Context and Architecture

Contemporary Trends in Contextual Design

A DISSERTATION

Submitted by

A M Abisha Teslin Dhas

20089901

In partial fulfilment of the requirements

for the award of the degree

of
BACHELOR OF ARCHITECTURE
under
FACULTY OF ARCHITECTURE AND PALNNING
in

DEPARTMENT OF ARCHITECTURE
SCHOOL OF ARCHITECTURE AND PLANNING

ANNA UNIVERSITY
CHENNAI 600 025

NOVEMBER 2012
 DECLARATION

I declare that this Dissertation titled

“Context and Architecture: Contemporary Trends in Contextual Design”

is the result of my work and prepared by me under the guidance of

Dr K.R.Sitalakshmi, Associate Professor in Architecture and that work

reported herein does not form part of any other dissertation of this or any

other University. Due acknowledgement have been made wherever

anything has been borrowed from other sources.

Date: Signature of the Candidate

Name

Roll Number

ii
 BONAFIDE CERTIFICATE

Certified that this Dissertation forming part of Course work

AD 903, Dissertation, IX semester, B.Arch, entitled

“Context and Architecture: Contemporary Trends in Contextual Design”

Submitted by Ms. A M Abisha Teslin Dhas Roll No20089901

to the Department of architecture, School of Architecture and Planning , Anna

University, Chennai, 600 025 in partial fulfilment of the requirements for the

award of Bachelor Degree in Architecture is a bonafide record of work carried

by him / her under my supervision.

Certified further that to the best of my knowledge the work reported herein does

not form part of any other dissertation.

Date: Signature of the Supervisor

Name

Designation

External Examiner 1 External Examiner 2

Date : Date :

Professor and Head Dean

Department of Architecture SAP
Date : Date:

iii
 ABSTRACT

Context in Architecture is not one dimensional. It has multi dimensional facets

which can be analysed only when the setting of the architectural context is fully
understood. In reality, an examination of urban and architectural context is a
matter that must go much further than skin deep, in order to exhibit any
significance. A building does not stand alone-particularly in an urban
environment. In the present architectural scenario where boundaries between
social, economic, cultural and ethnic factors etc are not easily discernible, only
when a building or a structure is seamlessly integrated with its context does it
become a thoughtfully shaped design which strikes a chord in the user. The
popular notion that a building should ‘fit in’ with its surroundings may appeal to
the public but it becomes perplexing at times to transform a contextually
sensitive idea to an exemplary design.

The dissertation tries to understand what role context plays in present day
architecture and analyse if it makes a difference in how architecture is
experienced. This is explored through works of 12 architects both Indian and
foreign. The case studies range from conservation projects which address
buildings which are already rooted within a strong historic context to
architecture which tries to create a new context by itself. The projects are
analysed using the SID index which was used by Tom Turner in analysing
urban form. The index is used to examine how architecture can be related
through similarity, identity and difference to the existing setting. An
interpretation of what contextual architecture means is grasped through
comparison of the case studies of how context is viewed through the eyes of
the architect, critic and the common man.

As a result of the analysis the meaning of context in architecture, the factors

which form context of a place, the reason why new buildings should respect

iv
existing context, the fields where context plays an important role, whether a
thorough understanding of context is important in conceiving good design,
impact of context on visual and programmatic aspects of the building and how
this influences present day architecture are realised.

It is seen that Context is used not only in the field of architectural conservation
to relate additions and alterations to the existing setting, but also used in
creating new buildings which the user can relate to. Also certain building
typologies use an understanding of the context to brand the buildings and to
glorify it to more than what it is. But when a building is conceived only with a
surface level understanding of the context it may fail to strike a chord with the
user. This sentiment sometimes goes awry during the design process when
over-simplified adage of the concept of new vs. old, same vs. different is
adapted and it is in this closeted way of thinking that we lose sight of the vast
array of possibilities that exist within the gray zone. Somewhere between the
lines is a new that also pays respect to the old or to the existing. It is not by
mirroring or replicating; but it is by considering that vernacular respect can be
recognized, and perhaps even alluded to in a new and contemporary way that
a superior and revolutionary architectural design can be achieved through
contextual sensitivity.

v
 ACKNOWLEDGEMENTS

I sincerely thank my guide Dr. Sitalakshmi K R for her constant support,

guidance and feedback throughout my dissertation from start to finish. I also
thank the librarian Mrs. Valarmathy for her support and guidance during my
study. I would also like to thank my sister A M Ashmitha Terin Dhas and all my
friends for their support and help. I dedicate my dissertation to my parents Mr Y
Aruldhas and Mrs S M Margaret Mary.

vi
 Tableof Contents
Abstract iv

List of Figures ix

List of Tables x

Chapter 1 Introduction 1
1.1 General

1.2 Aim

1.3 Objectives

1.4 Questions

1.5 Methodology

Chapter 2 Context 4
2.1 What is Context?
2.2 Context in Architecture

2.3 Need for Contextual Sensitivity

2.4 Factors which form context of a place

2.4.1 Tangible Aspects

2.4.2 Intangible Aspects

Chapter 3 Context in Today’s World 9

3.1 Contextual Architecture throughout History:

3.2 Modern architecture

3.3 Context in Today’s World

3.4 Context and Heritage

Chapter 4 Similarity, Identity and Difference11

4.1 SID index:

4.1.1 Similarity

4.1.2 Identity

4.1.3 Difference

4.1.4 Coalition

4.2 Factors Used

4.2.1 Visual aspects

4.2.1 Programmatic aspects

Chapter 5 Case Studies 14

5.1 Aspects of the Study:

5.2 Case Studies:

5.2.1 Extension of the National Maritime Museum I C.F. Moller Architects

5.2.2 Scottish Parliment /Ar. Enric Mirrales

5.2.3 Convent de Sant Francese I David Closes

5.2.4 The Nelson-Atkins Museum of Art I Steven Holl Architects

5.2.5 LaCONES I Shirish Beri & Associates

5.2.6 RAAS,Jodhpur I Lotus Praxis Initiative

5.2.7 Khalsa Heritage Centre I Ar. Moshe Safdie

5.2.8 IIM Ahmedabad Additions I HMS Architects

5.2.9 D Caves I Sanjay Puri Architects

5.2.10 Development Alternatives World Headquarters, Ar. Ashok LaII

5.2.11 Pearl Academy of Fashion I Morphogenesis

5.2.12 Suzlon One Earth I Christopher Benninger Architects

5.3 Inference

Chapter 6 Conclusion 39

6.1 Relevance of Context in Contemporary Design:

References/ Bibliography 42

viii
 List of figures

Figure 1: Extension of the National Maritime Museum I C.F. Moller Architects

Figure 2: Scottish Parliment I Ar. Enric Mirrales

Figure 3: Convent de Sant Francese I David Closes

Figure 4: The Nelson-Atkins Museum of Art I Steven Holl Architects

Figure 5: LaCONES, Shirish Beri & Associates

Figure 6: RAAS,Jodhpur I Lotus Praxis Initiative

Figure 7: Khalsa Heritage Centre,Moshe Safdie

Figure 8: IIM Ahmedabad Additions I HMS Architects

Figure 9: D Caves I Sanjay Puri Architects

Figure 10: Development Alternatives World Headquarters, Ar. Ashok LaII

Figure 11: Pearl Academy of Fashion I Morphogenesis

Figure 12: Suzlon One Earth I Christopher Benninger Architects

ix
 List of tables

Table 1: Inference 1

Table 2: Inference 2

Table 3: Inference 3

x
 Chapter 1
Introduction

“Always design a thing by considering it in its next larger context - a chair in a

room, a room in a house, a house in an environment, an environment in a city
plan.”

The words of Eliel Saarinen (Finnish Architect notable for his influence on
modern architecture in the United States, particularly on skyscraper and church
design. 1873-1950) implies that no building stands alone in an urban
environment. When we see a building we do not see only the building. It sits on
a site with its own unique natural or man-made aspects surrounded by an
environment which may be a landscape or built form. Hence any building
atleast in the urban scenario should take into consideration its natural and
cultural and cultural landscape before it is conceived. An understanding of the
context of the place in which the building grows and develops is essential to
create architecture which strikes a chord in the user.

However, different viewpoints are taken when this notion is put into practice.

‘Architecture should respond to its surroundings’

‘It can respond only by imitating what is already there.’

‘Architecture should stand out from its surroundings.’

‘Good architecture should attract attention.’

‘Good architecture should blend in with the urban fabric’

The above statements show that different mindsets prevail on what is

contextually sensitive architecture. There exists a paradoxical situation where
architecture is intended to be a response to its surroundings when conceived

1
on the drafting board but ends up being non responsive, ugly or boring. Hence
architects tend to verbally embellish their designs to make them appear to be
more than what there is. Hence this dissertation tries to address the question
‘How to create good design which responds positively to its surroundings and
engages the user.

1.2 Aim:

Architecture at its core is a humanitarian and utilitarian art. Unless a building

satisfies its function successfully it doesn’t become a sensitive design even if it
is aesthetically transcendental. An insensitive design becomes anonymous
whereas a contextual design emerges as an identity. The aim of this
dissertation is to analyse how understanding the context of a place would help
in creating sensitive architecture which engages the user.

1.3 Objectives:

The objectives of this paper is to

• Understand context as an essential factor in creating a sensitive design.

• to emphazise the need for recognizing the context and designing

structures that respond to it.

• To study the ways in which architects have perceived context and

translated it into a design solution through case studies.

1.4 Questions:

The dissertation primarily seeks an answer to the following questions:

What is context in architecture?

What are the factors which form context of a place?

Is it relevant in present day architectural design?

2
Does an understanding of context result in conceiving good design?

Or is it merely important in the field of Architectural Conservation?

Does it have only Visual Impact?

Should new buildings respect existing context?

What makes architecture contextual?

1.5 Methodology:

To answer the above questions 12 case studies of designs which are stated to
be contextual by the architects are analysed. Response of critics and general
public as to whether these designs are indeed contextual is found. As a basis
for analysis the SID index which was used by Tom Turner to analyse urban
form is used. Based on this analysis the ways in which context can be
explored in creating sensitive design is determined.

3
 Chapter 2
Context

2.1 What is Context?

Human way of perception and understanding is often based upon context,

making it a relevant factor in many realms. The very definition of context,

‘the circumstances that form the setting for an event, statement, or idea,
and in terms of which it can be fully understood and assessed’

indicates that in order to fully grasp any concept, idea, or even something
more tangible, context is essential.

2.2 Context in Architecture:

When it comes to architecture, the term context becomes much more complex.
Context is essentially a narrative which tells the story of a place. But
architectural context can never be understood from a one dimensional
viewpoint. Contextual sensitivity in architectural design cannot be easily defined
as either black or white. In reality, an examination of urban and architectural
context is a matter that must go much further than skin deep, in order to exhibit
any significance.

Context can be meant in architecture to be anything around the site, or place of

architectural emphasis. This leads us to begin understanding the idea of
‘contextualism’, which has been defined as:

“The aesthetic position that a building or the like should be designed for
harmony or a meaningful relationship with other such elements already existing
in its vicinity.”

4
The strength of the relationship spoken of in this definition is what helps identify
the extent to which a building may be contextual.

Contextual architecture represents architecture and designing in particular

context, i.e. historical or vernacular context. Often referred to it, as contextually
compatible architecture. This notion can be easily understood through the
analogy with the "Context" in the natural language. Expressing compatibilty
ranges from superficial repetition of architectural styles or elements or cosmetic
treatment of building facades to the meaningful inspirated designs and the
symbolic representation of certain place in building. It has a wide range of
applications, from the infill projects to the new building design in historical
context.

Contextual architecture is different in scope, objectives and approach from the

appropriate technology based architecture. Contextual architecture confirms
the continuity of the present with the past and extends to the future, depending
on the quality of design and understanding of context. Contextual architecture
envisages "future" as well.

2.3 Need for Contextual Sensitivity:

One of the fundamental struggles in defining architecture—both from within the

profession and from others’ perception of it—is in determining whether we see
architecture as a service profession or an artistic one. Or both. And if both,
where do we draw the line? Musn’t there be a balance that lies somewhere
between the two extremes:
(1) an autonomous architect creating a giant piece of sculpture, and
(2) an entirely yielding architect only replicating what already exists? Instead,
how about a collaborating architect creating a building that

5
both exhibits an artful interpretation of architectural form derived from
contextual understanding and a building that truly services those who will
inhabit it, those who will look at it, and those whose lives will be affected by it in
any number of ways?
Granted, this may be a lot to ask for every building to achieve. But considering
that our cities are nothing more than the canvas upon which we inflict our
desires—whether those desires be buildings, roads, freeways, bikeways,
landscapes, parks, or ourselves—how can we not consider that what goes into
creating our cities is deserving of such careful consideration?

Architecture at its core is a humanitarian and utilitarian art. Unless a building

satisfies its function successfully it doesn’t become a sensitive design even if it
is aesthetically transcendental. Almost all cultures throughout history have
developed contextual sensitivity sub consciously through self discovery.

But at present the factors influencing context have become more diverse and
hence can never be understood from a one dimensional viewpoint. Contextual
sensitivity in architectural design cannot be easily defined as either black or
white. In reality, an examination of urban and architectural context is a matter
that must go much further than skin deep, in order to exhibit any significance.

A building does not stand alone-particularly in an urban environment. In the

present architectural scenario where boundaries between social, economic,
cultural and ethnic factors etc are not easily discernible, only when a building or
a structure is seamlessly integrated with its context does it become a
thoughtfully shaped design which strikes a chord in the user. A contextual
design essentially hides as much as it reveals which may not be evident or
predictable on first sight but it may require deeper perception to understand its
true meaning.

6
Contextual perception of any two individuals may not necessarily be similar.
The popular notion that a building should ‘fit in’ with its surroundings may
appeal to the public but it becomes perplexing at times to transform a
contextually sensitive idea to an exemplary design. Context is a narrative which
essentially tells the story of a place. The way in which an individual relates to a
place is based on how he perceives the place based on previous similar or
related experiences. Context is relevant aesthetically, functionally and
environmentally as it influences the creation of a design with roots which is
neither static nor dormant but grows and evolves dynamically with time.

2.4 Factors which form context of a place:

“Place is to architecture as meaning is to language.”

-Simon Unwin

Several factors contribute to what makes the context of a place.

‘Meaning not just "SITE" but all conditions for architecture and in particular the
architecture of such conditions’

-Bernard Tschumi

It includes tangible and intangible factors like site, its surrounding environment
(natural/built-form), climate, topography, existing patterns and characteristics,
historic and socio-cultural aspects etc.

2.4.1 Tangible Aspects:

7
Tangible aspects are the physical qualities of the site and its surroundings
which directly influence the building. It includes

• Site and its Surroundings (Nature and Built Form)

• Environmental Factors
• Climate
• Topography
• Existing patterns and Characteristics

2.4.2 Intangible Aspects:

These factors are not visual and hence not easily discernible an difficult to
perceive. However, these factors are important in deeper understanding of the
context. It includes

• Social
• Cultural
• Ethnic
• Historic influence
• Economic
• Political
• Religious

A thorough understanding of these factors help in an in depth analysis of the

context of a place and in creating architecture which responds to the place.

8
 Chapter 3
Context in Today’s World

3.1 Contextual Architecture throughout History:

Throughout history architecture was subconsciously contextual. It responded to

the site and its surroundings, local landscape climate and had a specific style.
Also it had a visual coherence with its surroundings in terms of form, material,
colour etc. Each country and its culture had specific architectural forms which
was a translation of the identity of the specific community. Both Prehistoric and
Vernacular architecture was of a specific and distinct style which evolved
naturally.

3.2 Modern architecture:

During the period of modern architecture however contextual architecture took

a backseat and universal architecture which was uniform all over the world
emerged. Standardised forms gained importance over cultural and local
aspects. Site specific architecture was not given its due respect.

3.3 Context in Today’s World:

In a Global world where architecture post the Universal Architecture period has
gained momentum there is a need for architecture which respects local culture,
its expression and creates local identities. Specific cultures, ethinicities and
religions demand architecture which is a response to their own culture and
which state their identities. Also after the failure of modern architecture site
and culture specific architecture has gained its own niche. However in a world
connected by social networks the boundaries between local and global have
gradually disappeared understanding these boundaries and creating

9
architecture which is a translation of these identities has become difficult. This
is where an understanding of context becomes important.

3.4 Context and Heritage

As a response to Universal Architecture, the importance of Local Architecture

and preservation of Architectural Heritage has increased. Communities feel the
need to express their cultural identities. New typologies have emerged which
are interventions in older and historically important architecture. In such cases,
the context of the place should be respected and the interventions should not
reduce the importance of the existing architecture. Hence due importance is
given to the understanding of the historic context after which the design is
conceived.

Also Heritage tourism has gained importance in the tourism sector among the
American populace who want to experience the architectural and cultural
heritage of European and Asian countries. Hence architectural conservation
and preservation has gained value. In historical precincts and world heritage
sites maintaining visual coherence is achieved through an understanding of
context.

10
 Chapter 4
Similarity, Identity and Difference

4.1 SID index:

The SID index was first used by Tom Turner in his book City as Landscape to
analyse urban form. Here the index is used to analyse how similar or different
the building is from its surroundings through study of its form, function,
materials etc. A building may respond to its context through

• Similarity
• Identity
• Difference
• Coalition

4.1.1 Similarity:

Here the new buildings respond to its surroundings by incorporating by

blending in. It is achieved through the usage of similar form, colour, materials or
details. It may range from exact imitation to similarity in certain aspects

4.1.2 Identity:

The building may be similar or different but it transcends the context and
creates a new entity by interpreting the old into newer meanings. Here it may
create a new context or increases its existing value. This type has the potential
to become timeless. When architecture creatively explores context and finds
new meanings it emerges as an identity.

4.1.3 Difference:

11
In this type the architecture emulates to be different from the existing
surroundings. It may stand out from the old and in that way attract attention to
an already existing structure or it may be in sympathetic contrast.

4.1.4 Coalition:

It is the blending of the above aspects i.e adopting similarity for certain aspects
and difference for certain aspects. This is the most predominantly used type.

4.2 Factors Used:

Certain factors and elements are used to determine the aspects of SID. They
are

• Visual
• Programmatic

4.2.1 Visual aspects:

Visual Aspects include

• Form
• massing
• Material
• Colour
• Details
• Architectural elements
• Architectural style followed

4.2.1 Programmatic aspects:

• Movement
12
• Spatial relationships
• Activities
• Introduction of transient spaces

13
 Chapter 5
Case Studies

5.1 Aspects of the Study:

This study aims to analyse architecture which has been conceived as

contextual by the architect itself. The views of critics and the general populace
are analysed to find out if these designs are interpreted as contextual.

These may be isolated buildings which are set in the natural environment as
such or they maybe additions to an existing historic setting.

5.2 Case Studies:

12 case studies which vary from conservation projects to individual projects are
chosen to identify the various ways in which context can be explored. These
projects are analysed to see whether an understanding of the context makes a
difference in the design process. The following are the case studies chosen for
analysis

• Extension of the National Maritime Museum I C.F. Moller Architects

• Scottish Parliment I Ar. Enric Mirrales
• Convent de Sant Francese I David Closes
• The Nelson-Atkins Museum of Art I Steven Holl Architects
• LaCONES I Shirish Beri & Associates
• RAAS,Jodhpur I Lotus Praxis Initiative
• Khalsa Heritage Centre I Ar. Moshe Safdie
• IIM Ahmedabad Additions I HMS Architects
• D Caves I Sanjay Puri Architects
• Development Alternatives World Headquarters, Ar. Ashok LaII
• Pearl Academy of Fashion I Morphogenesis
• Suzlon One Earth I Christopher Benninger Architects

14
Figure 1: Extension of the National Maritime Museum I C.F. Moller Architects

15
Figure 2: Scottish Parliment I Ar. Enric Mirrales
16
5.2.1 Extension of the National Maritime Museum I C.F. Moller Architects

‘…The main idea of the design has been to ensure minimal interventions in this
sensitive historic site and yet give the museum a new, distinctive main entrance
and the necessary additional exhibition space…’

The extension has a contemporary aesthetic, but is inspired by the Baroque

buildings’ rhythmic sequence of windows, and the profile of the new extension
has been kept low to allow the Grade I listed Victorian facade of the existing
south west wing of the museum to be appreciated as a backdrop to the striking
new building.

In this building the concept of similarity has been used in the design of the
addition. Similar materials, form, colours are used in the design so that the
addition blends with the older building.

Critics feel that it is a good example of architecture where history is given

importance and the way in which the old has been interpreted

5.2.2 Scottish Parliment /Ar. Enric Mirrales

The building design should be like the land, built out of the land and carved into
the land.

Instead of a building as an overwhelming monument, with rhetorical forms and

classical dimensions, this building is concieved by a psychological approach.
The Parliament is a fragment of a large gathering situation. This natural
amphitheatre that slopes, is what the land is offering us to build on. It is a
diagram that could be explained in many ways...This social concept could have
many "forms". A story definition is needed; Citizens sitting, resting, thinking but
in a similar place and position as the parliamentarians.

Here through association with various cultural factors throughout history a

strong sense of identity is created in the viewers
17
Figure 3: Convent de Sant Francese I David Closes

18
Figure 4: The Nelson-Atkins Museum of Art I Steven Holl Architects
19
5.2.3 Convent de Sant Francese I David Closes

The convent complex of Sant Francesc was built in the eighteenth century by
Franciscan priests. The convent, which includes the renovated Church, was
built between 1721 and 1729. The complex was used as a convent until 1835.
In 2000 the convent, by then in ruins, was demolished by the state. Only the
church and part of the perimeter wall of the convent remained standing,
although in very poor condition.

The renovation of the building has been developed with the goal of
differentiating the new elements constructed (using contemporary construction
systems and languages) from the original elements of this historical church.
With the aim of preserving all aspects of the building’s past, the intervention
has not hidden traces, wounds or scars. Thus, they have remained visible
depressions, holes where the altarpieces once were, traces of missing
elements.

5.2.4 The Nelson-Atkins Museum of Art I Steven Holl Architects

The expansion of The Nelson Atkins Museum of Art fuses architecture with
landscape to create an experiential architecture that unfolds for visitors as it is
perceived through each individual’s movement through space and time.

The threaded movement between the light-gathering lenses of the new addition
weaves the new building with the landscape in a fluid dynamism based on a
sensitive relationship to its context. Rather than an addition of a mass, the new
elements exist in complementary contrast with the original 1933 classical
“Temple to Art”:

20
Table 1: Inference 1
21
5.2.5 LaCONES I Shirish Beri & Associates

The site of approximate four acres had a very beautiful cluster of large rocks
and boulders along the edge of this property. Realizing the immense design
potential of these wonderful rocks, I requested the clients to acquire more land
on the other side of these rocks in exchange for some of our land on the south
side. It was very nice of my clients to agree with me and oblige me as well as
the project with the additional land. In doing so, these rocks became the focal,
central arrival space with beautiful stepped landscaping.

The function of this complex prompted me to think of this building as a non

building. An obliterated facade that does not create a very strong visual image
of a man made building.This is achieved by giving maximum facade space and
importance to the arrival space with the 5 to 11 m tall rocks. An organically
designed structural glazing forms a backdrop to this arrival space. The
reflections of the rocks, the sky and the landscaping in this glazing further
contribute to the creation of a non-facade.The rest of the building character with
the broken masonry walls is such that it further enhances the organic, non
conventional ambience.

5.2.6 RAAS,Jodhpur I Lotus Praxis Initiative

in the heart of the walled city of jodhpur, rajasthan, the new delhi-based
multidisciplinary firm lotus has collaborated with bangalore-based firm praxis
inc. to complete 'raas jodhpur' a 39 room boutique hotel. set at the base of
mehragnarh fort this structure is the 2011 world architecture festival's 'holiday
building of the year' winner.
the 1.5-acre property consists of three 18th century structures located around a
central courtyard.
the buildings have been restored using original lime mortar and jodhpur
22
sandstone along with the workmanship of
100 artisans to create a tactile experience within the context of the historical
city.

23
Figure 5: LaCONES, Shirish Beri & Associates

24
Figure 6: RAAS,Jodhpur I Lotus Praxis Initiative

25
5.2.7 Khalsa Heritage Centre I Ar. Moshe Safdie

Designed by the architect and urban planner Moshe Safdie, the Khalsa
Heritage Center celebrates 500 years of Sikh history and the 300th anniversary
of the Khalsa, the scriptures written by the tenth and last Sikh guru, Gobind
Singh, founder of the modern Sikh faith. Deeply rooted in its surrounding
landscape and resonating with regional architecture, the Centre seemingly
rises from nearby sand cliffs. Clad with local sandstone and evoking the
fortress cities of Rajasthan, Gwalior, and Punjab, the Centre acknowledges the
Sikhs’ history as celebrated warriors. The upwardly curving roofs of the
museum’s tower-like galleries are covered in stainless steel, designed in
counterpoint to the rich tradition of gold domes that crown sacred Sikh buildings
such as the Golden Temple in Amritsar.

5.2.8 IIM Ahmedabad Additions I HMS Architects

Its architect feels the new campus, built under the shadow of the master,
carries forward the inner strength to make its inhabitants rise above the
ordinary, to strive higher.
"To copy Louis Kahn is to insult him. To honour him, the new building had to
uphold the same values that he held dear. I think it embodies the same spirit,"
says Bimal Patel, architect of the new IIM campus.
"There is a continuum, in both spirit and body. If one takes an aerial view and
draws a straight line, the classrooms and dormitories in both the campuses
seem to be placed along it. Even the room numbers are continued.
The underpass acts as a physical link between the two. The old building is an
important national monument. Like twins, they are similar but each has its own
characteristics," says IIM-A director Bakul Dholakia.
"I have tried to keep the spirit of Louis Kahn alive. The striking feature of his
building is its austerity, the restraint. Then, his brick and poured-in-place
concrete building is a challenge to the perceived notions of architecture.

26
Figure 7: Khalsa Heritage Centre,Moshe Safdie

27
Figure 8: IIM Ahmedabad Additions I HMS Architects

28
Table 2: Inference 2

29
5.2.9 D Caves I Sanjay Puri Architects

To preserve each of the majestic boulders that predominantly occupy the

central portion of the small site, the design creates a series of spaces
fragmented around the boulders. This allows the built space to be seen as an
assemblage of small blocks interspersed with the boulders while creating
spaces that enjoy uninterrupted views of the natural surroundings on the
outside by elevating them and interesting views of the sculptural boulders on
the inside. The interspersed rectilinear built spaces with the natural boulders
create interesting juxtapositions and the internal spaces within the plot are
perceived in varying compositions from each functional part of this small
hotel. The design thus retains the natural landscape of the site in the entirety
with minimal intervention by the built forms that contrast in their linearity with
the verticality of the boulders on site creating a movement pattern that
constantly allows one to feel the natural surroundings both within the site and
the surroundings.

5.2.10 Development Alternatives World Headquarters, Ar. Ashok LaII

The building combines modern technology w ith forms, materials, and

elements of traditional Indian architecture to exemplify how regional design
and simple means can adequately and durably meet the needs of most
buildings in contemporary cities.

The project is a show case of traditional, environmentally efficient construction

materials and systems that can be economically developed for low -energy
mass production and adopted by the mainstream building industry, especially
in developing countries.
The building is a symphony in masonry, w ith nearly a dozen types of brick,
block, and stone used in a variety of patterns to create w alls, columns, arches,
domes, floors, and stairs – orchestrated to create a harmonious whole that
delights the senses. Maintenance costs are minimized by using unfinished,
durable, natural materials selected to age with grace and operating costs are
kept low by natural lighting of all workspaces.

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Figure 9: D Caves I Sanjay Puri Architects

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Figure 10: Development Alternatives World Headquarters, Ar. Ashok LaII

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5.2.11 Pearl Academy of Fashion I Morphogenesis

The Pearl Academy of Fashion, Jaipur is a campus which by virtue of its design
is geared towards creating an environmentally responsive passive habitat. The
institute creates interactive spaces for a highly creative student body to work in
multifunctional zones which blend the indoors with the outdoors seamlessly.
The radical architecture of the
institute emerges from a fusion of the rich traditional building knowledge bank
and cutting edge contemporary architecture.
The building uses traditional Rajasthani motifs including a “jaali” pierced stone
screen an open courtyard. It features passive cooling techniques to combat the
desert climate. All these elements have been derived from their historic usages,
but will manifest themselves through the built form and become an intrinsic part
of the daily life of the design student. The building is protected from the
environment by a double skin which is derived from a traditional building
element called the ‘Jaali’ which is prevalent in Rajasthani architecture. The
materials used for construction are a mix of local stone, steel, glass and
concrete chosen keeping in mind the climatic needs of the region while
retaining the progressive design intent. The Pearl Academy of Fashion is an
exemplar of an inclusive architecture which intends to accommodate all the
heritage values while positioning it within the contemporary cultural and
architectural paradigm.

5.2.12 Suzlon One Earth I Christopher Benninger Architects

Suzlon One Earth derives its inspiration from large Indian historical campuses

like Fatehpur Sikri and the Meenakshi Sundareshvara Temple complex in

Madurai. Both employ an interpositioning of open and closed spaces that
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balances one another. Both have strong horizontal elements that tie the
complexes together and accent features that emphasize quadrants and sacred
places, like the gopura at Meenakshi. The Panch Mahal at Fatehpur Sikri is a
multi-storied structure that maintains its scale through the employment of
modular construction, whose components are expressed, imparting the
structure scale and proportions. In these historical precedents there are also
water bodies and open courtyards, as in Suzlon One Earth! Ground level
pavilions and arcades open into the courts and allow “borrowing” of visual
experiences. These great campus complexes inspired the architecture as a
starting point. From their legacy of concepts I selected motifs, components and
elements to build a modern garden campus, with a modern function. To these I
transposed motifs like the Deepastambha, which is a traditional “marker” in the
Pune region. The glass cylinders began to line out auspicious, ordinate axis
and gave sequences to intersecting axis that unite the complex into one whole.

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Figure 11: Pearl Academy of Fashion I Morphogenesis

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Figure 12: Suzlon One Earth I Christopher Benninger Architects

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Table 3: Inference 4

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5.3 Inference

The case studies show that contextual sensitivity can be achieved through
similarity, identity or difference depending on the type of project. However the
examples show that in some cases an depth analysis of context can result in
creating architecture which can give newer meanings over time and thus
remain timeless.
For example in the Scottish Parliment other than the visual assotiations which
make the user relate to the design like form, materials, symbols etc the spaces
itself are created to engage the user. Since it is a Parliment of the Scots in
England it tries to create a new identity through a deep understanding of the
context.
In the new wings of IIM, Ahmedabad rather than imitating the existing buildings
by Louis Khan a new language is used but respecting the old and not
neglecting it. The old and the new buildings are connected through the
exhibition tunnel which acts as a transient space.
However in the Khalsa Heritage Centre even though the architect states that it
is contextual it is felt those a re mere words and here the building just becomes
the canvas forthe exhibits and not an experience in itself.
In LaCONES and D Caves the site is the setting and the buildings become
extensions of the site itself moulding itself to the elements onsite.
However in cases like SUZLON One Earth and Development Alternatives
World Headquarters are not true to their context ie rather than using its function
and typology as a basis for design it has elements out of context used to brand
the architecture and this becomes just a selling factor.

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 Chapter 6
Conclusion

6.1 Relevance of Context in Contemporary Design:

Context is relevant in Contemporary design because it helps in creating

architecture which is a response to the time and place.It is important in realising
the factors which make a place and create meaningful spaces. an
understanding of context necessary for creating good design. an
understanding of the existing context helps the architect to comprehend what
the design needs and and to generate architecture which is rooted. It is not
only a part of conservation which re­ spects the existing context but it also has
an impact in architecture which involves it surroundings and create spaces
which engage the user. architecture which do not appear visually contextual
may engage the user through arrangement of spaces,movment and symbolic
associationsI n todays world no building stands alone. So when a building is
contextual and it helps in creating a cohesive urban fabric.So new buildings
should respect the existing context. But the way in which a design respects its
context may not be the same. However in certain cases a different context is
overimposed on the existing tomarket the building. This diminishes the value of
the building which might have been intact if it had been true to itself.

Most architects forget about the human aspect of context which is the most
important in designing the buildings. If the building does not engage the user it
fails drastically in its function. Architecture is basically a humanitarian art and
only when man is given priority over design can good architecture which is
contextually sensitive can emerge.

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Sensitive design has a strong sense of place which becomes meaningful
through associations. It does not disregard what is already there on site and
respond to it in a positive manner continues the tradition of a place and builds
on that tradition,without copying it verbatim. It predicts changes over time and
evolves with it and does not imitate what is already there unless it uses the
same materials, same workanship etc

“Creating places and spaces that enrich the lives of the people who use them is
the foundation of architects’ work. Every building can and should engage in a
dialog with the history, beliefs, and needs of a particular place and time.”

-Architect and writer, Simon Unwin

This sentiment sometimes goes awry during the design process when over-
simplified adage of the concept of new vs. old, same vs. different is adapted
and in this closeted way of thinking that we lose sight of the vast array of
possibilities that exist within the gray zone. Somewhere between the lines is a
‘new’ that also pays respect to the old or to the existing. It is not by mirroring or
replicating; but it is by considering that vernacular respect can be recognized,
and perhaps even alluded to in a new and contemporary way that a superior
and revolutionary architectural design can be achieved through contextual
sensitivity.

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 References/ Bibliography

Books:

Cities as Landscapes,Tom Turner

Analysing Architecture, Simon Unwin
How buildings learn: what happens after they're built, Stewart Brand
Architecture in Context,Brent C Brolin
Contextual Architecture: Responding to existing style,Keith Ray
Making townscape: A contextual approach to building in an urban setting, Mark
Robertson, Anthony Tugnutt

Websites:
http://www.morfae.com/1193-c-f-moller/ http://www.stevenholl.com/project-
detail.php?id=19
http://www.mirallestagliabue.com/project_media.asp?id=SS&idd=1319
www.archnet.com/contextual-architecture/
http://www.designboom.com/weblog/cat/9/view/17438/lotus-praxis-
initiative-rass-jodhpur.html
http://www.coa.gov.in/mag/Jan11%20-
%20Pdf%20file%20for%20Website/Prof.%20Christopher%20Benninger-
pg24-37.pdf
http://www.google.co.in/url?sa=t&rct=j&q=d%20caves%20i%20sanjay%20
puri%20architects&source=web&cd=4&cad=rja&ved=0CDYQFjAD&url=htt
p%3A%2F%2Farchitecturalprojects.infrawindow.com%2Fsanjay-
puri%2F&ei=t2-
WUOTYIcTqrQfs44DgBQ&usg=AFQjCNFmOP9iwziPYSMqQ1UWdVDEjG
hL4g
http://www.google.co.in/url?sa=t&rct=j&q=IIM+Ahmedabad+Additions+I+H
MS+Architects&source=web&cd=1&cad=rja&sqi=2&ved=0CB8QFjAA&url
=http%3A%2F%2Farticles.timesofindia.indiatimes.com%2F2005-09-

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29%2Fahmedabad%2F27835657_1_new-campus-iima-
values&ei=KXGWUO7PAsXLrQfSj4GIBw&usg=AFQjCNHV4p5fs68AzNuj
Zhac5S40-tFf0g
www.wikipedia.com
www.dezeen.com
www.archdaily.com

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