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This book examines the ways in which a historic, and so-called
"traditional" city quietly mutated into one that was modern in its
own terms not only in form but also in its use and meaning. Through
a study of Delhi, the author challenges some prevalent dichotomies
and myths in architecture and urbanism and identifies an
interpretation of modernism that expands upon conventional
understandings of it. Conventional discourse in the West defines
modern as the antithesis of that which is 'not-modern' or is
'traditional.' Many scholars have debated the significance of the
words and most agree that the very word 'tradition' was a modernist
creation that variously implied threatened by change, backwardness,
resistance to innovation.
The first part of this book reflects on the transformations and
discontinuities in built form and spatial culture and calls into
question accepted notions of the static nature of what is normally
referred to as 'traditional' and 'non-Western' architecture.
The second part is a critical discussion of Delhi in the nineteenth
and early twentieth centuries. It expands upon conventional
understandings of modernity in a way that wrenches free the city's
architecture and the society from the objectified realm of the
exotic while also acknowledging cultural conditions of modernity
and modern architecture outside the West. Stepping outside Western
canons, this project looks at late nineteenth and early twentieth
century architecture to include them in a conversation on
architecture that has typically focused on Western Europe and North
America.
Finally, the author seeks out the "indigenous modernities": the
irregular, the uneven, and the unexpected in whatuncritical
observers might label a perfectly coherent 'traditional' built
environment; or in the influence of local society and institutions
on forms that appear modern by conventional standards in the West.
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