Architecture and Nationalism in Sri Lanka: The Trouser Under by Anoma Pieris

By Anoma Pieris

The position of the house, the family sphere and the intimate, ethno-cultural identities which are cultivated inside of it, are severe to figuring out the polemical structures of kingdom and town; culture and modernity; and regionalism and cosmopolitanism. the house is prime to principles of the fatherland that supply nationalism its innovative shape and its political trajectory.

This publication explores positions which are important to rules of nationwide belonging during the historical past of colonial, bourgeois self-fashioning and put up colonial id development in Sri Lanka. the rustic continues to be valuable to similar architectural discourses as a result of its emergence as a serious website for local structure, post-independence. Suggesting styles of indigenous lodging and resistance which are expressed via outfitted shape, the booklet argues that the kingdom grows as an extension of an indigenous inner most sphere, ostensibly uncontaminated through colonial impacts, domesticating associations and appropriating rural geographies within the pursuit of its hegemonic ideals.

This formidable, finished, wide-ranging booklet provides an abundance of recent and unique fabric and lots of innovative insights into the historical past of structure and nationalism from the mid 19th century to the current day.

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Additional info for Architecture and Nationalism in Sri Lanka: The Trouser Under the Cloth (Routledge Contemporary South Asia Series)

Sample text

Yet, we might argue, the colonial record that is often used to legitimize scholarship is ideologically driven and frequently racist. The fragmented materiality that was produced, inherited and remembered by the local population advances alternative historical claims. The terms ‘Eastern’ and ‘Western’ as they are used in the text articulate a polemic particular to this period. Finally, a word regarding the referencing system used in the book. , has sections for: official records, newspapers (articles), websites (of organizations), and private papers.

The chapters cover the Burghers (Dutch and Portuguese colonials), the Goyigama, the new political elite and other marginal caste groups with metropolitan ambitions. Chapters 4 and 5 offer a series of vignettes that focus on the rise of an indigenous national sensibility, the indigenization of religious and secular institutions and the formation of cultural organizations during the independence era. They look at the first generation of artists, intellectuals and architects who were inspired by political independence to redefine identity along Domesticity and decolonization 23 modern or indigenous lines.

The extravagant style, which was believed to be ‘universally’ applicable, and being of Mediterranean origin adaptable to a warmer climate, communicated Britain’s racial and political superiority to the ‘natives’ confined to its arcaded periphery. Unlike their predecessors who limited such urban spectacle to their religious architecture, the British exaggerated buildings for commerce, administration and the military, stressing economic enterprise and secular government. British buildings had a decidedly urban character.

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