ABSTRACT
Over the past couple of decades, there has been a growing interest in South Asian architecture in the context of modernist history and theory, especially as the concept of the ‘other’, ‘hybrid’ or ‘alternate’ modernisms takes root. There is a questioning of modernism’s homogeneity and universality as it developed in different geographic locations, time periods and cultures. It is no longer considered a mere lesser form of Western modernism. There is also an increasing awareness that the assumed linearity, autonomy and master narrative of canonical modernism need to be challenged.1 It is being recognized that its implication and meaning differed from place to place and it was appropriated by local forces.2 It had its own trajectories, discourses and references. Thus, a more contested, multiple and inclusive notion of ‘modernity’ is being constructed in view of the complexity of modernisms manifested across the globe. The narrative of Indian modernism has to be viewed from this perspective.
