Zameen Interviews: Views of Nayyar Ali Dada on Traditional and Modern Architecture

Mr. Nayyar Ali Dada is one of the most renowned architects in Pakistan, with his contributions making all of us proud across the country. His architectural marvels can be seen in the fields of hospitality, education, healthcare, art, as well as commercial and residential structures. Mr. Dada is known for his unique take on blending traditional with the modern, and we were fortunate enough to get a chance to invite Mr. Nayyar Ali Dada on Zameen Interviews, to get a deeper insight into the mind of the genius himself.

Do Tradition and Modernity Exist Separately in Architecture?

Sitting down with Mr. Dada, we discussed the blend of tradition and modern styles in architecture, trying to determine whether they exist as clear distinctions within the industry. Mr. Dada began our talk with the following words:

“I believe that architecture has created history. It was after the construction of the pyramids that Egypt attained its (renowned) spirituality. When the Romans built the Colosseum, they engendered the whole spirit of the Roman Empire. So (in this way), you can say that architecture does create history.”

What we can gather from the words of this genius is that modern architecture does not stand apart from the historical constructions of a bygone era. It simply adds to it, creating more history over time.

What’s Your Take on the Construction Industry in Pakistan at Present?

Speaking on the state of the construction industry in Pakistan, he said:

“Let me tell you that outwardly, there are (indeed) successes like you are saying. But inwardly, I know that there are more failures than successes. Carrying out decent (quality) work here is very difficult. The working conditions and the attitude of the people you work for, along with problems of ‘commercialism’ and bad taste have a strong impact on the results. The element of corruption in the construction field also casts its shadow on the architectural profession.”

How Did You Come Into the Field of Architecture?

Hearing the question, Mr. Dada regales us with tales of how he came into the profession that is now his cause of fame:

“I was very good at drawing, so the first thing I joined (learned on my path towards becoming an architect) was painting. But later, my uncle, who is an engineer, cautioned me that it (painting) ‘does not have any professional future, so leave it be.’ I was frightfully young at the time, so he asked me to ‘move ‘out’ (change fields) and get into architecture. So, I switched. Shakir Ali Sahab got really upset with me (because of this decision) since he was a painter himself.”

“Eventually, I studied at the College of Arts on the basis of my drawing skills, meaning that I switched from painting to architecture. And I regret that. Because as a painter (at heart), when I do architectural work, I find the process very hampered, interfered and spoiled. (In all honesty), we thank God if 70% of our design gets implemented because you know, as a painter, no one can say to me that someone else has messed with it (my visualised design), or that someone (involved in the execution process) has not allowed me to do this (design) in a (particular way). I have total freedom to do what I want to do.”

Mr. Dada was also fortunate enough to have known some prominent names in his lifetime, both in the literary and the architectural circles. He talks about how he knew Sir John Lockwood Kipling from his days at the College of Arts and how Mr. Kipling was one of the first people to create a blend of the traditional local architecture and the British influences we see in many historic buildings today:

“The former principal of the College of Arts during my time was Sir John Lockwood Kipling, who was the father of Rudyard Kipling. He was also the first principal of the Mayo School of Arts. He was first appointed as the principal of Sir JJ School of Arts, Bombay, but he was later sent here by the British to introduce their native (architectural) designs, such as the Palladian and Classical building designs—which the Montgomery Hall and Staff College are styled after—to the region. Through this design transfer, the British aimed to construct impressive buildings to showcase the strength of their reign to the people.”

 “In response to the task at hand, Kipling told them that these architectural designs, which they were trying to replicate here, did not fit with the region’s environmental dynamics or its construction material availability—seeing as they were ‘foreign implants’. His retort upset the Viceroy greatly, who replied with the rejoinder that ‘should we build (more of) these indecent, indigenous things?’ Kipling rebutted by asking him not to call them (local designs) indecent and informed him that the region possessed many talented and bright people. He said that it would be best if ‘we (the British) were to sit down with the locals and evolve the design into something (a hybrid design), which would both, belong here, as well as succeeding in translating our ideas.’ The Viceroy (still perturbed) told him that ‘you are suggesting a strange and inappropriate theory.’ But he (Kipling) was a man of stature and could take on the Viceroy on his own—so he did.”

He further told us how Mr. Kipling implemented his ideas, in spite of resistance from the Viceroy and the results he brought forth:

“He (Kipling) called Sir Ganga Ram, a brilliant engineer and philanthropist, and Bhai Ram Singh, a great craftsman, artist and sculptor, because he could see talent in them. So, he sat with them and evolved the hybrid architecture referenced earlier—based on the ideas and layouts of the British and hinged (practically) on our native material (bricks, language and arches). This design orientation led to the construction of the High Court, Aitchison College, and the Punjab University. It is a lesson on how to create hybrid architecture, which takes care of both the past and the present, which takes care of the identity, and which makes use of the fertility of minds of your own creative people.”

What Was One of the First Designs You Created?

Talking about his own architectural career, he gives us an insight into one of his very first projects, the design of the Alhamra Arts Council, and what his ideals were during the creation of that magnificent structure:

 “In my younger days, I was given the assignment to design the Alhamra Arts Council. But this was a case of nepotism, as I did not deserve that sort of a job because I had no (architectural) standing at the time. I call it ‘nepotism’ because Shakir sahab and Faiz sahab, who were both advisors of the Arts Council, expressed their concerns over this assignment being handed over from the great architect Tajuddin Bhamani—who had devised a map which featured an Islamic dome sort of structure for it (the Alhamra Arts Council)—to a young boy like me. Faced with this situation, I was quite baffled and contemplated hard over what I should do? So, wandering around Mall road, I came across many masterpieces. It struck me that the British (during the Raj years) had built these structures from bricks and they were wonderful (in every sense). So why can’t we build with bricks? But my (second) western training had taught me that replicating an architectural construction didn’t hold any merit and that architecture has to move along with the progression of time.”

Do You Believe That Bricks Are a Good Construction Material?

Talking about the merits of bricks, Mr. Dada was of the opinion:

“Now brick is extremely attractive—number one; number two, it doesn’t need (much) maintenance—no paint is required. Also, its insulation quality is good. It ages well—looks more attractive with time. Consider this: The Alhamra is no longer red, it is now beige. So, there are multiple advantages. I do not see anything negative in the use of bricks. It’s also the solution to our basic problem (in Pakistan—which affects both architects and their contractors), which is the budget that is typically reserved for construction projects. We have to make frugal, economical buildings.”

What Was Your Plan for the Design of the Alhamra Arts Council?

We then turned our conversation towards the design process for the Alhamra Arts Council again, wanting a deeper insight into the artistic genius that led to a structure that retains its beauty to date, nearly three decades after its construction:

“(With the Alhamra) I made a modern building because it was (meant for) a modern program of modern theatres, modern art galleries. The ‘Theatre’ was where sound and sight and all such aspects (of performing art productions) had to be delivered. I had to ensure that all these theatres functioned properly—that their sound and vision (for enacted productions) should also be clear. So this was a modern challenge. But (looking at the Alhamra now), it is difficult to distinguish whether the building is old or new—it captures both spirits. So, this is how architecture evolves. And to evolve, a person has to accept the influence of people who inspire you.”

What Are Your Views With Regards to Blending Traditional and Modern Architecture?

Mr. Dada believes that architecture should blend the old with the new and create something unique and he expressed his views and experiences of doing so in the following words:

“I had the good luck of being around people who were giants (in their fields); Faiz, Shakir and Intizar Hussain (among others). Later, I was later able to continue this tradition in the Nairang, where Intizar sahab was our chairman. This tradition, this school of thought, highlighted the importance of the past, of tradition; which did not encourage the simple replication or imitation of historical artefacts or structure, but also focused on the belief that it is wrong to completely ignore and reject them.”

What Are the Major Challenges Faced by Architects?

Mr. Dada talked about the challenges faced by all architects in the industry, of the responsibility that falls on their shoulders to create something that is not just a representation of times past, but it also reflective of future trends, while having signature characteristics that make it stand out from the rest:

“Because as architects, we have two challenges: one is that of continuity—no (aesthetic) revolution comes all of a sudden, where people (immediately) shift to building glass structures (for instance). So it is important to have a sense of continuity. The other (challenge) concerns identity—for example; ‘Is this building in Lahore?’ If that is so, then it should have an identity; some reflection of the place or its locality or the city’s geographical history represented within its structure. This ‘reflection’ is a good thing. So, if you work with such ideas and a similar thinking process, then the work itself will evolve with its own direction and unique style. Because this era is of styles… this modern period is one of ‘freedom.’ Now this freedom, admittedly, does lead to the creation of a lot of indecent work, but freedom is better than being dogmatic.”

Promoting the concept of freedom of speech and expression, Mr. Nayyar Ali Dada holds strong opinions that it is better to be free than to be following a rigid set of rules during the design process. Elaborating on the concept further, he said:

“People’s concerns regarding adherence to a fixed number of columns or rules (in construction styles). These (set stipulations) don’t work any longer. They don’t work in fashion. They don’t work in cinema. They just don’t. Because today, any person with a camera on his shoulder can make a film and win an Oscar for it; in contrast to what takes 20^th Century FOX about 5 years to make with (a budget of) 50 crore. It overtakes that because you can now do a lot of work with modern technology and freedom.”

What Are Your Hopes for Pakistan’s Construction Industry in the Coming Years?

He believes that a change can be brought in the way our construction industry works, expressing his aspirations in the following words:

“Our R&D (Research & Development) is zero in the field of construction—which is very sad. (And in our current condition) like you said—our economy is in a crunch but our ideas are all ‘dandy’, expensive—we want to make buildings inspired from glossy magazines; which are frightfully wasteful and expensive. But my stress is on indigenous materials, indigenous technologies, and (on incorporating) simple solutions. Not to mass-produce anything, but rather to train people with (and in) simplicity, so that they are capable of developing their own smaller areas (and surroundings).”

Defining what good architecture entails, he believes that a natural element should come into play to elevate the immediate living environment:

“What do you see from the windows of your house? Do you see the boundary wall of the adjacent structure? Do you see laundry that’s been hung out to dry? Or do you see grass and trees? So, you see—these things create a certain quality of environment, which creates good architecture.”

Would You Like to Leave a Message for Aspiring and Future Architects?

Winning the President’s Pride of Performance award as well as the Sitara-e-Imtiaz for his outstanding services in the field of architecture, Mr. Dada is widely acclaimed to be one of the most creative and pragmatic architects of the country. Concluding his interview with us, the legend left a message for all upcoming architects to follow:

“(As architects, we should aspire to) follow a standard of values based on the good… on the truth… of doing creative work which incorporates a blend of both creativity and morality—that the work you do is honest work which delivers the purpose for which it’s built, and fits into the economy, the socioeconomic, and the socio-political conditions for where it is built. So that at the end of the day, it creates a better landscape for humanity (to inhabit).”

We invited Mr. Nayyar Ali Dada on Zameen Interviews as part of a new platform launched by Zameen.com, where we talk to leading figures in the real estate industry and the government, hoping to bring you their take on the current state of affairs in the country and valuable insights into their worlds. You can check out all of the interviews on our Facebook page and reach out to us on blog@zameen.com if there’s a personality whose mind you’d like us to pick about the economic and real estate market of Pakistan.