India and China have been co-travellers of the same trajectory i.e., modernity and tradition clashing, colliding and coalescing at each turn. Both have seen upsurge of economies and social convulsions. It is where their dilemmas have the similar ring of predicament or conundrum. Art, architecture, design and décor have thrown up issues and trends that defy easy solutions.
Both countries have witnessed rapid urbanisation in the last few decades with enormous chunk of people opting for industrial jobs and urban living. With the transformation of the economy from a predominantly rural and agrarian to an urban and industrial one, the architecture too began to take the elements of modernity mainly focused on the utilitarian aspect. The 1980s and 90s witnessed massive shift from traditional style to modern designs.
In China, soon the realisation dawned that contemporary cities lack a sense of identity. It has resulted in the new generation of architects and interior designers seeking to express their respect for traditions by incorporating elements of ancient Chinese architecture.
Parikrama programmeIt is in this context that a ‘Design without borders’ movement has taken roots. Architects, designers, artists and engineers who have been meeting at various venues in India during the last one year under the Parikrama programme are exploring history, culture, arts, environment and traditions to lend expression to them through buildings. The movement is blending together both inheritance and innovation and imparting an eastward tilt to the global design movement.
Parikrama has come to symbolise a platform for professionals to interact with stalwarts and veterans in the field of art, design and architecture, thereby enabling sharing and exchange of ideas and experiences. The third instalment of the Parikarama held recently in Bengaluru (on May 2) brought in nearly 30 noted and celebrated professionals to the City. Headed by Vadodara architect Karan Grover, the movement envisages holding the first India Design Week at Udaipur in November this year and Asia Design Week in China in 2018.
Confucian ethosQuoting Confucius, ‘Studying the past, defines the future’, Grover says, “I love the quote as our countries have always studied the past which might account for why our recorded histories are so vast. Since the beginning of our cultures, we have treated nature as a giver rather than a provider. Harmony is a delicate balance that must be maintained. The power of nature does not need to be questioned. Nature takes what it wants and reclaims anything it chooses. Not even the Great Wall of China and majestic temples of Angkor Wat are spared from the force of nature. We must not forget that metals are not leaves, wires are not vines and trash is not food. Our cultures have a vast history of holding nature sacred,” he adds.
Deep respectHeading the movement on Chinese side is Ready Zhang, the Founder-Director of Guangzhou Design Week who recently hosted the second summit of the World Interiors Meeting in Guangzhou, attracting 750 delegates from around the world. Zhang says: “Design will bring more benefits to the human race beyond its functional and aesthetic significance. I realise through interactions with the Indian design community that they have the same deep respect for traditions and environment as we have begun to perceive in China.”
The movement has begun to forge a rare camaraderie between the design fraternity of the two nations. Liu Dao Hua, creator of many a shopping mall across China, dives into the deconstruction of the oriental fashion and culture, the collision and fusion of tradition and vanguard. Strolling through the interiors designed by him, one leaves behind routine life and experiences a sense of release.
Seamless transitionDesigner Rebecca Lu, Design Director at Shanghai Hyee Architectural Design Company, says the search for an architectural style that combines China’s native traditional culture with modern social requirements is the most appealing theme for contemporary architects. Lingshang Brahma Palace designed by Rebecca and built near Mount Lingshang integrates the essence of several Buddhist cultures on its 70,000 sq. m. space.
Its interiors have a dramatically spectacular aura about themselves.
“The mechanical and electrical equipment are perfectly concealed thereby making the transition between heaven, earth and walls seamless,” comments L. Gopakumar, editor, Design Detail, the architecture magazine.
