Building for the Future, Learning from the Past (and Our Grandmothers' Recipes) 

Building for the Future, Learning from the Past (and Our Grandmothers' Recipes)

Aastha Deshpande

This paper aims to discuss the evolution of “modern” architecture across the decades following the liberation of South Asian countries. Liberation here refers to the decolonization of most of the Asian countries. Afghanistan, India, Pakistan, Sri Lanka and Bangladesh each became independent in 1919, 1947,1947,1948 and 1971 resp.  (“Decolonization of Asia”, Wikipedia.) It aims to understand the motivations of the architects of these times and the spatial types that emerged through the different circumstances and influences of the times. By focusing on women architects it asks the often ignored question, what were the female architects doing during this time? 

What is postcolonial modernism?

Postcolonial modernism is a critical paradigm that challenges the dominant Western modernist narratives, emphasizing the need to reevaluate the idea of progress in the context of colonialism and its aftermath (Curtis 1996). The notion of progress, often associated with modernity, is problematized in postcolonial modernism, as it is recognized that the universalizing claims of modernity have been used to justify colonialism and perpetuate unequal power dynamics. In the realm of architecture, modernism in the early twentieth century was characterized by a desire to reform the materialist city, seeking to create new urban spaces that reflected the changing social and technological realities brought about by industrialization.

The rise of Indian-headed firms challenging Anglo-Indian firms for professional hegemony marked a significant shift in the architectural landscape, signaling a departure from colonial-era dominance. However, the implications and meanings of this shift differed from place to place, as local forces appropriated and reinterpreted  modernist ideals to suit their unique cultural, historical, and geographical contexts. In this scenario, the search for identity and expressionism in architecture symbolically became the physical manifestation of a young nation's aspirations: vitality, progress, and modernity. South Asian architects sought to match international standards while operating within the framework of a socialist, state-controlled industrialization model, which emphasized self-reliance and nation-building. 

After the partition and later on the split between West Pakistan and East Pakistan (Bangladesh), mass immigration and income uncertainty led to the commissions of low income housing schemes that were to be carried out within limited resources. This entailed working within restrictions on the import of construction materials, adopting labor-intensive and low-cost methods, as well as low-energy construction technologies that minimized environmental impact. Architects were compelled to negotiate the demands of the times with the ambitions of the newly liberated nations. Moreover, there was a substantial engagement with the local climate, reflecting a nuanced understanding of the complex relationships between culture, history, and space. This approach not only facilitated the creation of contextually relevant buildings but also contributed to the development of a distinct South Asian modernist aesthetic, one that balanced universal aspirations with local sensibilities. 

In 1973, the government appointed architects to design social housing schemes for 6000 units. Architect Yasmeen Lari's 'Angoori Bagh' housing was the first phase of the project and the only one to be built. 

This neighborhood was designed for the low income settlement nearby that experienced frequent flooding. The people's requirements (proper housing that was safe from flooding, space to take care of their chickens and open spaces) were met using two types of housing units. The architect managed to generate an open yet intimate space for the community, providing affordances through large open terraces, nooks and crannies, and bridges connecting the upper floors while being mindful of their housing needs and the low funding of the project. 

These two categories of buildings had open courtyards, easy access to the ground, intricate connectivity across the whole settlement, and every housing necessity of inhabitants that could be met. The architect has given lower number houses on the upper floors so as to provide open terraces where the activities of a typical courtyard take place. The upper floors were connected by bridges and staircases, making roadways through the upper platform, giving a sense of the upper houses being a settlement on their own.  

Since we invoke the question of what women architects were doing, it is a requisite that we observe the way the space is designed to be occupied by said women. We notice that the housing units do not have an area labeled the kitchen, but a large courtyard per housing unit. This space accommodates for the women’s cooking, providing lots of light and ventilation and caring for the chickens or small livestock and gardening. The inhabitation of a household happened largely by women and children, therefore it would be evident that the services such as washrooms and watching spaces be put in a manner more accessible to them. 

Conclusion

(Female) Architects have been designing and crafting socially aware, contextually relevant spaces for their developing nations and the needs of their times. Regardless there seems to be a lack of archival and discussions of their works and general lack of awareness of their designs. It is possible through simply referencing a female architect's work for its merits and demerits for them to get some space in the scholarship of architecture.