ARCHITECTURE OF JOSEPH ALLEN STEIN

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Delhi is a melting pot of various architectural styles ranging from the Mughal era to the colonial period and the newly emerging modern architecture of the 1950s. The city's growth was propelled by Edwin Lutyens, the chief architect responsible for the city planning and commissioning. Along with Herbert Baker, he designed Delhi based on two intersecting axes, namely the King's and Queen's Ways, with the aim of creating gardens serving as "gol chakkars" or roundabouts from where roads would link and buildings would surround them.

The Mandi House gol chakkar also shares a similar feature, with the central garden serving as the starting point of major roads. Mandi House, located in Delhi, was once the residence of the Raja of Mandi. In the 1940s, the eighteenth Raja of Mandi State, Raja Sir Joginder Sen Bahadur, built his home near what is now known as Himachal Bhawan. The estate was later sold and divided in the 1950s, leading to the demolition of the old palace to pave the way for large, modern buildings that were constructed between the 1950s and 1970s. As a result, Mandi House became a significant hub of development with notable office and cultural centers in the vicinity, including Rabindra Bhawan, Triveni Kala Sangam, and Sri Ram Centre, all designed by architects such as Habib Rahman and Joseph Allen Stein.

 Triveni Kala Sangam, a cultural and educational complex located parallel to the bustling Tansen Marg, sets itself apart from the other prominent structures surrounding the Mandi House gol chakkar in its approach to the building's elevation. The structure's parallel orientation to the road is intentional, allowing for a more subtle elevation that gradually reveals its most notable features, including an open amphitheatre and lush vertical gardens, as one walks through the entrance. The building's L-shape and modest entrance are further softened by verdant foliage that appears to engulf the entrance, creating a gradual increase in scale that contrasts with the bold and stark elevations of neighboring structures.

For instance, Habib Rahman's Rabindra Bhawan, built in 1961, takes a unique approach to the elevation fronting the Mandi House Circle. Despite the overall arrangement following the bahaus form, the planning is done in a radial organization, with its axis radiating out and producing a bold and striking elevation. Thus, while most structures around the Mandi House respond with a grandiose facade, Triveni Kala Sangam chooses a more subtle, yet equally impactful approach to entrance and elevation.

India underwent significant changes in various sectors after gaining independence. The country's architecture, education, and technology were transformed to establish its global reputation. Visionaries such as Jawaharlal Nehru, Mahatma Gandhi, and Tagore envisioned India as a land of opportunities for artists and scientists. Architecture, in particular, underwent a shift towards a more innovative approach to construction that incorporated modern materials and structural advances. The focus was on creating a contemporary, independent Indian identity that was not influenced by colonial architecture and styles. As a result, architects like Joseph Allen Stein delved deeper into Indian history to revive traditional building techniques.

Numerous art and architectural trends, including Art Deco and Modernism, paved the way for architectural hubs and centers to restore the "Indianness" of Indian architecture. In Nehru's perspective, architecture was meant to serve as a tool for bringing people together. The idea of a free India was to be perpetuated by designing architecture that provided equal access to light, ventilation, and shelter to all people, regardless of their economic status. The works of Frank Lloyd Wright, Walter Gropius, and Alvar Alto influenced future architects.

The art movements of post-independence India led to a newfound appreciation for traditional Indian arts and artisans. Visionaries like Nehru and Maulana Abdul Kalam Azad supported institutions that aimed to promote Indian building techniques and materials, resulting in the construction of new cultural buildings that not only provided spaces for artists but also represented local art forms in the built environment. Joseph Allen Stein, who was inspired by the works of Walter Gropius, incorporated Indian traditional architecture into his designs. He created L-shaped buildings with Bahaus-style simplicity, adding a layer of Indian jaalis that acted as a climactic response while enhancing mundane spaces like hallways. These ceramic and concrete jaalis, inspired by Mughal-style jaalis, not only created patterns on concrete walls but also allowed natural ventilation and altered the experience of walking through the built at different times of the day.

Similar design concepts can be seen in Habib Rahman’s Rabindra Bhawan (1961), located near Triveni Kala Sangam, where jalis were also used as a climactic answer. The central dome, which reflected Mughal design, served as the main service core, housing the main stairway that connected different levels. The use of horizontal louvres running the length of the facade reinterpreted the concept of chajjas, while intricate jali elevations showcased Indian craftsmanship. This design approach is also evident in other parts of Delhi, such as Hotel Ashoka, where Mughal-styled chajjas were placed on top of elongated rectangular blocks, acting as pavilions that offered visitors different views of Delhi. Similarly, at Vigyan Bhavan, the entrance, inspired by stupas, protruded from the rectangular block and was made of sandstone, contrasting with the plastered walls.

In the 1960s, materials like steel became cost-prohibitive, prompting architects to explore locally available materials as a more economical option that also supported the use of local labor and craftsmanship. RCC and bricks became popular alternatives that were utilized in Triveni Kala Sangam. This cultural center showcases the rock-cut stone and concrete facades, which are left unfinished to contrast with the light-washed plastered interior walls. Joseph believed that materials should be appreciated and displayed in their natural state, allowing them to weather over time and blend in with the environment. The walls exhibit cracks that resemble woven patterns, and greenery often creeps over them, creating an organic fusion between structure and nature. The exposed concrete bands serve to enhance the building's verticality, and the section reveals a firm foundation that gently modulates with the terrain. 

Joseph Allen Stein drew inspiration from his contemporaries as well as architectural masters like Gropius, but he blended various styles to infuse the structures with a traditional Indian flavor. The buildings were designed to be straightforward and practical, prioritizing open and semiopen spaces. The forms of the building were influenced by the site, with the plan and orientation being adapted to the available climatic conditions. The constraints of the background and available funds necessitated the concept of standardization and rationalization. As a result, the plan followed a simple grid pattern that was only broken at specific points. The framework was kept basic, with locally available materials forming the majority of the construction components. Due to a lack of technical expertise in assembly, Stein had to rely on fundamental methods of construction and utilize elements such as jalis to give the building a distinctive look.

The facades of the structures feature extended overhangs that serve as an integration point for vertical gardens, revealing the influence of architects like Oscar Niemeyer. The elevations are further characterized by the vertical exposure of concrete bands. The concept of nature is explored, and the traditional notion of nature as something to be observed, as seen in Le Corbusier's work, is challenged. Stein incorporates soft greens to cover the rough textures of the building. The ground gradually shifts to bring nature within the built environment and create a sense of interaction. He seeks to blur the line between indoors and outdoors. Through his use of fenestrations and jalis, he challenges previous beliefs about building design. The shadows cast by these jalis create a play of patterns, adding to the building's aesthetic appeal. The entrance to the building is unassuming, in contrast to the grand elevations of structures like Dak Tar Bhavan. Stein's architecture responds to the Mandi house's design by incorporating some of its ideas and combining them with his own unique concepts to create a stunning piece of architecture.

Bibliography 

1. Lang, Jon. A concise history of modern architecture in India. Raniket Permanenet Black, 2002.

2. Rahman, Ram. “Tribute- Habib Rahman” . A+D March-April 1996. 

3. White, Stephen. Building in the garden: The Architecture of Joseph Allen Stein in India and California. Oxford Universit Press , 1998. 

4. Gropius, Walter. Scope of total architecture. Boston, London. George Allen and Unwin Ltd,1956.