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"Context" in the works of Joseph Allen Stein

Conference Paper · September 2013

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 ‘Context’ in the works of Joseph Allen Stein.
Paranjyoti . R.Patil
Asso. Prof.
Dept. of Architecture. PDA College of engg. GULBARGA
H.No. 1-1165/12/D, Aiwan-E-Shahi, Gulbarga
Mob. 9448778948 , email ID:[email protected]

ABSTRACT : Context in architecture gained more importance after 1970s when causes
for the death of modern architecture were discussed globally. It is also stated that building not
responding to context is not architecture. As it is still under discussion as what makes
architecture contextual, students of architecture find it very difficult to understand as the word
context stands plural and multi layered. Is it imitation of neighboring architecture? Is it use of
similar material? Is it a literal copy? Is it Climate responsive or Culture responsive? Is it Old
fashioned? Or is it any other? This paper examines some of the works of J.A.Stein, which show
response to context and at the same time are rational. They stand modern while responding to the
multilayered “context”. Student community needs to look at such examples to get a direction to
make architecture contextual.
INTRODUCTION:- Context has been one of the primary considerations in deciding the
form of a building. Many of our traditional or historical buildings are examples to this statement.
As a philosophy and movement, Contextualism started in the early sixties at Cornell University
with studies into the way cities are formed & convey meanings[1]. Many architects in the world
were discussing on „context‟. Paul Randolph calls it as one of the six determinants of
architectural form. “First determinant is the environment of the building, its relationship to the
other buildings and the site …….A truly successful building must be related to its neighbors in
[2]
terms of scale, proportions and the space created between the buildings...” Christopher
Alexander says on synthesis of from as “It is based on the idea that every design problem begins
with an effort to achieve fitness between two entities: the form in question and its context. Form
is the solution to the problem; the context defines the problem in other words when we speak of
design, the real object of discussion is not the form alone, but the ensemble comprising the form
and its context….” [2].

Though contextualism was in discussion during 1960s, it went up to global level only
when modernism was declared dead and the post modern was analyzed at large. As Charles
Jencks calls postmodern to be doubly coded and plural in nature, the architecture seemed to be
evolutionary: one half is modern and other half being something else [1]. This „something else‟
being multilayered, it is an attempt to communicate with both public and elites by seeking an
architectural expression. One of these layers being context, it became a point of great concern at
urban planning & design level. As Paul Goldberger puts it “…where as modern building once
tended to be conceived as pure , abstract objects, independent of what was beside them , there is
much more now attention paid to the notion of fitting a building into its architectural context…
trying in other words to make certain that the building echoes many of the architectural themes
of its neighbors”.[2] While suggesting about the balance to be achieved between the populist and
the elite codes by the architects through a style, Charles Jencks proposes three points 1. The
context that the building fits into. 2. The character of the particular function. 3. The taste &
[1]
culture of inhabitants . Looking at various post modern architects‟ works it comes to our
understanding that the context refers to both physical and non physical elements which are
external & influencing architecture. Physical context being the site & surroundings and non
physical context is the climate, culture, political, economic, historical constraints etc. The basic
purpose of this consideration of context is being to create a communication with people &
buildings.
The question arises on how to translate these physical and nonphysical elements into
architectural form. Number of confusions arises in the mind of students who are trying to
understand context. Many architects in 70s & 80s have responded differently taking various
elements of context. Response was also in terms of continuation of traditional architecture in
abstract form, climate considerations, classical architecture, vernacular architecture or the
landscape.
In an attempt to fit the building in the context, to establish a communication between user
& the buildings and also to seek the character of solution in the nature of the problem, J.A.Stein
developed his own way of addressing the problem. Context plays an important role in forming
his humane architecture. India International Centre (1959-1962) and Kashmir Conference Centre
(1984) are two examples where one can see the influence of nature on them.
INDIA INTERNATIONAL CENTRE (IIC): - It was formed in 1962 by the Rockefeller
foundation to promote understanding and amity among human communities thro exchange of
knowledge and mutual appreciation for each other‟s cultures.
 Site & Surroundings: - located in the Lodi estate which is a large garden dotted with
number of Lodi conquerors‟ tombs of 15th century. Stein designed the centre with the objective
that it be an appropriate modern addition to the garden landscape, expressing the techniques and
more informed attitudes of the 20th century[3]. Siting and development is based on a varying
sequence of indoor spaces and outdoor spaces. The courtyards and outdoor spaces are part of
traditional architecture of Delhi. They also assume specific functions & aspect in this complex
and are modified. Placement of the main blocks is such that the lounge and dining room
overlook towards the Lodi Tomb.
Climate: - Addressing to the composite climatic conditions, both blocks are oriented
north south. Traditional Hindu and Muslim forms of architecture are adopted to fight against
harsh sun. Stein looked at jali for filtered light and sense of enclosure and view of the outdoors.
They are generally carved out in stone and wood and are modified here to ceramic & concrete.
Jali of traditional Delhi blue tiles are used to echo the colour of tiles of Lodi Tombs [3]. This
element became one of the characteristic elements of Stein‟s architecture in India. Sun shading
devices as overhangs in the form of verandahs, porticoes, roof top pavilions and overhead
sunscreens in the form of flowering plants grown over a network of wires are all result of
consideration of climate as context. Deep balconies are provided with aluminium louvers to
shade them.
View of IIC, Delhi
Design, Form and Scale: In an attitude to seek the character of the solution in the nature
of the problem, J.A.Stein has clearly opposed imposing of preconceived form[3]. In generating
the form with respect to the function, he carefully analyzed and selected the forms that are clear
and efficient in structure and appropriate in establishing a relationship with the social and
physical context. This search has resulted into a simple direct architectural vocabulary.
Like in traditional Indian architecture, the whole complex is arranged around two courts.
Jai Rattan Bhalla opines this as the true analysis of Indian life [3]. This depicts the consideration
of user‟s culture in design. Scale of the IIC is purposefully kept low in order to give due
importance to the surrounding tombs of Lodi dynasty. Height of the building is kept below the
base of the domes of nearby tombs.
Material and Structure: IIC has exposed concrete structural frame with local materials
as infilling material. The influence for use of rugged stone walls was from that of Lodi tombs.
While exposed concrete structure is indicative of „modern‟, local stone walls represent
„traditional‟. Precast concrete and floor elements are used and they vary with each space and
function. Though modern technique of precast coffered roof and floor elements are incorporated,
the bearing walls are with local stones.
Plan of IIC, Delhi
A shallow six sided dome over the auditorium in the form of precast „Y‟ shaped concrete
elements are both „modern‟ in technique and „traditional‟ in form. Precast vault roofs over the
rooms recall the traditional jack arch roofs and vault roofs of north India.
Landscape: A large water pond is created towards the north-west is to cool down the hot
loo. A small fountain near the east side entry is more for visual enjoyment. Lawn areas in the
courts cater well to the specified functions for both summer and winter climate for evening and
day use respectively. Large open spaces around the complex dotted with trees merge well with
neighboring Lodi garden as intended by the designer.
KASHMIR CONFERENCE CENTRE (KCC): It was established in 1984 as conference
centre catering of international standards for 1000 visitor. Having 600 capacity indoor
auditorium & several flexible meeting halls each accommodating 250 persons and smaller
meeting, conference and exhibition areas a hotel within the center campus has 325 rooms with all
other facilities

View of KCC, Kashmir

Site & Surroundings: - KCC was to be constructed in valley of Kashmir is near Dal lake.
Famous 17th cent Nishat and Shalimar gardens in Mughal style are near the crescent of the lake.
Having beautiful water front and Pari Mahal palace of Jahangir at far of distance, scenic views
of mountains all around were special to J.A.Stein. As the Mughal gardens and lake themselves
showed a deteriorating condition, the placement of such huge complex near lake was also a
threat to the natural conditions of valley. In order to maintain the beauty of the lake, an adjacent
water front was selected for siting of the complex. The main idea was to minimize the presence
of such huge complex within valley which because of its size would dominate the surrounding if
located at higher level. As J.A.Stein says the effort has been to create a building and garden that
would merge into the surrounding, add focus upon the lovely scene and in the process bring
sympathetic attention to gravely threatened place of natural beauty. Accordingly the design
integrates building, garden & lake into an entity so that the visitors should be able to experience
[3]
special mode of nature that makes a visit to the Kashmir so memorable . Stein was much
influenced by the Shalimar & Nishat gardens of 17th century that KCC and Gardens both
cascade down towards the lake in a similar way. The complex is placed such a way that it has
entry from both land and water. The view of complex in covered with poplar & willow trees of
local variety and it is possible to see it only from certain positions, thus providing a minimal
impact on the valley scene.
Plan of KCC, Kashmir
Design, Form and Scale: - Whole design was developed on two axes 90˚ to each other.
The first axis passes from entrance towards the terrace gardens and lake, through the entrance
foyer. Second axis leads in one direction from guest rooms to conference facilities and guest
rooms. They are so arranged that they have view of lake, mountain and palace. The first axis of
the complex divides the building into two major units. To the right of land side entry is the
auditorium, meeting rooms and all related areas where as the left side is totally dedicated for
guest rooms.
Garden designed towards the water front side goes in line with Mughal garden in a
symmetrical manner, but the complex does not sit symmetrically. Standing between the Pari
Mahal palace and the village, the complex has come out as mix of two in a modest scale.
Climate: - The complex is oriented in north-south direction along the main axis.
Responding to the climatic conditions, the KCC has large windows to admit maximum sunlight.
Roofs for the guest rooms are in traditional form with slopes. The conference section is having
large spans and is provided with partial slope roofs. Local traditional building techniques are
adapted to combat with severe climatic conditions.
Material & Structure: - KCC is having exposed concrete structure with precast concrete
blocks & exposed green aggregate panels as in filling material. Blue grey slate roof tiles are
provided to the sloping roofs to match the color of surrounding natural terrain. This was an
attempt to merge the KCC in to the surrounding natural terrain. Auditorium and guest room roof
profile was developed somewhat in the line of mountain profile. Indoor wood work for interior
and acoustical treatment, make use of local wood in typical Kashmir style. Periodic incidents of
earthquake have been taken into account and whole complex is separated into individual blocks.
Landscape: - Landscape of KCC is mainly influenced by Shalimar and Nishat gardens
and is planned in similar Mughal style. The sloping land towards the water body is intelligently
utilized to give terraced gardens which cater to the needs of outdoor activities of conference. It
also acts as beautiful foreground to the KCC while mountains provide background. It is planned
with fountains and rose gardens. Local variety trees are used to cover certain views of KCC to
limit its dominant view from all sides of valley.
CONCLUSION: On realizing the deficiencies of modern architecture in addressing the
public or in communicating with them, contextual architecture is found to be a solution. This
 understanding of context as either physical or non physical, has led to the formation of
architecture that are distinct in nature. Joseph Allen Stein‟s works show that when nature is taken
as „context‟ the architecture can still be modern and also traditional. Having historic monuments
and gardens in the vicinity, his architecture shows continuity and respect to them. The
quintessential characteristics of the surrounding architecture and environment are addressed and
adapted in his solutions and are at varied levels. While trying to understand the context in the
design studios, architecture student community need to look at such examples and J.A.Stein‟s
works show us the direction.

References:
1. Jencks, C.(1984)The language of post modern architecture, Academy Edition, London.
2. Jencks, C and Kropf, K. Theories And Manifestoes Of Contemporary Architecture, Wiley
Academy,
3. White, S.(1993), Building In The Garden, Oxford University Press, New York
( NOTE: all drawings are from the book -Building In The Garden)

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