Architectural Criticism a state of Play

The popular perception that architectural criticism in India began only in the last decade is both
historically and qualitatively inaccurate. There were regular attempts to highlight the public
consequence of architecture and made a case for it to be taken seriously as a form of cultural
production. However, it did not grow into widely recognisable and influential force.

Some of the earliest architectural debates coincided with the nationalist struggle. Resistance to
imperial visions enforced through architecture periodically sprung up. Projects such as building the
new capital in Delhi, in the early part of the twentieth century, brought arguments about identity
and relevance of Indian architecture to the forefront. It was also the time when architecture was
attempting to mark itself as a distinct and modern profession. There was an urgent need to
articulate the values and concerns of the new profession and establish it as being different from
engineering and construction. Professional journal such as Journal of Indian Institute of architects
(1934) circulated in this context. As its early issues described, the journal was to show to the country
what architecture means.

One of the key publications during the early time was Marg, started in 1946 and driven by a group of
artist and architects. Marg, for a considerable time, focused on architectural issues and strongly
advocated for modern architecture. In later years, it became a magazine associated more with art,
history and antiquities. Patwant Singh’s Design would require special mention among early
publications. Design, in the 1960s, incorporated the earlier journal The Indian Builder and
repositioned it. Habib Rahman, Gropius, Neutra, Breuer served on its editorial board. The magazine
carried lucid and sharp editorials on public projects and discussed architecture along with artistic
developments at that time.

The second phase of architectural writing coincided with the publication of Architectural + Design
(A+D) magazine in 1984. The mission of this publication, as its first edition explained, was to serve
communication needs of architects and curate projects that fulfil the criteria of integrity, identity
and relevance. The first decade was momentous. Many significant commentaries were published
and projects were showcased. It offered an energetic platform for architects and the hope was
evident in writings. Despite doing well A+D after its first decade slowly lost its critical edge and
slipped into a culture of mundane cataloguing.

In the last decade, the number of architecture schools increased, licensed professionals burgeoned
and building construction rapidly expanded. They have created conditions for many architecture
publications to surge. The print media is thriving and more recognisable writers have emerged.
However, unfortunately, this has not added up to a vibrant and insightful writing milieu. Criticism
needs a constituency that demands good design and also to whom as Alfred Kazin would insightfully
remark, “Judgement is an active factor in daily awareness”. The challenge facing Indian writing is not
only to seek but also simultaneously build them.
Historicize and problematize
In both the exhibition and conference, the state of criticism in the country was historicised perhaps
for the first time. Architectural writing and criticism self-examination is only now emerging, its
influence is far from clear. Like reflexive practices, we need more reflexive criticism, whether in
books or journals. Journals such that of Indian Institute of Architects have excellent archival value,
particularly from its early decades, but do not provide critical writing. Other magazines that have
emerged since the turn of the century largely valorise and commemorate the boutique practices and
showcase architects in their way limited roles as designers.

There is also a death of academic writing in architecture because of the absence of peer-reviewed
journals. In the last couple of years, some journals have been established their value shall only be
seen in their sustainability.

If one had to rank the various states of architecture in India based on the deliberations and the initial
viewing of the exhibition, the practices in constant dialogue with themselves and their larger
environment are the most encouraging. The profession is being redefined by these practices and has
potential to influence education and criticism. There have to have a larger presence on the cultural
consciousness of the country for lasting value, much beyond the confines of this conference.
Architectural Journalism still has to take off to meet these practices half-way. Architectural
education has to resume its role as producer of ideas and alternatives that can be fructified in
practice. The institution that govern architecture need deep self-examination as to their present and
future relevance.

“Journalism is the truth that people need to know, and not what they want to know”. This stream as
a career establishes its importance in being the unbiased analyser as well the awareness promoter of
the design world. It has got its never than-ever relevance now as this led demands newer ways of
understanding and experience. This does not just involve criticism, but also lets the designer know
“What is being conveyed through their way of conveying” and also lets the reader/user know “What
is been tried to convey”. This is home run for designers who can understand the minds of the
readers/users further-more and alter their means of communications and also correct the
miscommunication if any. The scope of an Architectural journalist has widened and wizened in
recent times. There are in numerous magazines, web portals, blogs in India and around the world,
which connect the writers and the readers through a palm-sized magic device Words are our most
inexhaustible source of magic, Architectural Journalism is a whole new wizardry which deserves to
be learned, practiced and mastered.

Structural structuring and arranging, inside planning, scene architecture etc. are a couple of orders
incorporated under the enormous flag Architecture. Drawing connection between the outside and
inside, what goes well with which structure component and what includes to the style of the
structure has dependably been the undertaking each other creator needs to fulfil. In any case,
completes a fashioner dependably conveys to his group of spectators and his customers just by his
structures?