The following is the unedited
version of a book review I wrote that has appeared in 'Design Detail' ( Vol
Issue 5) magazine. The review is a bit lengthy, but those interested in sustainable architecture might find this book very useful.
Take less from Earth and give
more to people:
Shirish
Beri and the soul of sustainable architecture
Shirish
Beri
Spaces
inspired by nature
Mumbai:
Super Book House, 2013
244pp.
Rs.3,000/-
978
93 81452 01 1
When
you build a thing you cannot merely build that thing in isolation,
but must also repair the world about it, and within it...and the
thing which you make takes its place in the web of nature.” –
Christopher
Alexander, Architect, 1977
Sometimes
one has to go back to the basics to fully understand a concept or a
word, so that its meaning light up your mind in a brilliant flash.
Take for instance the word, 'architecture'. Google says - 1. 'The
art or practice of designing and constructing buildings'; 2. 'The
style of a building with regard to a specific period, place or
culture'.
Shirish
Beri is an artist; a practitioner of architecture – but the style
of his creations cannot be confined to a specific period, place or
culture. It is an extension, an evolution of the work of the greatest
architect of all – Nature. Beri's creations refuse to be bound by
the physical elements with which they were constructed; its spirit
soars and pervades - he is an architect of the fifth element.
The
backdrop
The
1970s was a watershed era in environmental movement across the world.
Though it was Rachel Carson's Silent
Spring that woke up the West to the
man-made disasters in the natural world, the environmental movement
went into full swing after the historic Earth Day on April 22, 1970.
One of the catchwords that emerged in the sudden enthusiasm for
nature and environment was 'sustainability'. Sustainability got
itself linked to almost all human developmental activities. Our
Common Future, the Brundtland
report, defined Sustainable
Development as development
that meets the needs of the present without compromising the ability
of future generations to meet their own needs.
Though seemingly innocuous and grand, the definition has hidden
connotations. Needs of the present should be met with provision for
meeting future needs. Who determines the present needs? The future
needs? Would everyone agree to equitable distribution of natural
wealth? The limits to development across the world cannot be uniform.
Sustainability in practice is mere survivability. 43 years hence,
how far has the world moved towards sustainable practices in the
different spheres of life?
Sustainable
architecture, Green architecture – it is all there in the books and
buildings aplenty. Sustainable architecture is based on the
principle of least negative impact on the environment. This is to be
achieved in both design and construction. The design should integrate
all the aspects of eco-friendly architecture such as resource
conservation, waste minimization, minimal operational and maintenance
costs, use of recycled and recyclable materials, etc. In the
comprehensive guide to sustainable building, A
Primer on Sustainable Building (Rocky
Mountain Institute, USA) a checklist of criteria for an ideal
sustainable building is given:
make appropriate use of land;
use
water, energy, lumber, and other resources efficiently;
enhance human health and
productivity;
strengthen local economies and
communities;
conserve plants, animals,
endangered species, and natural habitats;
protect agricultural, cultural, and
archaeological resources;
be nice to live in; and
be economical to build and operate.
Looking
at our national scenario of architecture and construction, one is
appalled to note that sustainable architecture is the farthest thing
in the mind of our construction industry. Despite the ecological and
economical advantages of sustainable or green architecture, the
industry spew forth concrete boulders all over the land with scant
respect for anything. It reflects the same irreverence that the
majority of the general public has for nature. The vernacular
architecture, like agriculture, used to be sustainable until a few
decades ago when the veritable gold mine of construction industry was
discovered. There existed a culture which asked the permission of a
tree before cutting it. There was a value system which was based on
harmonious co-existence with the rest of the world. Remnants of such
lifestyle can still be found in the remaining homesteads in the
countryside. Each unit was self-reliant and self-contained. But the
market economy destroyed such traditional values.
It
is in such a background that we should look at Mr. Beri's
architecture. In his introduction, Beri is succinct; the
objective of the book is to appreciate the important correlation
between the manner in which we understand and live life, and the way
we understand and practice architecture. He
continues – my works
are not designed to create iconic, grand, exhibitionist forms or
graphic compositions that attract the eye, but to create more human,
socially relevant, more natural and sustainable spaces that nurture
the human spirit. Herein
lies Beri's philosophy, his vision and mission of architecture. This
is the crossroads where we decide to move on to the vast, deep
hinterlands of Beri's world or not. This is where we begin the
journey into the 'meaningful
interface of the enclosed space and the open space'.
The
architect
To
understand the work of an artist one has to understand the factors
which shaped the personality of the artist. Mr Beri introduces his
book through a series of images from his boyhood and youth, the
periods which were critical to his evolution as an architect. A
picture emerges of a life in empathy with nature. Trees, hills and
water bodies showed him the pathway to appreciate and absorb the
munificence of nature. This sensitivity and awareness of nature that
developed in Beri at a young age did not die out or kept under
covers as he grew up to adulthood and faced the challenges of life.
This sets the man apart; whereas most of us succumb to the pressures
of life and choose a life that is seemingly secure, Beri chose the
different and challenging path; he undertook a journey to discover
the purpose of his profession and his life. An observer can only
stand aside and admire his fortune to be able to undertake this
journey of self-discovery, which most of us never have the courage
and conviction to do, the courage and conviction that made Beri chose
to build a cottage in the hills over a Masters in Harvard.
The
architecture
Nature
is central to Beri's architecture. When for a conventional designer
the first thing would be to clear the land, level the ground and
build a concrete structure with a few gimmicks thrown in for visual
pleasure, Beri begins from the principle of least disturbance to the
landscape. 'Spaces
inspired by nature' develops
through
eight essays; working with nature towards sustainability, spirit and
space, learning and teaching architecture, aesthetics of ethics in
architecture, connecting to nature, our house as our larger body, art
as a metaphor in architecture and nature as art in architecture, and
architecture without architects. Each section opens with the theme;
the philosophy is accentuated with Beri's poems, which are the
essence of his thoughts. There are several examples of his work with
his initial sketches, plans and photographs which to the layman and
architect is a revelation of the master creator's visions. The
different sections are not water-tight compartments; on the other
hand they flow in and out of each other, like the waters of a
cascade. Therein lie the enchanting quality of the writing; perhaps
the flaw also, because the lack of linearity may not be to the liking
to some.
A
CD of the short documentary, ' The Unfolding White', an introduction
to Mr Beri's work and vision comes with the book. Scripted, directed,
photographed and narrated mainly by himself, Beri proves himself to
be an artist of multiple hues.
Mr
Beri writes in a pleasant, highly readable conversational style. It
is a discussion with fellow architects. One can almost visualize
sitting with him beneath a shady tree with the cool lake breeze
flowing in and birds chirping and a sleepy dog lying beside your
feet. While a layperson who is interested in 'green architecture'
would find it a kaleidoscope of different constructions ranging from
a residence tucked in a hillock to a modern hospital or an
international research centre, the book is primarily focussed on
aspiring young architects and practitioners to enable them to
discover the 'why' of their chosen profession. The style of writing
reminds one of J Krishnamurti's dialogues. The book is an invitation
to the reader to question, explore and find answers together with the
author. It is not a text book of sustainable architecture, but a
journey into its philosophy, ethics and application.
In
the section 'Working with nature towards sustainability', the author
discusses the concept of sustainability. Sustainability, says Beri,
is an attitude based on minimising consumption, empathy with nature
and simple living. Its application reflects on designs with lesser
energy requirement and construction processes that have lesser energy
costs. Reduction of energy costs can be implemented at the different
energy use levels. One is end-use energy level where use of green
products and gadgets such as CFL bulbs and renewable energy sources
such as solar, wind, heat recovery from air-conditioners etc., would
reduce the operational costs. Similarly during the construction
process, the embodied energy level, use of locally available
materials can reduce the energy cost. Using recycled and recyclable
materials and recycling of sewage water is another important aspect
of sustainable architecture. But is sustainable or green
architecture being hijacked as a marketing gimmick, like ecotourism?
Beri points out the gaps in the LEED ratings given for 'green'
constructions. He muses over the hypocrisy of 'enjoying
our green multinational sponsor's hospitality, on our jet flights, we
discuss equity' (p.27).
Space
and spirituality
One
has never been much of a believer in God as the creator, preserver
and destroyer of life, an entity watching his/her subjects and doling
out rewards and punishments. Yet, one often visits certain temples or
churches because an undefinable sense of peace that envelops on
entering the premises. Self-awareness as well as an awareness of the
larger space around is awakened. One can feel this not only in
temples but in different landscapes, from Mount Kailas to the
backwaters of Kerala. Sometimes, even just observing a beautiful tree
or looking at the loving eyes of one's dog is enough. There is no
need to explain, no need to enquire. Everything is brighter,
hallowed in a glow that lights one's mind. There are no questions, no
answers to seek. Just being there is all that matters. This is the
spirituality that Beri talks about, the awakening of consciousness
from self-centeredness towards universal totality. This is the sense
of interconnectedness with the cosmos. Can we infuse this
spirituality into the designs of buildings? I am yet to see Beri's
creations in a palpable sense, but the visuals in the book and CD
convey more than what is obvious. Every single project detailed in
the book connects with the reader. From the simple rough sketch to
the photographs, it beckons to look deeper and beyond what the eye
perceives. Spirituality cannot be defined or taught; it is an
experience, unique to each individual. Only a writer such as Shirish
Beri could almost succeed in conveying the spirit of the space. To
transfer the intangible spirituality to the tangible is possible only
for true artists. Architecture is frozen music, said Goethe. He is
wrong; architecture is flowing music, the art of creating spaces
throbbing with life; it is the art of breathing life into enclosures.
The
key word
Sitting
down to write about something, the first question you ask yourself is
about the title. Once you have succeeded in framing a title, the rest
of the work flows from that phrase. The title is the quintessence of
an article. Similarly, Beri in his quest for unique designs searches
for the key word that would define the work to come. The client's
brief, the topography of the site and the architect's vision are
synthesised into a single word. For example, 'learning' was the key
word to a school project. For the drug de-addiction centre where the
patients had to break out of their mental prison, the theme was
'transparency'. This is the key that opens the door to the grand
vistas. What makes each of Mr Beri's works unique is his skill in
diving deep into the subterranean caves wherefrom the spirit of the
creation bursts forth.
The
evidence of Mr Beri's success can be found in the words his clients.
Whether it is school, college, research institute, hospital or a
house, the inhabitants find the building not as a separate entity,
but as an extension of their selves. “We
have all become so close and involved with these spaces that we have
almost forgotten the building. It has become synonymous with our work
and life”. What a rich tribute!
Learning
architecture
It
would not be incorrect to say that architecture is the flagship of
development. Development is synonymous with construction of buildings
and buildings. As the science of architecture develops, it is
imperative that the future architects be nurtured in the bed of
ecological ethics. Beri advocates inclusion of ecology as part of the
curriculum for architecture. The cornerstone of ecological ethics is
what Aldo Leopold said: 'Examine each question in terms of what is
ethically and aesthetically right, as well as what is economically
expedient. A thing is right when it tends to preserve the integrity,
stability and beauty of the biotic community; it is wrong when it
tends otherwise'. Green architecture is more than pollution control,
recycling, energy conservation, etc. The set of values that
distinguishes green architecture should be inculcated into the minds
of the young architects; they should develop respect and love for the
natural environment. Yet, it is easier said than done. Achieving
harmony with land is a goal, like absolute justice or liberty. Such
aspirations are to be strived for, even if not achieved.
In
a 'seamless experience of the physical world', Beri's designs do not
stand apart from the surrounding environment. Instead they blend with
it, as if the buildings have evolved out of the landscape. One of his
most beautiful and fascinating design is that of the Laboratory for
the Conservation of Endangered Species (LaCONES) in Hyderabad.
Whereas one would associate a research centre with bleak, sombre,
solid, straight lined concrete barracks, the LaCONES building looks
as if it is part of the large boulders around which it has been
raised. There are no straight lines here; the building is akin to a
stream that is continuously flowing in and around through the rocks.
There are no beginnings and ends; one feels one could explore it
forever and discover something new everyday. Nature and the built
spaces become one integrated whole.
It
is beyond the scope of this review to present the several works in
the book. Suffice to say there cannot be many others which can be as
fulfilling aesthetically and ethically. There is no compromise on
either. Could that be the key to improving the quality of one's life?
Of the society? It would be utopian to dream such a transformation in
the society at large, but the choice is yours to strive for such a
change or not.
Architecture
of the unknown architects
Vernacular
architecture is concerned with domestic and functional buildings as
against monuments, palaces and other public buildings. Beri details
the characteristics of vernacular architecture such as climatic
adaptation, simplicity, frugality, functionality, humaneness and an
overall pragmatic approach which can be noted in the traditional
architecture of different regions. But how much has modern
architecture imbibed from vernacular architecture? The evidence lies
all around us. Though a retro look is gaining popularity these days,
it is only another way of flaunting affordability rather than
assimilating the qualities of vernacular architecture.
The
Adyar foot bridge
'The
incomplete, deteriorating bridge
A
bridge that starts to bridge
but
never reaches the other shore'. (The
Adyar foot bridge, p.125)
One
hastens to google for images of Adyar foot bridge; Mr Beri's sketch
is far better than the photographs. Reading the poem again, one
ponders; there cannot be a better symbol – for the failed
aspirations, the goals unachieved, and the dreams forsaken. It also
symbolizes what we all strive for – to connect to the other shore,
the shore of goodness, of happiness, peace and tranquillity.
Sustainable architecture is on the other shore; only a few like Mr
Beri has reached there. He shows how to build the bridge; the onus is
upon us to lay the link that would take us across.
Many of
the poems, though tied to architecture and its ethical and
philosophical moorings, takes the reader beyond the shores of bricks
and concrete. Driving through Khandala Ghat, stumbling over 'dirty
potholed mucky roads, expressions of dirty, corrupt, greedy minds',
the poet Beri suddenly encounters
'
a fresh, clean, cascading, dancing waterfall
amidst lush green foliage and wild flowers
Such
a pleasant surprise
kind
of restoring one's hope and faith in life'. (
Driving through Khandala Ghat,p.167)
The
lines sum up what the reader would feel as he closes 'Spaces
inspired by nature'.
The
Magnum Opus
Spaces
inspired by nature
seems to be a compilation of few of the author's previously
published papers. It is obvious by the occasional repetitiveness,
the recurrence of the same concepts and thoughts in the different
essays. The advantage is that one can pick and read at random. The
disadvantage is that one does not feel a linear progression from the
beginning to the end. While the excellent detailing of Mr Beri's
works – the sketches, plans and photographs, along with the
reflective, thought-provoking poems, the design and layout of the
book makes it a veritable feast for the reader, editing of the text
is found wanting. The essays are great read by themselves but a bit
of pruning would have reduced the girth and the risk of slipping
into tedium. Omissions in proof reading glare in a few places.
One
wonders at the total absence of mention of other contemporary
architects and architectural thinkers who follow sustainable
architecture. Any book of this kind cannot ignore the late Laurie
Baker. Perhaps it was intended to showcase Mr Beri's works
exclusively.
Vernacular
architecture in the Indian context is based on Vaastu Sastra. Many of
the concepts of sustainable architecture and reverence for the spirit
of nature which lie spread throughout this book are rooted in Vaastu.
It would not have been out of place to mention the hoary traditions
of Vaastu Shastra.
But the shortcomings of the book
are negligible. Through the exposition of the philosophy which is
the guiding spirit of his life and work, Shirish Beri has created his
magnum opus in writing. Modern, young architects who aspire to leave
their individual stamp on the architectural map, who are bold to take
a different path from the conventional, who acknowledge the eminence
of the Master Architect, Nature : for them, their raison
d'etre
can be found in Spaces inspired by nature.
Balachandran
V
94475
87368
