Fifth International Cultural Landscape Conference

Urban Cultural Landscape: Past; Present; Future Tehran, IRAN

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Contemporary Cultural Landscape, A beginning Of Reviewing Modernity

“Garden-museum Of Sanskriti Foundation”

“Atefeh Mahdavi” University of Tehran

Niayesh Tower 2nd. St. Ashrafi Isfahani Blvd. , 021 Tehran, Iran 09128134171

“Zainab Hanzakian” University of Tehran 24 Gordafarid st. Etemadzadeh st. Fatemi st., 021 Tehran, Iran

09127608991

Z.hanzakian@gmail.com, Mahdavi.Atefeh@gmail.com

CONTEMPORARY URBAN CULTURAL LANDSCAPE

ABSTRACT

Regarding the new approaches that put tradition and modernity together- instead of

contradiction, modernity is being reviewed. What makes Sanskriti Kendra built by Mohammad

Shaheer, important, is paying attention to the concept of modernity based on not considering default

outlines for design. In this complex, neither the examples of western architecture nor the traditional

architecture of India act as a controllers. Shaheer’s landscape results in the audience’s participation

and activity by implementing symbols of the history and culture of India. These activities result in a

perception of the landscape which construct its mental dimension itself. These dimensions are

defined on one hand by using some elements of identification and on the other, at a higher level, by

experiencing some of the spaces and understanding the existing hierarchy between them.

The background tendency in this complex marks the cultural and historical background of

India, tough the ecological groundwork is generally changed, and this interference itself has formed

the origin and basis of the design which is an important fact. This change as the unofficial planting

design is somehow reminds us of English romantic landscapes, although Shaheer considers it to be

adapted from Indian Ashuka’s landscape.

Each complex is formed in circumstances depending on its ideals. Goals and policies of any

landscape, especially cultural landscape, are not uninfluenced by the intellectual patterns of the

society in which they are formed. Sanskriti, with all its contradictions, speaks transparently in a way

that shows no paradox between its idea and its behavior.

KEYWORDS: Sanskriti Kendra, Cultural Landscape, modernity

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1 INTRODUCTION

In developing countries where they focus their attention on the discoveries of west, creating a

sense of belonging and reminiscence is set aside. Countries of this kind that have often surpassed

years of colonialism, by imitating the west, sometimes only create a consumption market and an

area for trying out foreign ideas which occasionally result in dependence, immobility and inequality.

Even though modernity suggests ignoring outlines and relieving from them, but in following

footsteps of western modernity, the interference of these outlines becomes possible1. What is usually

utilized falsely instead of considering modern theories and thoughts, is imitation of examples and

samples of modernism; examples that are usually imposed on developing countries as a globalizing

device. “I have not started it and you cannot stop it, but we can control it getting better or worst”[1]. A

mental theory that denies the default aesthetic patterns can itself becomes a source of expressing

outlines that are not uninfluenced by mentality, culture, climate and history of that pattern.

Undoubtedly, the guaranty of permanence of a work of art in a society and culture is a

measure of its identification and influence in its formation context. What empowers the identification

of an artwork is the way it communicates with the different layers of its context. These layers can

contain cultural, social, economic, ecological and historical dimensions. This article is trying to

elaborate on the scale of attending the different layers while implementing modern mentality in

design, by studying a sample of a contemporary cultural landscape. The choice of sample was made

in developing countries, though not the groundwork of formation of the theory of modernity, but

possibly considered the consumers of western modernism or having their own concept from this

theory regarding the outlines of formation context [2].

2 PROJECT DESCRIPTION

Sanskriti Kendra is a cultural complex, in shape of a garden, for the life and work of artists in a

creative space. This complex was established in 1993 by Sanskrit charity foundation to help

preservation and rehabilitation of cultural and historical legacy in New Delhi. In this project seven

hectares of arid and uncultivated land was transformed into a green area with thousands of trees and

shrubs. This complex consists of three museums called museum of every day art of people of India,

museum of Indian terracotta and textile museum.

2.1 Scale Of The Project

Shaheer considers the scale of this project local, and adds that Sanskriti “as a result of its

cultural importance, has become a destination for all people around the world”2. Consequently, the

scale of the project regarding physical district, geography, variety of access and dimension is local

but its influence reaches a touristic and para-local dimension.

2.2 Project Groundwork

The site of this project is historically enriched and geographically dry. It is located in the

outskirt of the hill of “Araouli” in southern side of the suburbs of Delhi. As a result of Delhi’s suitable

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economic Status as the capital city, people of other cities and villages of India immigrate to this city.

The cultural context of the district is like other parts of India eclectic and is consisted of different

beliefs and religions. Even though the city of Delhi is enriched historically, the site of the project does

not bear any special significance, because of its far distance from well-known historical buildings.

3 ARCHITECT’S INTRODUCTION

Mohammad Shaheer is a reputable landscape artist in contemporary Indian society. He

received medal of the Indian landscape architects society and the best professional design award for

garden-museum of Sanskrit foundation. In his renowned urban projects such as Nezamedin-e-basti

or rehabilitation of the Baber Historical Garden, the design of the spaces has to do with human

activity in a way that provides the ground for more and more people to come and that is what spatial

sustainability is; as each space is defined by the presence of people in it. Shaheer’s works are based

on principles obtained from the past, but adjustable in dimension and different scales to the view of

modern and current view of life of the people and cultural circumstances of India [3].

3.1 Architect’s Approaches

Shaheer’s principal approach is based on merging Indian traditions and modern ideas together

which is perceptible in his projects. He believes “every district has its own standards for evaluation

and definition of a suitable approach of contemporary understanding, while keeping touch with

thoughts and ideas of the past”. His other approach is continuity which creates a space that is

sustained by the continuous presence of people. As he says about this project: “a lot of functions or

the probability of their occurrence played an important role in the idea of the landscape design”.

Background tendency and precision in cultural context of the project is a significant approach of this

architect which results in paying attention to long held beliefs and traditions of the people of India in

order to rehabilitate their culture.

4 GOALS AND POLICIES

One of the goals of the Sanskrit foundation in this project is creating a place for cultivating

creativity and for residence of the artists. The existence of creativity in the place serves as a motive

for creating a variety of activities that can cause self-organization of landscape as a dynamic

landscape.

Rehabilitation of culture and art of India is another goal of this project which is made by its

records of artistic activities, especially performance art. Shaheer says: “This project started in 1984,

while I was a young professor of landscape architecture and in the beginning of my profession. Yet, it

is true that I was consciously trying to find a way to approach landscape architecture which despite

expressing modern understanding, be rooted in valuable traditions of the past in which the long

history of Delhi were its buildings and landscapes”.

One of the other goals is drawing in people from all sorts of different cultures so that artists

work in this place and consider it as an extension of their workplace and life, the same as when they

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sat under the shade of the tree at home and weaved baskets and worked with pottery tools in the

yard. This goal can be defined as ecological tendencies.

5 GUIDLINES

One of the guidelines of this project for reaching the policy of creating a space for presence of

craftsmen and artists, which itself is a complementary element of landscape, is creating

multifunctional spaces to result in creativity and permanent human presence and consequently their

activity in the place; for based on the architect’s approach human presence is the most significant

factor of its sustainability. This guideline which results in designing multifunctional spaces capable of

holding art exhibitions of artists and craftsmen is responsive to the project’s goals regarding

economic issues. Works of art of the craftsmen and the artists in this site, helps the industry as much

as it helps symbolism in landscape. Furthermore, not only it creates a self-organizing space, but also

gives cultural characteristics to the landscape by enhancing the sense of belonging and identity.

Regarding the background tendency and paying attention to cultural context, a modern

landscape concerning the culture of India is indicated in the sub-spaces. The background tendency

approach can be proceeded in the following items.

5.1 Way Of Approaching Ecological Context

The complex began not with building plans or coinciding the landscape arrangement with

architecture, but with planting more than hundreds of native trees and therefore the ecological

context is less important in contrast to history and culture in terms of background tendency. In the

planting design, the way of looking at identification is elemental and even though the trees are used

as symbolic elements, it seems that its geometrical system is affected by romantic English

gardening, in disperse planting and order in micro scale which has a more powerful bond than Indian

archetypes. In so far as Jon T.lang says in Sanskriti “The buildings sit as objects within a landscape

designed in the English Landscape tradition.”[4], but shaheer denies the English Landscape and

declares: “The ecological background is absolutely basic, it has to be inseparable from any modern

Indian landscape theory.” And also there is no pre-conceived “shape” to the gardens. Bare compact

earth is accepted as an inevitable surface condition in most of the landscape spaces; this is true of

gardens in traditional courtyard spaces in North India. Of course, the important spaces of the

complex, especially the central space is a well-maintained lawn, for functional reasons.” Shaheer

says.

Shaheer doesn’t consider Indian Landscape as Mogul or Persian landscape. Instead, he considers

the descriptions and evocation of landscape traditions of ancient India, of the time of Ashoka in the

period 2000 years before the sultanate and Mughal periods in North India. These seem to imply

hardly any division or distinction between the garden and its natural surroundings, and the

descriptions in poetry speak of forests and groves as places of serenity for retreat and recreation.”

Shaheer says.

Anyway in his opinion “even in Mogul palace complexes there is a very sophisticated asymmetrical

arrangement of spaces and axes, as for example Fatehpur Sikri and Sanskriti landscape isn’t

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unfamiliar with that. In response to the differences in planting between Sanskriti and gardens

inspired by Persian ones like Taj Mahal which have axial arrangement in their planting Shaheer says

“The Taj Mahal is a tomb garden. In may not be appropriate to seek inspiration for a modern

institutional landscape (Sanskriti) in it.”

5.2 Sanskirit As A Cultural And Modern Landscape

In the structure of the project, neither there are signs of English romantic gardening’s that

once were current in the times of colonial India, nor the derived architecture from the lecourbousie

like architecture samples in the modern time. The reason that causes a modern perception of this

complex is that it really doesn’t have a firm legislation in the way of how the design has been done

this issue without influencing modern western architecture samples can endorse the modern

character of itself. As a result, the modern architecture that has been formed can be regarded as an

independent sample with its own characteristics. In general, there is no sign of traditional patterns,

but in each space there is an endeavour to make spaces and create responsibility for the cultural

and social needs and to use the symbols and signs which are derived from the Indian traditions.

From Shaheer’s point of view, the materials and the technics that have been used are so simple and

vernacular and according to the rural traditions of the area, the plan of the complex is plain with neat

lines and without any complications or ornaments for instance,” Local Delhi quartzite stone is used

throughout the landscape walls. By applying these materials that have been seen in the Indian

historical monuments, they can make an impression in showing the identity of the landscape where

they have been used.

Shaheer explains his attitude toward the western approaches in this way “Western

approaches should be understood according to their theories. Thereafter, we can see how they work

in a greater background or the possibility of evaluation can be obtained. The reason why is in a

cultural and geographical of a different background a similar or a different design can be made.

5.3 Applying The Experience Of Spaces In Addition To Reviews

Nowadays, living with the consideration of the change of inner beliefs and understanding the

nature and its symbols is different from the past. Therefore, referring to the past cannot be

considered as a suitable solution. This project is making an effort to reread the concepts that have

been lost by passing the time.

Making new interpretations and reviving so many by dragging them to the imagination realm in

the chaotic and disorder urban environments. The aesthetics of the site is the result of experiencing

the spaces more than representation of formal application of merely ornamental characteristics.

Experience of attending the outside is not just reached with be presence of the external environment,

but it can make introduce new meanings in the connection with the nature by the usage of private

courtyard and hatches in the wall that can show images of nature[5].

Dividing the open spaces causes a kind of scale and hierarchy. From the city square to the

internal courtyard of the house and from entering the public realm to the more private one, the main

characteristic of this transfer, that can be considered paradoxical from the point of designing, is that

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in spite of properly preserving the basis a gentle advance from one realm to another can be seen.

This domain of the basis from inside to outside and vice versa, it is been used in the form of entering

the room to the inner courtyard and to the street, light to the shadow or water to the soil. The site

plan is severely derived from the traditional environment and the way they encounter the open

spaces.

Making the arrangement of Adjacencies in terms of adjustment of open spaces with rooms

locate around the yard and paths which locate in both sides of walls and reach to pleasant fields is

quite wise. (figure 1)

Figure 1. Series mattresses of open spaces, Sanskriti Kendra, Delhi, INDIA [3]

This kind of designing is in the form of a continual dialogue, where all the natural qualification

of landscape has been gathered to make a trail of special basis. In fact, architecture and landscape

with the effort of architecture and landscape designer are entirely mixed that it hardly can be

understood where the architecture comes to an end and the landscape begins [5].(Figure 2)

Figure 2. The fusion of architecture and landscape, Sanskriti Kendra, Delhi, INDIA [3]

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5.4 The Role Of The Activities In Making The Cultural Landscape

According to the definition of Barratt, cultural landscape is a continuous surface where the

people emigrate, where they gather. When the people are active, this surface can contain a

meaning. These activities happen in certain times. As a result, landscape form that is derived from

natural and artificial characteristics will change into a cultural source with meanings.

Despite the fact that, color and texture have significant roles in making an experience, there

are people and their activities that can make a collection into a landscape. Therefore, the concept of

the landscape changes from luxurious configuration of the environment to the product of the

connection between the human and the nature [6]. In this project, what is perceived from a

contemporary cultural landscape is not merely a set of symbols, although the collection of the human

relations that can make a space subjunctive and show more potentials of the complex.

5.5 The Usage Of Cultural Forms Of Nature

Applying the cultural forms of nature in a symbolic way that has formed the natural and cultural

landscape of this complex. For instance, the meadows in the margins are considered as sacred

meadows or the Banyan tree that has been placed at the entrance is considered as an image of

nature that is the statement of the eternal life and wisdom [5] (Figure 3).

Figure 3. The Banyan tree in the entrance, Sanskriti Kendra, Delhi, INDIA [3]

That can show the power of the nature. In addition, fig three implies the sacrifice column or

royal column at the entrance of the cities and the villages that have always been honoured. All of the

chosen trees are related to ancient world and in Indian epical narrations like Ramayana and

mohaboharata are mentioned [5].Shaheer explains the way the trees are symbolic “The tree in the

centre of the entrance court reminds me of the carvings showing tree worship in ancient Buddhist

sites, for example Sanchi.”

5.6 Choavk

Shaheer conveying: regulating the spaces, whether open or fenced, in a formal way but

unsymmetrical, was a reason to make the possibility of widening it. Choavk in the vulgar Indian

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language means the central courtyard or square. These spaces were multifunctional and for creating

the different experience of traditional concept of city plans have been made. The central Choak in

the many residential quarters can cause a lot of activities from weekly Bazars in the early mornings

to the playgrounds in the time of the day, meeting people in the afternoon, celebrations and festivals,

these Choaks that water and tree are their main elements, were the centre of people’s activities.

Therefore, their social significance is more remarkable than their applications. These spaces with

their climatic design and attention to vernacular elements make live environments a pleasant visual

pattern. (Figure 4)

Figure 4. A different experience of traditional city plan, Sanskriti Kendra, Delhi, INDIA [3]

Choavks and central courtyards in a bigger urban pattern are mixed tighter and make

continuity the inner and outer spaces. The central courtyard is a solution for touching the nature and

listening the sounds and dragging the sense of the nature to the house. That is a relation between

architecture and nature. For the different spaces in this complex every experiences of urban Indian

spaces can be sensed. Choaks with plain facades, central gardens, trees and platforms.

5.7 Identity Elements

Applying the elements that reminds Indian culture from the statues placed in the garden to

façade in some spots of the open space or chaharbagh can be seen. The horses that are placed on

a platform inviting and invite the audiences to celebrate the happiness and chaharbagh that is a

rereading of one of the most famous buildings in the history of Indian landscape that is a reminder of

the entrance of the Iranian landscape to India [7] (Figure 5).

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Figure 5. Identity elements, Sanskriti Kendra, Delhi, INDIA [8]

6 CONCLUSION

Sanskriti as a landscape with cultural goal, that is happening in a developing but historical

country has found its way from the western maze of modern theory. Attention to cultural activities

and consequently the landscape can be one of the main ideas of the modernist theory based on the

form that follows the function. But re-reading this theory has been made in the form that despite the

perception of form as the body, it is known as space. A space derived from creative activities which

form the landscape as the place based on giving its identity. Materials and vernacular and plain

techniques which inspired from the ones used in historical monuments and plain plan with neat lines

and without complication or ornaments, show their rereading of modernist again with the reminding

of the famous statement ornaments is crime. Ornaments in western patterns sometimes is

understood as a case that has signs of individuality, but Sanskiriti preserves its individual

identifications despite the exempting the imitating ornaments.

Notes 1.This part was writen based on the Contemporary Landscape course of Dr. Mansouri in Fine arts

Faculty (1392-1393). 2. All Dr. Shaheer Comments have been writen from an interview with Dr. Mohammad Shaheer(2013).

REFERENCES

[1] Friedman, T.L. (2005).The world is flat (1st ed.) NY: Farrar, Straus and Giroux

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[2] Mahdavinejad, M. ,Bemanian M. ,Khaksar N. (1389). Architectural Identity,Defining the Meaning of Identity in Pre-Modern Modern and Post Modern periods , Hoviatshahr 7(4)

[3] Khajeh Piri, M. (2012). An analysis of contemporary landscaping method of Mohammad Shaheer,Manzar 19 (4)

[4] Lang, J.T (2002) A Concise History of Modern Architecture in India, New Delhi: Pauls press

[5] Canon, M. (2007) Contemporary Garden Aesthetics, Creations and Interpretations, china: Dumbarton Oaks Research Library and Collection.

[6] Mansouri, S.A. (2005). An introduction to Landscape architecture identification, Bagh-E Nazar 2 (1)

[7] Khansari, M. ,Moghtader, M. ,Yavari, M. ,Yavari M. (1383). Persian Garden, a reflectionf of Paradise, Tehran: Iranian Cltural Heritage,HandCraft& Tourism Organization.

[8] http://www.sanskritifaoundation.com