by Kazi Khaleed Ashraf
The article describes the Bengal architectural evolution chronologically through history
1. General Introduction
The Bengal Delta is in between “two geo-cultural matrices”: the western matrix, based on the Indian culture and the eastern matrix, relying on South-East Asian cultures (dominantly water-based cultures)
Hut = a freestanding structure, composed of a parasol roof and permeable walls; it is the simplest form of the pavilion type and the basis of Bengal architecture
Clay is the traditional building material: bricks and terra-cotta
2. Chronological Overview
2.1. In the 6th c.BC monumental architecture includes temples, stupas and monasteries, largely influenced by the Buddhist tradition
2.2. The arrival of the Turks is marked by the influence of Islam on architecture: Sultani period (13th c.)
dual situation: submission to the Delhi regime or independent rule of ‘houses’ which represent the connectedness to the place
Sultani architecture: mosque, mazar, madrasa and new techniques such as arch and dome
Bengali mosque = most significant type of this period
· basis = pavilion/hut idea
· use of local materials such as bricks and terra cotta
· openness and relation with the surrounding landscape is important: the mosques are opened to the outside instead of looking inward to a closed courtyard
2.3. Laukik (vernacular) Bengali culture (15th – 16th c.)
Islam affected deeply the cultural matrix of Bengal. It was the impetus for the flourishing of the vernacular stream (domain of the plebeians, villagers, local beliefs and rituals), while the Sanskritic tradition was in decline. At the same time the Muslim culture enters into a dynamic relationship with the laukik culture. An "osmotic relationship" between the two communities resulted in specific Bengali architecture: an example is the mosque of Shah Mohammad in Eagarasindur (17th c.) The hut was again at the basis of the development of the Bengali mosque (and chala form) and later on also of the tomb-shrine.
The article describes the Bengal architectural evolution chronologically through history
1. General Introduction
The Bengal Delta is in between “two geo-cultural matrices”: the western matrix, based on the Indian culture and the eastern matrix, relying on South-East Asian cultures (dominantly water-based cultures)
Hut = a freestanding structure, composed of a parasol roof and permeable walls; it is the simplest form of the pavilion type and the basis of Bengal architecture
Clay is the traditional building material: bricks and terra-cotta
2. Chronological Overview
2.1. In the 6th c.BC monumental architecture includes temples, stupas and monasteries, largely influenced by the Buddhist tradition
2.2. The arrival of the Turks is marked by the influence of Islam on architecture: Sultani period (13th c.)
dual situation: submission to the Delhi regime or independent rule of ‘houses’ which represent the connectedness to the place
Sultani architecture: mosque, mazar, madrasa and new techniques such as arch and dome
Bengali mosque = most significant type of this period
· basis = pavilion/hut idea
· use of local materials such as bricks and terra cotta
· openness and relation with the surrounding landscape is important: the mosques are opened to the outside instead of looking inward to a closed courtyard
2.3. Laukik (vernacular) Bengali culture (15th – 16th c.)
Islam affected deeply the cultural matrix of Bengal. It was the impetus for the flourishing of the vernacular stream (domain of the plebeians, villagers, local beliefs and rituals), while the Sanskritic tradition was in decline. At the same time the Muslim culture enters into a dynamic relationship with the laukik culture. An "osmotic relationship" between the two communities resulted in specific Bengali architecture: an example is the mosque of Shah Mohammad in Eagarasindur (17th c.) The hut was again at the basis of the development of the Bengali mosque (and chala form) and later on also of the tomb-shrine.
2.4. Mughal empire (16th - late 18th c.)
Formation of the province of Bengal (Subah-e-Bangla) -> Delhi-centred authority interupted the laukik culture:
· interest in provinces for economic reasons -> establishment of efficient administrative system (road and fort construction), but there are some evidences of Mughal influence in mosques (different plan type...) and later the temple-building flourished.
· the traditional practices, building techniques and materials and vernacular iconography are mainly ignored, an exception is the privilege given to the bangla roof.
2.5. Colonialism (late 18th + 19th c.)
contact with European culture => new civic institutions + segregated dual city
· European city = “progress and development”
· native city = “congested and chaotic”
· native city = “congested and chaotic”
new economic structure => building activities => new types: offices, railway, warehouses … but some original architecture persists: bungalow = a building type which is a reconfiguration of the hut
· idea of connection with surrounding nature + freestanding dwelling is preserved
· climate and local idioms are primary considerations in the development of new forms
New Bengal elite elaborates a complex relationship of resistance and acceptance with colonial culture => architecture of their homes: severe neo-Classical style combined with a great degree of spontaneity in the disposition of volumes
Palaces (tension between ‘publicity’ and ‘domesticity’) and religious buildings were also site of Europeanization.
2.6. Modernism (20th c.)
double-edged nature of the colonial experience becomes noticeable:
· idea of connection with surrounding nature + freestanding dwelling is preserved
· climate and local idioms are primary considerations in the development of new forms
New Bengal elite elaborates a complex relationship of resistance and acceptance with colonial culture => architecture of their homes: severe neo-Classical style combined with a great degree of spontaneity in the disposition of volumes
Palaces (tension between ‘publicity’ and ‘domesticity’) and religious buildings were also site of Europeanization.
2.6. Modernism (20th c.)
double-edged nature of the colonial experience becomes noticeable:
1 mercantilism + industrialization => breakdown of self-sufficient cultural entities -> increasing influence of international modernist ideology ("modern project")
2 idea of cultural and national identity -> movement for independence
2 idea of cultural and national identity -> movement for independence
2 important names:
· Muzharul Islam, establisher of a modern architectural culture
“the lessons of European modernism were mediated and manipulated by “localism”, the rationale of place and time”
· Louis Kahn,
Capital Complex project with the Assembly as the crown piece (character of the centre)
overall master plan, reflections on "how the buildings are to take their place on the land": particular urban morphology in the delta
3. Conclusion: "Wind, Water and Clay"
Architectural history is contestation between competing ideologies; however the consciousness of nature is at the root of building. The hut-type recurs through history and changes. It is also the basis of the pavilion paradigm: interpenetration of nature and architecture -> key to the organization of settlement pattern.
3. Conclusion: "Wind, Water and Clay"
Architectural history is contestation between competing ideologies; however the consciousness of nature is at the root of building. The hut-type recurs through history and changes. It is also the basis of the pavilion paradigm: interpenetration of nature and architecture -> key to the organization of settlement pattern.
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