But while it is in use, no one notices.