The recent victory of Abin Chaudhuri (a 38-year-old architect of India) to “the World of Color Awards” in Dusseldorf, Germany, many awards conferred to Sanjai Puri, demonstrate that there is now a new generation of Indian architects that is being imposed in the world (the most advanced culture and Western intellectuals began to recognize it), proposing their work not as a hybrid between the architecture of the rich West and traditional Indian architecture, but as a new model of ethical behavior in the design for world culture. An architecture where everything, that the prevailing Western culture has sponsored as a value, form and space of architecture as a search for the maximum emotional dynamics is emptied of its language too hyper technological and, ultimately, repetitive to regain a language that speaks of a world where become fundamental social values.
As said we must speak of Indian architecture as the event that will upset the values and sense of world architecture. This is the architecture that is inventing its own identity. Architecture that has a spirit, a vision of what it wants to be an Indian man. No more forms that move in space and come up with posters of themselves, no longer architectures looking for a captivating and global language but a architecture, that of India, which has the ability to tell the strength of a language that no architecture world has thought out and that identify.
Here is the Indian architecture of Sanjai Puri and others is inventing its own alphabet of the spirit of things, which is not determined with frills and caresses, with seasonings of materials and spaces from the excessive costs, but with the ability to make dynamic geometry and expansion with the quality of the technology, which reveals in its continuum of structures that move in different directions its own identity. An architecture where the building seems to stand with the strength of walls that are repeated and continuous thin but in their sum becomes the representation of a dynamic society. Here is the architecture of Sanjai Puri which wants to be as dynamic as dynamic Indian society is.
The statements made are right of being in full awareness of the capacity of contemporary Indian architecture (and that of Sanjai Puri in particular) have gone beyond the concept of form that determines the structure of many global architecture and have it replaced with the concept of structure of matter that reveals the language of form. An architecture that relies heavily technology architecture because the technology allows us to express the language and represent concepts. A highly educated and intellectual architecture where the architectural language is used to describe the condition of traditional underwent a genetic mutation of his life with the encounter with modernity but that this man, remains immutable in its capacity to affirm its values.
What you notice in the architecture of Sanjai Puri is the sense of social equality that expresses, tubes of office 63 represent, in their language obsessive, a society where everyone has a space equivalent to that of others but that nelal separation of prospects, finds its individual location. In this project, you know where it is so and so and what color represents his office. This architecture represents a collective society of individuals. Just to explain its ability to tell the man and his social mutation look to projects like the cultural center for the arts society of Bombay where what excites us is no longer the plastic quality of a van Berkel or Neil Denari but the capacity of the concrete structure to bend and tell a new man’s identity. To come out is an Indian sculpture that although they resemble an old stone sculpture, architecture is a sculpture in which man’s eyes was replaced by a large glass screen. It is a seated man who has replaced their religion, rigorous and mystical, a new religion which is expressed by an identity projected towards modernity, an image that is produced by folding the structure, making it self-supporting and lightweight but strong in its plastic dynamism.
I still think projects like Rustomjee SCHOOL where the technological structure serves to bring out the architecture as a great hive where the man lives happily in social spaces that arise within it, an image that repeats and you can repeat all ‘infinite because it multiplies as it multiplies the Indian society. Urban architecture without end where you know where you live and it is obvious that you are part of a community of equals.
For the reasons described some of the Indian architects will affirm themselves more and more, why not aping most models of Western culture, rather than identifying themselves and their culture, speak a language of ethics, tell of a world of mausoleums revised as temples light, whose scores are ribbon windows, and sculptures of men who think in silence, houses designed as hives, works of architecture where the order of Tadao Ando folds and opens to the landscape as in cappela of Murcia.
This article is titled “Why will Sanjai Puri win the Pritzker Prize”, because it wants to affirm the final conquest of the culture of the contemporary world. For all the Indian architects until now, it seems clear that Sanjai Puri is the one who tells more strongly the quality of the values of India.
credit photo: Giovanni Lucentini
by Architect Giovanni Lucentini