National Cricket Academy

An effort to transform the mental phenomena of association into the physical condition of architecture as documented in National Cricket Academy, Lahore.

Written and photographed by:
Archt. Adeela Mushtaq
Archt. Maryam Fayyaz

PROJECT DATA:

Project Title: National Cricket Academy
Location: Qazafi Stadium Lahore
Owner: Pakistan Cricket board
Design consultant: Amjad Mukhtar Associates
Project cost: 75 million
Project commencement: Jan 2002
Project completion: Feb 2003

Modernity and tradition are two contradictory doctrines in the cultural scene of a society to be adopted as the appropriate approach towards development. The self-investigation into the two schools of thought draws some interesting analogies not only in terms of theoretical background but also in the form of architectural projects. In both the cases, it seems that the problem of acceptability arises when an “ISM” is affixed with them as the adherence to certain rules and regulations destroying the flexibility of the whole process. An “ISM” is a system, which claims to have a distinctive character so it gives birth to styles, develops nostalgic associations and stops oneself to move ahead.

Architecture should not be a battle of styles; this attitude becomes the root cause of its decay because fashions and styles have to change with the passage of time. If we recall ‘Modernism’ as the by product of machine age and industrial revolution, it declared itself a style by defining a material language of functionalism, breaking its links with history, grew and developed as nothing out of nothingness and after a specific period of time finally collapsed. Traditionalists, on the other hand, demonstrate the deepest desire to incorporate the soul and spirit of memory and in this process develop certain symbolic relations as the representation of the past. Though the sign language of traditional architecture is another way of attaching an “ISM” to it yet it is backed by theoretical reasoning and logic. National Cricket Academy is one such project that tends to pose such questions to its observers and encourage them to reinvent the parameters of traditional architecture.

Traditional architecture is based on memories from the past and the condition of its interpretation is the function of mind. This entire process also depends upon the perception and the role and understanding of the percepter. In general, it’s an interesting stipulation that deals with the psychology of the observer and its sensation coinciding with the real physical world. In order to manipulate this capacity of body for returning to a previous state of mind, traditionalists develop certain signs and symbols. These symbols crystallize as the byproduct of methodical studies and research of the past experience. Buildings from different periods in history are scanned in layers and certain elements are chosen as sample for reproduction with the prospect of reviving the sensation and experience of past cultures. In philosophy the entire phenomenon of association and projection of memories is explained by the French philosopher Merleu Ponty

“Memories do not by themselves project themselves upon sensations, but that consciousness compares them with the present data, retaining only those which accord with them, then one is admitting an original text which carries its meaning within itself, and setting it over against that of memories: this original text is perception itself.”

“The significance of the percept is nothing but a cluster of images which begin to reappear without reason…concepts being a complicated way of designing them.”

In case of National Cricket Academy (NCA) we see a number of symbols from the past traditions, the most obvious being the material itself that is “brick”. It is used as part of load bearing structure, which is then left, exposed both for exterior and interior walls and the joint being flushed with SURKHI (the brick powder mixed with certain adhesives). In between the varied texture of brick blocks, there are small green and blue ceramic tiles for framing certain elements, running bands and making intricate patterns. This combination of brick with colored tiles reminds us of Multan tombs. The windows with brown glass and aluminum frames bear flat shades supported by massive brackets designed as duplicate twins placed on top of each other with a band of green tiles.

The complex has three main buildings, the administration building, the indoor school and the players’ block. The half circle rotunda is used as the entrance to two important buildings of the complex, the admin block and players’ block. The colonnades with arched openings are an important feature of the main building with an emphasized sense of repetition that is also visible in the design of openings incorporated in other buildings of the scheme. The facilities are designed according to international standards; here two teams can stay at a time with specialized facilities for coaches and physiotherapists. The specialized classroom is designed with all the audiovisual systems. The indoor school hall has a large span of 65 feet, which is a column free space. Due to the site limitation another practice ground could not be added. The existing ground was made accessible to players and the player’s block was placed in such a way so that players have direct admittance to it. On top of this block there is D shape terrace to enable players to have direct eye contact with the game. Another important feature is the planning methodology for player’s rooms. The design of hostels is usually double loaded corridors while our climate requires rooms to be opened out in verandas. So, it is designed keeping in mind the climatic requirements, these are single loaded rooms along with corridors. All the structure is load bearing, however some steel ties are used. Brick tubes hollowed inside are also used for structural strength.

The interiors of these buildings are relatively darker with a sense of mystery associated with traditional buildings where light is allowed to enter at specific angles. An outstanding illustration of the play of light is seen in the admin block where light is directed to enter from the upper most level from clerestory windows. The silence of mysticism speaks out where light peeps in through blue and green colored glass in entrance doorways. These spaces demonstrate the use of geometry as the principle of organization, framed by massive structural elements in exposed brick. Some modern materials are also used in combination with brick like the marble flooring with designed patterns. There is also a strong sense of axial arrangement and directional views in the placements of buildings but the landscaping is done in free floating lines.

Every project has some fascinating background stories. In order to know those, we met with Arch. Amjad Mukhtar and asked some questions to clarify the concepts regarding traditional architecture and to understand the design process for this project.

Why associate traditional look to a building which is contemporary in use, accommodating the game of cricket?

First of all, it was cheaper and it was one of the requirements to economize construction. Also I like it and I believe that symbols are very important in life. When we debate on form and function we always pre decide about the function as accommodating different activities of daily life but it’s not only the case, my father’s memory in my heart is a function in itself but if you decide to limit the definition of function its definitely up to you. So I associate certain other things within the realm of function. If we talk about this particular case, it was quite questioned by the client that it is a contemporary game so why it should be traditional. My belief is we need such an academy that when foreigners come here they should remember it as part of the city of Lahore, so it should have roots in tradition.

If you could tell us about your ideology regarding symbolism used in this building.

The most important thing in humans is memory. One meaning of it is temporal, for example; the taste of tea but the other is deeper and shared by all the civilizations of the world and that is the distress of eternal loss engraved in the subconscious. Sometimes it happens that one feels pain, requires to be alone and recall memories but the images of those are not sharp so he cannot grasp the reason for his moaning but its certainly there in the mind. So when the real goes out of the memory then symbolism is needed to revive what is lost.

About the elements of decoration (symbols) modern architecture says that it is superfluous and not part of the function. But I believe that the basic vocabulary needs to be redefined and the meaning of function to be broadened to incorporate certain higher objectives. Its like if you lay the first brick wrong then even if you go higher to the seventh sky it will not be the straight wall. This is the basic difference when you define things in isolation and forget the context of totality. This universe works in many layers we need to understand that and with that knowledge make efforts to order our layers according to certain terms and conditions.

Traditional architecture has specific symbolism that is used to trace back memories from past to the present, in this process do you believe in contemporary layer being added in the end?

Actually it’s not a matter of putting on something rather this combination is actually present in it that ought to be discovered and if you know its soul then it’s fresh in every age. Heritage is static but traditional architecture is a principle which always seeks new character or shape and it has to transcend feelings. If architecture can’t convey this then to me it’s a functional failure.

You believe in continuation of tradition and in that continuity you believe in symbolism, if we talk about this project what does it symbolize.

It’s our symbol for the city of Lahore. It’s our identity. It’s not an academy which can be placed anywhere in the world. After the three basic human needs the fourth one is the sense of belonging which is associated with my ancestors and how others can expect from me to leave them and their architecture.

Traditionalists approach architecture as empiricists approach the world where everything is based on sensory experience. “Now, for empiricism ‘cultural’ objects and faces owe their distinct form, magical power, to transference and projection of memory, so that only by accident has the human world any meaning.” 3 In order to convince yourself, you have to experience the building and during your visit if it offers a stimulus odyssey to past then its certainly a marvel and fulfills the objectives for which it is designed but in case it does not, then in architect’s own words, it’s the “functional failure” of the project.