The slowly dying fad around starchitects has opened up leeway for concerted discussions about community engagement and collaboration, reclamation of lost and declining building practices, application of ecological methods and techniques and an overarching concern for the wellbeing of the environment and all sentient beings. A host of conferences and theoretical discussions about the built environment have established the urgent necessity of reconfiguring the modes and methods of approaching architecture. However, it is equally essential to present aspirational examples wherein such initiatives are being tangibly implemented. After all, in order to emerge from under the formidable spell of the Howard Roarks in the industry, one must at least be able to catch a glimpse of alternative practices that challenge hedonistic visions and promise an equitable, economical, ecological and holistic built environment. The ongoing sophomore edition of Sharjah Architecture Triennial, in UAE, seeks to do exactly this.

With the overarching theme of Beauty of Impermanence: An Architecture of Adaptability, the architecture triennial in Sharjah, on view till March 10, 2024, platforms various innovative and resourceful design solutions borne in the scarcity-ridden landscapes of the Global South. The curator of the triennial, Nigerian architect Tosin Oshinowo, shares, in her curatorial statement, “The key to building a sustainable future from our precarious present has its roots in architectural and design traditions that have been with us for generations and continue to evolve. Many practitioners, craftspeople and communities across the Global South have embraced long-standing traditions that have been systematically ignored by the canon. These approaches nurture an understanding of impermanence, inventive responsiveness to limitations and psychology of the collective that are essential for our shared future.”

Amongst the 29 varied showcases at the architectural event, India-based practice Hunnarshala Foundation presents their exhibition Back to the Future. The NGO, established by Indian architect Sandeep Virmani and his colleagues in the wake of the 2001 earthquake in Gujarat, has, since its inception, worked in collaboration with the local community and trained artisans, to append traditional techniques using innovative ideas, to build resilient and eco-friendly vernacular structures. Working mainly with natural materials, Hunnarshala aims to "harness the diverse traditional building skills of artisans and strengthen marginalised voices in cities and villages across Asia." The organisation has contributed to the development of post-disaster policies, while also employing age-old techniques to build climate-friendly homes. Additionally, the foundation is engaged in various pedagogical projects as well as allied community welfare practices such as AINA, Aabhat and Virnami’s Sahjeevan. 

The exhibition in Sharjah, curated by Virmani and Nipun Prabhakar (who is an independent designer, architect and photojournalist), traces the organisation’s work in India, Nepal, Iran and Indonesia, whilst also highlighting the impact of modern market economies on both, the biodiversity and indigenous knowledge systems. The showcase was additionally coordinated by Gaurav Dinodia and Aditya Singh from Aabhat, along with administrative assistance from Brinda Khiera and Nilam Sompura. The exhibition showcases a series of photographs, videos, models and prototypes that aim to inspire an alternate building culture and present a novel aesthetic in the mainstream architectural domain.

The highlight of the exposition is a shallow brick dome, positioned on a metal structure. This dome structure was conceptualised and designed by Virmani and Prabhakar and its construction was undertaken by artisan Azaad Singh, with help from the Sharjah Architecture Triennial team. The dome structure, accompanied by a reflective mirror beneath, seeks to present the scope of vernacular structures in mainstream architecture, ergo, aiming to inspire its usage in more contemporary settings. The dome is also accompanied by a recording of a verse song, composed and sung by folk singer Shabnam Virmani. It serenades the audience with its melodious tune, layered with verses that highlight the intrinsic impermanence of life and all that we build, the futility of envisioning permanence as an essential characteristic of the built environment, the impact of an increasingly transactional planet on traditional community values and the escalating culture of excess in one's quotidian life.

The exhibition also comprises an adeptly constructed leather model of Shaam-e-Sarhad, a village resort in Bhuj built by Hunnarshala Foundation in association with Kutch Mahila Vikas Sangathan, United Nations Development Programme (UNDP) and the state government. The leather model was made by expert craftsmen of Khamir (a platform that promotes and platforms local crafts, heritage and cultural ecology), namely Harijan Teja Bhai Paba and Dungar Bhai Paba. Other collaborators on the model include Smital Sanjay Rangate, Paresh Mangalia, Gaurav Dinodia, and woodworker Bhavesh H Umaraniya. The intricately sculpted model not only illustrates the indigenous techniques employed to build the original structure but also draws focus towards the rich and unique craftsmanship practised in Kutch, in Gujarat. Further, a series of craft panels, showcasing the different artistry techniques in the region, accompany the leather model. Some of these include a copper bell made by Luhar Husain, lacquer work undertaken by Vadha Jayanti Vekiya, a carpentry panel by Kamlesh Mistry, an indigenous textile panel by Khamir and an innovative mud panel by Sanker Marwada.

A special textile tapestry, made in collaboration with the crafts-based practice Qasab, from Bhuj, Gujarat, details and narrates the story of rebuilding and rehabilitation after an earthquake had destroyed households in the region. Each part of the story is illustrated with unique embroidery, sewn by women from different communities in the region.

In addition to the showcase in Sharjah, Virmani also details many such indigenous stories of community and collaboration, impermanence and reliance on nature, in his essay Our Impermanence is Permanent, penned down for the triennial’s publication Field Notes On Scarcity. An excerpt from his essay adeptly conveys, “These are living traditions that believe that everything cannot be known and impermanence is permanent. Change is the essence of life, so it is important not to get attached to anything: a place, a person, an idea. It is prudent to be flexible, like the bamboo tree that can survive the floodwaters of the mighty Ganga River by bending over in reverence.”

With the race for modernity establishing the notion of permanence as the more superior one, there is a need for subverting this canonical premise with humane values and adaptable practices from the past. While these archaic traditions may have stood the test of time, both in terms of their veracity and as oral legacies passed on through bequests, it is also essential to bolt out of the silos and practise these learnings more visibly. The Sharjah Architecture Triennial, as well as upcoming attempts by Virmani and Prabhakar to establish self-sustaining and collaborative communities and clusters, are only a few of the many potential initiatives that stand to be taken as measures for encouraging traditional practices in more noticeable domains.

Besides, practices and expositions of this nature are not merely additions to the list of trends that are periodically acknowledged and rewarded by our market economies. Instead, these are spaces that impel one to envision and discuss ideas and notions that are otherwise considered deviant. Amid a society that is driven to value nothing and monetise on everything, it is an audacious act to simply honour, archive and practise the traditions, mechanisms and crafts developed by our ancestors with the core motive of sustaining a dignified life in tandem with nature. It is through these empowering narratives that one understands their role and value in society despite and beyond their position in the manufactured social and economic strata. As architects, artisans, farmers, writers, researchers, artists, journalists, teachers, photographers, engineers, mechanics or even as fazed individuals unsure of their vocation, a unanimous path that promises to concede dignity is the reclamation of age-old aesthetics, systems and values, whilst discarding aesthetics that present only an illusion of progress and well-being.

Hence, we ask: What bequeathed legacies will you choose to engage with today? Which ones will you pledge to practice and propagate?

Click on the banner video to view our conversation with Sandeep Virmani and Nipun Prabhakar.

(Disclaimer: The views and opinions expressed here are those of the author(s) and do not necessarily reflect the official position of STIR or its Editors.)