The Life And Death Of Heritage | Masters Dissertation 2022 | Manchester School Of Architecture by Rahul Sawant

RAHUL SUSHANT SAWANT

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MA ARCHITECTURE AND URBANISM DEGREE

THE LIFE AND DEATH OF HERITAGE

A DISSERTATION SUBMITTED TO THE MANCHESTER SCHOOL OF ARCHITECTURE

A CRITICAL ANALYSIS OF THE HERITAGE MANAGEMENT SYSTEM IN THE FORT PRE CINCT OFBYMUMBAI

UNIVERISTY OF&MANCHESTER MANCHESTER METROPOLITAN UNIVERSITY

University Of Manchester [ Student ID : 11011020 ]

Manchester Metropolitan University [ Student ID : 21400482 ]

ABSTRACT

ALL RIGHTS

This dissertation investigates and explains the gap observed between the theoretical and practical application of heritage conservation/management in the city of Mumbai. The dissertation offers a synopsis of the evolution of Bombay and its architecture and documents and analyses the heritage transformation in the Fort precinct of Mumbai. The dissertation also evaluates the city’s preservation guidelines with the help of case studies from the area of study. The evaluation identifies the strengths and weaknesses of the city’s heritage management models. The dissertation concludes with critiquing and recommendations to strengthen the city heritage management system.

ManchesterRESERVEDSchoolOf Architecture

1.3

1.1 Aims 3 Research Question 3 Methodologies 4

10.0

List Of Illustrations

3.2 A New Urban Landscape 16 Shift In Architectural Style 18

8.0 Critiques and Shortfalls Of The Preservation Process 62 Conclusion 68 Bibliography

7.1 Historic Context 52

3.0

CONTENTS

7.2 Ownership Shifts and Change Of Use 54

3.4 Transformation Towards Modernity 20 3.5 Conclusion 22

4.0 Fort Precinct, Mumbai 24

1.0 Introduction 2

7.3 Decline in Changing Times 54 Rebirth 56 Conclusion 58

3.3

6.2 Ownership Changes and Rent Control Act,1999 44 6.3 Involvement of UNESCO And ICOMOS 46 6.4 Present Scenario 48 6.5 Conclusion 48

Watson’s Esplanade Mansion, Mumbai 42

2.0 Literature Review 8

1.2

2.1 Conservation Approach 8 Relevance Of Time In Conserving Modern Heritage 10

Evolution Of Bombay And Its Architecture 14

7.4

7.5

6.1 Historic Context 42

2.2

6.0

4.3 Existing Urban Fabric 30

5.1 History Of Heritage Management In India 34 5.2 Heritage Management In Mumbai 37 5.3 Governance 40

7.0 Royal Opera House, Mumbai 52

4.1 Introduction 24 4.2 Hisorical Context 26

5.0 Heritage Management In India And Mumbai 34

9.0

3.1 Early Years 14

Figure 31 - Plan Showing the Fort Precinct and its sub precincts (Source: Fort Management Plan,2017)

FigurePlan,2017)35- Bharat Insuarance Building worn out facade (Source: Author )

Figure 32 - Plan showing the listed structure in Fort Precinct (Source: Fort Management Plan,2017)

Figure 12 - The Victoria Terminus built in 1888 (Victorian Gothic Architecture) (Source: https://artsandculture. Figuregoogle.com/entity/fort-george/m02kr4z)13-UniversityofMumbaibuiltin1874

Figure 20 - Regal Cinema (Art Deco Architecture) (Source: https://www.artdecomumbai.com/inventory/re gal-cinema/)

Figure 42 - Picture showing original columns given support by steel beams (Source: Author )

Figure 3 - Esplanade Mansion (Source: https://imaginoso.com/india/mumbai/esplanade-mansion-watsons-ho

Figure 5 - Map prepared in 1843 showing the Island of Bombay and Colaba (Source: https://en.wikipedia.org/ wiki/Seven_Islands_of_Bombay#/media/File:Islands_of_Bombay_and_Colaba.jpg )

Figure 39 - Picture showing contrast between maintained and notmaintained heritage structures (Source: Au thor Figure) 40 - Flora Fountain Junction (Source: Author )

Figure 43 - Ongoing constructure of Metro (Source: Author )

Figure 47 - Picture showing front facade of the Esplanade Mansion (Source: https://imaginoso.com/india/mum

LIST OF ILLUSTRATIONS

Figure 46 - General Assurance Building left in shambles (Source: Author )

Figure 15 - General Post Office built in 1913 (Indo Saracenic Architecture) (Source: https://commons.wikimedia.

Figure 14 - Oriental Building built in 1900 (Victorian Gothic Architecture) (Source: https://victorianweb.org/art/ architecture/stevens/5.html)

Figure 17 - The Prince Of Wales Museum built in 1915 (Indo Saracenic Architecture) (Source: org/art/architecture/stevens/8.html)Figureindia/mumbai/army-navy-building)Figurematravels.com/mumbai-maharashtra/prince-of-wales-museum-mumbai-maharashtra-india.aspx)https://www.opti18-ArmyandNavyBuildingbuiltin1891(NeoClassicalArchitecture)(Source:https://imaginoso.com/19-StandardCharterBuildingbuiltin1900(NeoClassicalArchitecture)(Source:https://victorianweb.

Figure 21 - Taraporewala Aquarium (Art Deco Architecture) (Source: https://www.outlookindia.com/outlook Figuretraveller/photos/the-taraporevala-aquarium-in-mumbai/25579)22-ShivShantiBhuvan(ArtDecoArchitecture)(Source: https://artsandculture.google.com/asset/ Figurestreet-view-of-shiv-shanti-bhuvan-oval-maidan/yAEB-I_FdvwBmg)23-BankOfIndiaBuilding(ArtDecoArchitecture)(Source: https://www.facebook.com/BankOfIndia/ Figurephotos/bank-of-india-main-branch-fort/274769852731185/)24-HotelMarinePlaza(ArtDecoArchitecture)(Source: https://en.wikipedia.org/wiki/Art_Deco_in_ Mumbai)

Figureorg/wiki/File:Bombay_-_Gateway_of_India_-_Then.jpg)16-GatewayOfIndiabuiltin1924(IndoSaracenic Architecture) (Source: https://commons.wikimedia. org/wiki/File:Bombay_-_Gateway_of_India_-_Then.jpg)

Figure 1 - Picture showing Vatcha Agiary built in 1881 in a dilapidated state (Source: Author)

Figure 8 - Bombay as a group of seven islands covered with palm trees and inhabited by fishermen. (Source: Figurehttps://www.artdecomumbai.com/research/100-years-of-bombay-1850-1950/)9-PlanoftheFortofBombay,1760(Source:https://artsandculture.google.com/entity/fort-george/ m02kr4z)

Figure 29 - Present day remains of the Fort walls (Source: https://en.wikipedia.org/wiki/Fort_(Mumbai_precinct))

Figure 6 - Detail of Portugese map of Bombay depicting four islands (Source: https://www.sciencedirect.com/ science/article/pii/S0305748816301529#fig1)

Figure 7 - Bombay became a vibrant trading junction (Source: https://www.artdecomumbai.com/research/100years-of-bombay-1850-1950/)

Figure 11 - Bombay Port Trust (Source: cerns-can-be-traced-back-to-its-water-26804)https://mumbai.citizenmatters.in/much-of-mumbaikars-health-con

(Victorian Gothic Architecture) (Source: https://en.wikipedia.org/ wiki/Convocation_Hall,_University_of_Mumbai)

Figure 37 - Heritage structure in dilapidated form (Source: Author )

Figure 41 - Picture showing encroachment in the arcades of the structure (Source: Author )

Figure 38 - Heritage structure in dilapidated form (Source: Author )

Figure 25 - Eros Cinema (Art Deco Architecture) (Source: https://en.wikipedia.org/wiki/Eros_Cinema)

Figure 34 - Pie chart showing the percentages of the structures in the Fort Presinct (Source: Fort Management

Figure 30 - Present day remains of the Fort walls (Source: https://en.wikipedia.org/wiki/Fort_(Mumbai_precinct))

Figuretel-east-elevation)4-TheRoyal Opera House (Source: https://artsandculture.google.com/story/MwWBPMjCigNyIQ)

Figure 10 - Municpal Corporation of Bombay (Source: https://memumbai.com/brihanmumbai-municipal-cor poration-bmc/)

Figure 26 - French Plan of Bombay Fort from 1758 (Source: harashtra.gov.in/english/gazetteer/Bombay%20City/volume_1/bombay%20map5.html)https://gazetteers.maharashtra.gov.in/cultural.ma

Figure 33 - Plan showing the use of the structures in Fort Precinct (Source: Fort Management Plan,2017 )

Figure 44 - Ongoing constructure of Metro (Source: Author )

Figure 45 - Blackie House(Source: Author )

Figure 27 - Aerial View of Fort Area (Source: https://memumbai.com/old-fort-area/)

Figurebai/esplanade-mansion-watsons-hotel-east-elevation)48-Anearlywatercolourphotographrenderas planned (Source: https://theculturetrip.com/asia/india/

LIST OF ILLUSTRATIONSLIST OF ILLUSTRATIONS ii

Figure 36 - Haroon House lacks maintainance (Source: Author )

Figure 2 - Map showing Fort Presinct in Mumbai (Source: Google Earth Pro)

Figure 28 - Picture showing one of the gates of the fortified town (Source: https://in.pinterest.com/ pin/395613148487687015/)

articles/a-brief-history-of-watsons-hotel-indias-oldest-cast-iron-building/)

Figure 60 - Image showing cast iron staircase (Source: Figuresion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-at-its-past-present-and-future-6968751.html)Figuresion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-at-its-past-present-and-future-6968751.html)https://www.firstpost.com/long-reads/esplanade-man61-Imageshowingdilapidatedroof(Source:https://www.firstpost.com/long-reads/esplanade-man62-Imageshowingthepresentconditonofthemansionwhichisgoingthroughrepairworks(Source: FigureAuthor)63

Figure 64 - Royal Opera House Front Facade (Source: https://www.architecturaldigest.in/content/inside-majes

Figure 68 - Image showing past interiors (Source: age-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)https://artsandculture.google.com/asset/archival-im

Figure 84 - Kanchanjunga apartments by Charles Correa (Source: https://shaumyikasharma.wordpress. com/2015/06/)

Figure 56 - Image showing dilapidated facade (Source: http://www.udri.org/projects/conservation-study-esp

Figure 80 -Sir Dinshaw Manockjee Petit Patho- Bacteriological Laboratory (Source: @beyondheritage)

Figure 86 - Ruttonsee Mulji Pyaai (Source: https://imagewrighter.com/mulji-jetha-fountain-mumbai/)

Figure 83 - Gilbert Hill (Source: https://en.wikipedia.org/wiki/Gilbert_Hill)

Figure 51 - Picture showing activities by the visitors at the mansion (Source: https://victorianweb.org/history/ empire/india/83.html)

Figure 53 - Image showing the Iron frame and the ground floor converted into shops (Source: https://victorian web.org/history/empire/india/83.html)

Figure 49 - An aerial view of the Esplanade Mansion (Source: https://www.castlecarrock.com/index.php/ Figureabout-castle-carrock/history/51-watson-s-esplanade-hotel)50-viewoftheEsplanadeMansion(Source:https://en.wikipedia.org/wiki/Watson%27s_Hotel)

Figure 76 - The Royal Opera House present interior ( Source: https://www.architecturaldigest.in/the-list/abhanarain-lambah/#s-cust0)

Figure 77 - The Royal Opera House present interior (Source: FigureFigureyou-have-to-visit-mumbai-s-royal-opera-house-5b8ebc248a1c1)https://www.tripoto.com/mumbai/trips/here-s-why-78-IsmailYusufTrustBuildingconvertedintoZaraOutlet(Source:Author)79-ArmyandNavybuildingconvertedintoaWestsideClothingoutlet(Source:Author)

Figuretic-grandeur-mumbais-newly-restored-opera-house/)65-Imageshowingpastinteriors(Source: age-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)Figureage-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)Figureage-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)https://artsandculture.google.com/asset/archival-im66-Imageshowingpastinteriors(Source:https://artsandculture.google.com/asset/archival-im67-Imageshowingpastinteriors(Source:https://artsandculture.google.com/asset/archival-im

- Image showingshowing the constrast between the Army& Navy Building and the Esplanade Mansion (Source: Author)

Figurecles/BL-IRTB-32869)73-Image showing The Royal Opera House after restoration (Source: https://artsandculture.google. Figurecom/story/MwWBPMjCigNyIQ)74-ImageshowingThe Royal Opera House after restoration (Source: https://artsandculture.google. Figurecom/story/MwWBPMjCigNyIQ)75-TheRoyalOperaHouse present interior (Source: https://www.architecturaldigest.in/the-list/abhanarain-lambah/#s-cust0)

Figure 85 - Antilia (Source: https://upload.wikimedia.org/wikipedia/commons/4/4a/Mumbai_03-2016_19_Antil ia_Tower.jpg)

Figure 52 - view from the balcony of the Esplanade Mansion (Source: https://heritagehackathon.weebly.com/ watsonrsquos-hotel.html)

Figurelande-mansion-watsons-hotel/#iLightbox[image_carousel_1]/1)57-Imageshowingdilapidatedfacade(Source:https://asanyfuleknow.blogspot.com/2019/06/thestate-of-esplanade-mansion-in.html)

Figure 55 - Image showing the Iron frame and the ground floor converted into shops (Source: org/projects/conservation-study-esplande-mansion-watsons-hotel/#iLightbox[image_carousel_1]/1)http://www.udri.

Figure 58 - Image showing the cast iron column (Source: esplanade-mansion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-at-its-past-present-and-fuFiguremansion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-at-its-past-present-and-future-6968751.html)https://www.firstpost.com/long-reads/esplanade-59-Imageshowingthenameplatesoftheinhabitants(Source:https://www.firstpost.com/long-reads/ ture-6968751.html)

Figure 81 - Five mile markers (Source: Figuremile-to-restore-200-year-old-markers-in-mumbai/story-BezKjvTNlVsFrksQKZGLbL.html)https://www.hindustantimes.com/mumbai-news/bmc-goes-that-extra-82-Fivemilemarkers(Source:https://www.thehindu.com/news/cities/mumbai/markers-of-history-mile stones-in-mumbai/article19948079.ece)

Figure 69 - Image showing past interiors (Source: 155-year-old-mumbai-landmark-faces-its-end-a-look-at-its-past-present-and-future-6968751.html)Figure155-year-old-mumbai-landmark-faces-its-end-a-look-at-its-past-present-and-future-6968751.html)https://www.firstpost.com/long-reads/esplanade-mansion-as-70-Imageshowingpastinteriors(Source:https://www.firstpost.com/long-reads/esplanade-mansion-asFigure 71 - Image showing state of Royal Opera House before restoration (Source: https://www.wsj.com/arti Figurecles/BL-IRTB-32869)72-Imageshowing state of Royal Opera House before restoration (Source: https://www.wsj.com/arti

iii LIST OF ILLUSTRATIONSLIST OF ILLUSTRATIONS iv

Figure 54 - Image showing the lawyer offices in the building (Source: https://victorianweb.org/history/empire/ india/83.html)

1.0 INTRODUCTION

Conservation is often seen in India as the antithesis of development. This is due to the fact that conservation is more than just the technical protection of a single structure; it also entails knowledge of people’s activities, their ties to tradition, customs, and beliefs, all of which are already under strong pressure to change in the hope of new economic rewards. (RV ISAIAH:1996) Although there has been a rise in organized preservation of historic sites, such efforts only have a long and fruitful history in the first world. Whereas the developing countries are only in the process of organizing efforts for this cause. The necessity of historic preservation in the city-building process is likewise becoming more widely recognized. However, in certain circumstances, particularly in developing coun tries, historic preservation is seen as a lavish and unnecessary waste of resources. Some examples also demonstrate a fundamental lack of conceptual understanding of historic resources, which leads to half-hearted preservation efforts. The Archeological Survey of India, the country’s top government agency, for example, lacks a category for cultur al landscapes. Historic preservation is further excluded from the process of healthy city building as a result of this lack of awareness, which is compounded by the market pres sure of economic growth.

INTRODUCTION2

Figure 1 - Picture showing Vatcha Agiary built in 1881 in a dilapidated state (Source: Author)

In the urban centers of developing countries, such conflicts between historic preserva tion and city development are evident. This research will focus on one such case: Mum bai, India. Mumbai, one of the world’s most populated cities, has preservation criteria, but the institutions in charge of implementing them have limited conceptual knowledge of historic preservation, limiting significant historic preservation for the city. The preserva tion criteria place a strong emphasis on the aesthetic worth of structures while overlook ing the social, economic, and cultural trends that have shaped the city’s architectural language. Because of this misunderstanding, a deficient preservation model is created, which favors the preservation of buildings with architectural aesthetic characteristics.

1.2 RESEARCH QUESTION

the field. This would give a strong basis for this dissertation.

To get a clearer picture of the heritage management system of Mumbai, a focus on two structures as case studies with different backgrounds was helpful in uncovering various issues, differences, and similarities in the management process.

• To critique and make recommendations for better evaluation and management of heritage structures in Mumbai.

1.3 METHODOLOGY

The initial investigation includes a theoretical study of literature on topics relating to con servation approaches and the relevance of time in conserving heritage and heritage management. The literature review was also conducted to understand the current state of heritage management in Mumbai and understand various opinions by professionals in

To understand the conservation approach of Mumbai, the area of the Fort precinct was taken into consideration. The Fort Precinct is located in the southern part of Mumbai, which in the past was the whole of Bombay until the reclamations between the islands took place. Historically, the Fort Precinct was the first part of Bombay to be developed by the British during the colonial past. Over the years, it has stood as a reminder of Mum bai’s rich colonial history, and today it is sort of a jewel in the crown of Mumbai’s cultural space. Currently, the Fort Precinct is the central business and art district of Mumbai. The precinct is further subdivided into precincts as per their use. The Fort precinct serves as the perfect area to study heritage management as it has the highest number of heritage structures listed. Several structures in this precinct are listed in the world heritage list by UNESCO. Both these structures were part of UNESCO’s worldwide list of structures that need urgent conservation intervention.

The 150 years old Esplanade mansion or the Watson’s Hotel is one of the only remaining cast-iron structures in the world. It was opened in 1871, as one of kind luxurious hotel in the country. Mark Twain, an American author, was one of the visitors in January 1896. Six months later, in a huge room in the hotel, a Lumiere Brothers assistant organized India’s

• To understand the evolution of Mumbai’s architecture from seven islands to a metro politan city.

For the analysis and exploration of heritage management approaches in Mumbai, this dissertation undertakes a qualitative research approach by reviewing relevant historic and contemporary literature, research of published and unpublished government doc uments related to the historic preservation in India and Bombay, and carefully selected case studies from the Fort precinct in Mumbai. Published works on the history of Bombay and Fort, the history and current functioning of historic preservation practice in India and Bombay, and historical and contemporary preservation theory and practice were includ ed in the literature review. Current news sources were also investigated in order to gain a better understanding of the city’s current historic preservation situation. Photographic documentation of the existing urban context of the Fort Precinct was also conducted.

Esplanade Mansion, Mumbai

INTRODUCTION3

1.1 AIMS

INTRODUCTION4

• To identify factors affecting the heritage management of Mumbai through case studies.

• To use the area of Fort precinct, as an example to highlight the heritage manage ment system of Mumbai.

How have the existing heritage management regulations influenced the urban fabric of the Fort Precinct of Post-Colonial Mumbai? And how are the heritage structures lost regardless of the regulations? Can these guidelines be modified in order to better recog nize or preserve heritage in Mumbai?

Defining area of study

Furthermore, a historical context study of Mumbai from seven islands to a metropolitan city was undertaken to understand the architectural evolution and reason for the change in the urban fabric of the city. This also helped in defining the area of study and identify ing case studies in Mumbai that would be most fitting for this research. Critically analyzing the heritage regulations of Mumbai helped identify the shortfalls in the management process. Lastly, two carefully thought case studies heritage structures were chosen from the vast options available in the Fort area to highlight various factors responsible for their current state.

The Esplanade Mansion and The Royal Opera House are two very prominent structures in the architectural heritage of Mumbai. Both the structure has gone through years of neglect by the authorities. Choosing these two structures as case studies will help this dissertation uncover various factors which drive the heritage management of Mumbai.

The newly restored Royal Opera House was built in 1916. It is India’s only surviving Opera House. The structure hosted music concerts, plays, dramas, and eventually Bollywood films. As home video players became more popular in the 1980s, cinemas in Mumbai began to lose money. Due to the increased popularity of cable television in the 1990s, cinema halls in Mumbai began to collapse due to a lack of patronage. The Opera House was decommissioned in 1993. After years of neglect, the restoration works began in 2008 and were completed by 2011.

Figure 2 - Map showing Fort Presinct in Mumbai (Source: Google Earth Pro)

first film screening, which included Arrival of a Train and Leaving the Factory. (Johari, A:2019) However, after being leased out to over 100 business and residential tenants in the 1960s, it began to deteriorate. The Maharashtra Housing and Area Development Au thority finally began removing tenants from the building in July 2018, after one person was deceased when a section of the building’s balcony fell. It was stated at the time that the structure was “beyond repair.” Today the structure lies in a completely dilapidated and unsafe state and the authorities have done very little about it. This shows the state of the heritage management system in Mumbai.

(Source:

Royal Opera house, Mumbai

INTRODUCTION6

Figure - The Royal Opera House https://artsandculture.google.com/story/MwWBPMjCigNyIQ)

Figure - Esplanade Mansion https://imaginoso.com/india/mumbai/esplanade-mansion-watsons-hotel-east-elevation)

(Source:

“We are living in an incredibly exciting and slightly absurd moment, namely, that pres ervation is overtaking us. Maybe we can be the first to actually experience the moment that preservation is no longer a retroactive activity but becomes a prospective activity. This makes perfect sense because it is clear that we built so much mediocrity that is literal ly threatening our lives. Therefore, we will have to decide in advance what we are going to build for posterity sooner or later.” (Koolhaas, R,2004:3)

In the journal article written by Rem Koolhaas, “Preservation is overtaking us”, he talks about how preservation is not an enemy of modernization but it actually is one of its in ventions. The whole idea of modernization raises the question of what to keep. When we consider the history of preservation in terms of what was being preserved, it logically be gan with old monuments, religious structures, and so on. Later on, structures with increas

LITERATURE REVIEW 8

This chapter aims at understanding the theoretical context of the theme of this disserta tion by researching the existing literature in the field of urban design, architecture, and heritage preservation. The literature is divided into three parts. The first part consists of philosophies and conceptual theories of historic preservation. Such a diverse variety of investigations will aid in the development of a perspective that can offer recommenda tions for establishing a robust and holistic preservation plan for the city. The second piece of literature examines the relevance of time in the conservation of modern heritage. And the third part surveys the writings on the historic social, economic, cultural, and political evolution of Mumbai and also examines the government documents that regulate the preservation process in Mumbai.

2.0 LITERATURE REVIEW

2.1 CONSERVATION APPROACH

“Today in our urban areas there exist two cities – the static and kinetic – two completely different worlds that cohabit the same urban space. The static is represented through its architecture and by monuments built in a permanent material. The kinetic city that occu pies interstitial space is the city of motion – the kutcha city, built of temporary material.” (Mehrotra, R,2004:3) It is here that the concept of cultural relevance comes into play. An idea in which culture, place, and possibly aspirations mix in intriguing ways, raising various problems about conservation approaches, and in which the act or thrust of conservation movements must necessarily go beyond the static to include the kinetic metropolis

In Mumbai when dealing with conservation in post-colonial situations where the urban conservation movement does not necessarily represent a cultural desire to preserve his toric icons. The Victorian center of Mumbai reflects repression and isolation for a whole generation of inhabitants, with the buildings vividly embodying monuments of our coloni al past. Others see the historic center as a segment where urban form cohesion and the integration of architecture and urban design create a pleasant (or at least potentially beautiful) environment in stark contrast to the laissez-faire growth that has come to char acterize the contemporary Indian urban landscape.

Through our regular encounters and shared memories, we have trained ourselves to val ue the urban fabric. Our current collective experience is evolving at a considerably high er rate than it was a few centuries ago. There has been significant growth in population, necessitating immediate infrastructure construction. In the fields of transportation and communication, technological growth and innovation have brought the world closer than ever before. Because of the rapid speed of change, towns and cities across the country are becoming increasingly homogeneous. Our legacy serves as a cultural an chor and affirms the community’s identity in the midst of these transformations. (Iyer, HeritageNL:2018)

ing societal significance were kept, to the point that concentration camps, department stores, factories, and amusement attractions are now preserved. To put it another way, everything we live in has the future potential to be preserved. The scope of preservation continues to grow, eventually including entire landscapes. If we start looking at the inter val or the distance between the present and what was preserved, 1818 was 2000 years ago, 1900 was only 200 years ago and now 2000 was just 20 years ago.

Most conservation conversations focus on the loss of something rather than new possibil ities, owing to the fact that people (particularly the propagators and supporters of con servation efforts) are quick to label any new circumstance as worse than some “magic moment” in the past. Conservationists can simply create a rationale to represent that sensation of loss. However, in the context of our current urban situation, the challenge is how to simultaneously recognize and engage with new typologies rather than dwelling in the “postcard city,” a city that only flights of nostalgia momentarily recreate. (Mehrotra, R,2004:3)

In India, the contemporary city is defined largely by its kinetic condition, that is, its move ment and the place-making of its inhabitants through festivals, rituals, spontaneous ba zaars, and events. As the major and most dynamic component of urban India, the kinetic city has virtually supplanted the static city (its physical design). As a result, conservation students and professionals in India must look to the kinetic city for indications when judg ing significance and formulating conservation plans or interventions. Architectural con servation programs must widen their scope of interest to include urban planning skills as well as the motivation and vision of local community groups. Only by bringing together these different actors will architectural conservation be able to connect the artifacts of the past with the movements of the present and the direction of the future. If India’s constructed history is to be relevant (useful), it must embrace the kinetic metropolis and accommodate the dance of its inhabitants. (Mehrotra, R,2007:342)

‘Modern Heritage’ refers to the built heritage of the Modern Era recognized for its historic and cultural value, often undervalued by the general public. (Iyer, NL:2018)

is described as valuable artifacts and/or behaviors that have been passed down from generation to generation, such as historic structures and cultural traditions. The value(s) that the items accumulate through time make them important. These values can be attributed to the object’s or practice’s antiquity, relationship with a significant fig ure or time period, and significance as a work of art or expression, among other factors. In India, the abundance of historic constructed heritage has distorted the way we assign diverse values to buildings and prioritize these values. Currently, for a building to earn recognition/value and be called heritage, it must have survived in the awareness of its community for a long time.

LITERATURE REVIEW 10

The quality of one’s life is determined by one’s feeling of self-identity, belonging, and place. These beliefs change over time, therefore it’s critical to understand where they

2.2 RELEVANCE OF TIME IN CONSERVING MODERN HERITAGE

The majority of structures constructed in the twentieth century, such as Art Deco build ings and precincts, are precious resources that were erected for developing Indians who aspired to be modern and desired healthier living environments. They were also created with the goal of evoking a sense of belonging while transcending time. Unfortunately, the majority of these structures are not old enough to be termed legacy in the traditional sense, nor are they activate urban memory for younger generations. They have been defaced and even demolished due to a lack of respect, acknowledgment, and legal protection as our legacy, resulting in the loss of these physical landmarks from a histori cally significant chapter of contemporary India. `

All human development takes place in a cultural setting and is inextricably tied to com munity growth. The architectural richness and diversity of our urban and rural settings are due to the representation of constructed histories from various time periods. These venues have withstood the test of time and have witnessed several historical events (na tional, municipal, and/or personal), serving as a memory bank. (Iyer, NL:2018)

To prevent the loss of many more such structures, we must strengthen our collective un derstanding of them through capacity building and community engagement activities. These structures must be discovered, documented, safeguarded, and conserved since they represent an important moment in our collective history and, to a large part, define our current civilization. To ensure that these outlier buildings remain part of the urban memory, we must recognize the necessity of maintaining and protecting them. It is criti cal that we act now, or many of these landmarks may be lost.

came from in order to gain a better grasp of the present and plan for a better future.

LITERATURE REVIEW 12

(Source: Bombay_and_Colaba.jpgIslands_of_Bombay#/media/File:Islands_of_https://en.wikipedia.org/wiki/Seven_)

3.0 EVOLUTION OF BOMBAY AND ITS ARCHITECTURE

The urban development of Bombay (now Mumbai) as a port city, was a result of the distinct location of the western Indian colony. The British exploited Bombay’s tremen dous resources to their advantage this is reflected in how the city evolved. Bombay’s

3.1 EARLY DAYS ( 1500 - 1870 )

In just seven years, the city’s population grew from 10,000 to 60,000 people in 1675. The East India Company formally moved its headquarters from Surat to the new city of Bom bay once the city’s population began to grow. (Mumbai.org,2017: online)

One of the first engineering projects completed in Mumbai was the Hornby Vellard. De spite stiff opposition from the East India Company, the project was started by William Hornby, the governor of Bombay, in the early 18th century. The city began to take shape after that, with major civil engineering projects in the works, signaling the start of the Industrial Revolution. In 1845, the seven islands were combined into a single mass, and the country’s first railway connection was established between Bombay and Thane in 1853. Until the insurrection in 1857, the city was under the Company’s control. (Mumbai. org,2017: online)

Mumbai is a modern metropolis with a history that is rapidly fading. The name Mumbai is an eponym, derived from the word Mumbadevi, a local Goddess. The Portuguese ac quired the islands from Bahadur Shah of Gujarat in 1543 AD, and they remained under Portuguese rule until 1661. Following this period, when Catherine de Braganza married Charles II of England, the isles were given to her as a dowry. During the East India Compa ny’s colonization in 1668, he leased the isles to them, and the city was renamed, Bombay.

Figure 5 - Map prepared in 1843 showing the Island of Bombay and Colaba

EVOLUTION OF BOMAY AND IT’S ARCHITECTURE 14

3.2 A NEW URBAN LANDSCAPE ( 1870 - 1900 )

With the completion of the Suez Canal in 1869, links between Bombay and the rest of the world became possible, and Bombay became one of India’s major ports. The Crown no longer perceived Bombay as a fortified town, it became a pivotal Presidency capital that symbolized colonial power and a crucial connection between India and the globe. The trade of cotton boomed following the American civil right, right after Lord Elphinstone’s time as Governor. Due to America’s incapacity to supply cotton and the abundance of raw cotton in western and central India, cotton had to be purchased from the markets in Bombay. This led to a business boom, with Bombay collecting 81 million dollars, as well as speculation in stock shares of companies planning large-scale reclamation projects. (Prasad,PK :2017)

transformation from the seven islands to a trading city to an industrial and manufacturing powerhouse was facilitated and enhanced by economic, political, and physical de velopments. Changes in the city’s morphology are the result of historic events that oc curred within and around the city. Unlike the Portuguese, the East India Company (EIC) was determined from the start to turn the islands into a trade center. It erected a fort around the harbor to protect it against raiding Maratha soldiers and offered incentives to skilled workers and trading communities. In exchange for raising a trading town, the EIC guaranteed these communities freedom of religion, freedom from persecution, tax-free lands, and land ownership rights.

Figure 9 - Plan of the Fort of Bombay, 1760 (Source: https://artsandculture.google.com/entity/fort-george/m 02kr4z)

Bombay largely owes its economic success to the vision of Lord John Elphinstone and Sir Bartle Frere. Lord Elphinstone, the Governor of Bombay (1853 – 1860), founded the Fort Improvement Commission in his tenure, recognizing the futility of the town bastions and attempting to demolish the fortification to the benefit of the growth of the town. How ever, it was only during the rule of Sir Bartle Frere, the Governor of Bombay (1862 – 1867), that the city was restructured and the unnecessary fort walls were demolished. The dem olition of the walls resulted in the availability of fresh development land. (Prasad,PK :2017)

Wide roadways, open spaces, maidans, and parks replaced the space taken up by the obsolete fort walls, due to administrative institutions like the Municipal Corporation of Bombay (1872) and the Bombay Port Trust (1873) (Panicker,M :2019). To establish docking stations, depots, and warehouses, the Bombay Port Trust reclaimed land along the city’s eastern coast. Additionally, civic services such as street lighting, drainage, sanitation,

Figure 6 - Detail of Portugese map of Bombay depicting four islands (Source: https://www.sciencedirect.com/science/article/pii/S030 5748816301529#fig1)

Figure 7 - Bombay became a vibrant trading junction (Source: https://www.artdecomumbai.com/research/100-years-of-bombay-1850-1950/)

Figure 8 - Bombay as a group of seven islands covered with palm trees and inhabited by fishermen. (Source: https://www.artdecomumbai.com/research/100-years-of-bombay-1850-1950/)

EVOLUTION OF BOMAY AND IT’S ARCHITECTURE 16

EVOLUTION OF BOMAY AND IT’S ARCHITECTURE 18

However, because urban planning was not comprehensive, the fort region, with its new Secretariat, high court, post office, and other administrative and commercial facilities, grew into an administrative and commercial hub, while working-class neighborhoods were neglected.

3.3 SHIFT IN ARCHITECTURAL STYLES ( 1900 - 1910 )

This period can be recognized in the dominance of the Gothic architectural style as a monument to the power of trade, shared printed design resources, and the revelation that architects, as well as component construction parts, could be sent to India. It also influences the city’s engagement with international architectural trends. Architect F.W Stevens is known as the Gothic revival architect because of his contributions to Gothic Revival architecture. He designed and built the majority of the significant buildings com missioned in the late 1800s like the Victoria Terminus, Municipal Corporation Building, the

Figure 10 - Municpal Corporation of Bombay (Source: https://memumbai.com/brihanmumbai-municipal-corporation-bmc/)

Another vision of Bombay, full of filthy alleyways, go downs, and ill-ventilated slums crammed by the poor, challenged the magnificent metropolis. Because of these hard ships, the outbreak of the Bubonic Plague in 1896 was a looming disaster. Rising death tolls and a mass flight from the city brought the economy to a halt, forcing the govern ment to act. (Panicker,M :2019)

Figure 11 - Bombay Port Trust (Source:health-concerns-can-be-traced-back-to-its-water-26804)https://mumbai.citizenmatters.in/much-of-mumbaikars-

Figure 12 - The Victoria Terminus built in 1888 (Victorian Gothic Architecture) (Source: https://artsandculture.google.com/entity/fort-george/m 02kr4z)

Figure 13 - University of Mumbai built in 1874 (Victorian Gothic Architecture) (Source: https://en.wikipedia.org/wiki/Convocation_Hall,_University_of_Mumbai)

and piped water supply improved in tandem.

This was the backdrop against which the Bombay City Improvement Trust, established in 1898, engineered ‘planned neighborhoods’ in Bombay. The Improvement Trust was entrusted from the start with destroying overcrowded slums and relocating the work ing-class masses to other neighborhoods. It built new interconnecting north-south and east-west roadways like ‘Princess Street’ and the ‘Sydenham Road’ (now Mohammad Ali Road) that brought the sea wind into heavily inhabited neighborhoods (Panicker,M :2019). North of the mill grounds, the new suburbs of Dadar, Matunga, Wadala, and Sion were created with huge open areas. In colonial India, such state participation in urban development through the establishment of an institution dedicated only to municipal reform was unprecedented. Although the Improvement Trust was responsible for signifi cantly transforming Bombay’s built environment, it fell short of its primary goal of provid ing accommodation for the needy. They could no longer afford the expensive property and rent rates after reconstruction because they had been displaced by its demolitions. (Panicker,M :2019)

Figure 14 - Oriental Building built in 1900 (Victorian Gothic Architecture) (Source: https://victorianweb.org/art/architecture/stevens/5.html)

(Source: https://imaginoso.com/india/mumbai/army-navy-building)

The:2012)Art

Figure 15 - General Post Office built in 1913 (Indo Saracenic Architecture)

Figure 18 - Army and Navy Building built in 1891 (Neo Classical Architecture)

Army and Navy Building, the post office mews at Apollo Bundar and the Oriental Life Assurance Offices at Flora Fountain. Bombay had a significant transformation from Gothic to Indo – Saracenic architecture. The Style developed as a result of Swinton Jacob’s Jeypore portfolio of Architectural De tail. It consisted of six volumes including 600 large-scale drawings of architectural features from structures dating from the 12th to the 17th centuries. (Prasad,PK :2017) What was particularly noteworthy was the work was organized by function rather than period or region, with copping and plinths in one volume, arches in the next, brackets in the third, and so on. These were given as loose sheets so that different samples of details could be compared and choices could be made quickly and easily. This style arrived in Bombay because of the work of British architects such as RF Chisolm, John Begg, and George

(Source: https://commons.wikimedia.org/wiki/File:Bombay_-_Gateway_of_India_-_Then.jpg)

Gothic architecture reached its pinnacle in the early 20th Century. The Ed wardian, Renaissance, and Indo – Saracenic architectural styles peppered the skyline of Bombay in the early 1900s. this was an attempt to make the colony more adaptable to the Indian context.

Deco style originally developed in India when Indian royal families, entrepreneurs, and merchants from the well-traveled upper middle class, anxious to follow contempo rary western culture trends, began to dress and decorate with sophistication in clothing, furniture, and architectural design. As a result of the city’s booming port business in the 1930s, Bombay’s educated middle class grew. The urgent need for homes led to large-

(Source: https://www.optimatravels.com/mumbai-maharashtra/prince-of-wales-museum-mumbai-maharashtra-india.aspx)

Figure 17 - The Prince Of Wales Museum built in 1915 (Indo Saracenic Architecture)

3.4 TRANSFORMATION TOWARDS MODERNITY ( 1910 - 1950 )

InWittet.Bombay,

Figure 19 - Standard Charter Building built in 1900 (Neo Classical Architecture) (Source: https://victorianweb.org/art/architecture/stevens/8.html)

From 1914 to 1919, the Great War, also known as First World War, was a global conflict. Bombay was a metropolis in transition throughout the interwar years. During this time, the city’s urban fabric underwent a transformation from a colonial, Victorian metropolis to a modern metropolis. From 1919, the final year of the World War, Bombay underwent some significant changes. During this time in Bombay, new lifestyle patterns emerged, with concepts such as ‘commuting to work or traveling long distances for a weekend out ing being introduced. Family entertainment concepts such as cinema and social clubs encouraged mixed meetings and women’s mingling, which was frowned upon by the locals. As a result, Bombay became a leader in social reform. (Dwivedi,S & Mehrotra,R

EVOLUTION OF BOMAY AND IT’S ARCHITECTURE 20

(Source: https://commons.wikimedia.org/wiki/File:Bombay_-_Gateway_of_India_-_Then.jpg)

Figure 16 - Gateway Of India built in 1924 (Indo Saracenic Architecture)

AND IT’S ARCHITECTURE 22

Figure 23 - Bank Of India Building (Art Deco Architecture) (Source:bank-of-india-main-branch-fort/274769852731185/)https://www.facebook.com/BankOfIndia/photos/

Figure 25 - Eros Cinema (Art Deco Architecture) (Source: https://en.wikipedia.org/wiki/Eros_Cinema)

Figure 21 - Taraporewala Aquarium (Art Deco Architecture) (Source: https://www.outlookindia.com/outlooktraveller/pho tos/the-taraporevala-aquarium-in-mumbai/25579)

(Source: https://www.artdecomumbai.com/inventory/regal-cinema/)

This chapter examined the evolution of Bombay from the late 1500s to mid 1900. The map and images help to understand the evolution of Bombay from seven islands to a met ropolitan city. The city was at its peak in terms of its growth during the early 1900s. Also, various planning schemes and development that were initiated in Bombay during this time greatly contributed to the unique typology of the architecture of the city. We also understand the shifts in the architectural styles during the years from Victorian Gothic to Indi Saracenic to Neo-Classical and finally, the last prominent style was the Art Deco. The changes in styles had a significant reason behind them be it to show the power and au thority or for the people’s need towards having a then-modern lifestyle. the Fort Precinct was the area where all these changes happen as it was the whole of main Bombay back then. The evolution of Fort Precinct is further examined in chapter 4, which will focus on the existing urban fabric of that

3.5 CONCLUSION

Bombay was also experiencing advances in capitalist urbanism at this period. The pop ularity of Art Deco in Bombay was due to a particular set of circumstances. Between the two world wars, tourism and travel had advanced rapidly, resulting in a steady inflow of visitors to Bombay. Bombay’s social and cultural climate was thus ideal for the introduc tion of Art Deco architecture and interiors. The upper class and business community of entrepreneur’s ad managers gladly ingested contemporary western culture to create a bon vivant lifestyle that epitomized gaiety and color and included western food, Fashion, Ballroom dancing, jazz, cabarets, horse racing, and the cinema.

scale reclamation projects like the Back-Bay reclamation scheme, which started in 1928 and was completed in 1942. Because of the new city’s burgeoning construction activity and the necessity for a new architectural style that expressed the required optimism, the Art Deco style became a go-to architectural style. (Prasad,PK :2017)

Figure 24 - Hotel Marine Plaza (Art Deco Architecture) (Source: https://en.wikipedia.org/wiki/Art_Deco_in_Mumbai)

The emergence of Art Deco Architecture in Bombay has been very important in the city’s developmental history under the aspects of Urban Morphology and Architecture, and there has been a steady shift in the design culture and its relationship with the polit ical economy of Bombay with the passage of time. Many Indian merchants traveling to Europe had to travel for many weeks to reach London, and it was at this time that Holly wood’s renown was heard across Europe, which influenced India’s business elite. These individuals actively contributed to the development of Bombay’s skyline by constructing structures that were more ‘Indian ‘in nature than the Colonial Victorian Gothic, Neo-Clas sical, Renaissance, and other styles.

EVOLUTIONarea.OFBOMAY

Figure 22 - Shiv Shanti Bhuvan (Art Deco Architecture) (Source: https://artsandculture.google.com/asset/street-view-ofshiv-shanti-bhuvan-oval-maidan/yAEB-I_FdvwBmg)

Figure 20 - Regal Cinema (Art Deco Architecture)

4.1 HISTORICAL CONTEXT

In 1715 the fort was expanded by Charles Boone, the Governor of Bombay. It was com pleted in 1722 with three gates: 1) Bazar gate (opposite GPO).2) Church gate (near Flora fountain) 3) Apollo gate (between St. Andrew’s Church and Rampart Row). At that time the Fort area was considered the main city. It was built to protect the city from the invasion of Marathas. After thirty years for more safety purposes a ditch was constructed around the fort. (MeMumbai,2021:online)

(Source: https://in.pinterest.com/pin/395613148487687015/)

Figure https://gazetteers.maharashtra.gov.in/cultural.maharasbay%20map5.html)htra.gov.in/english/gazetteer/Bombay%20City/volume_1/bom https://en.wikipedia.org/wiki/Fort_(Mumbai_precinct))

In the past, the Fort region was known as Bombay City, and it is currently a popular portion of town. The Bombay Stock Exchange, Kala Ghoda, Churchgate station, CSMT railway station, Flora Fountain, and many other prominent landmarks are in and around the Fort region.

Figure - Aerial View of

Fort Area (Source: https://memumbai.com/old-fort-area/)

Figure - Picture showing one of the gates of the fortified town

26 - French Plan of Bombay Fort from 1758 (Source:

Figure 29 - Present day remains of the Fort walls (Source:

FORT PRECINCT MUMBAI 24

4.0 FORT PRECINCT , MUMBAI

Figure 30 - Present day remains of the Fort walls (Source: https://en.wikipedia.org/wiki/Fort_(Mumbai_precinct))

A marriage treaty existed between the Portuguese and the British. Prince Charles II of England married Infanta Catherine de Braganza, the King of Portugal’s sister, in 1661. The Portuguese gave the British the island of Bombay as a dowry under this treaty. Following the transfer of the Bombay Islands to the British in 1665, Deputy British Viceroy Humphrey Cooke built a 50-meter fort wall with up to 20 cannons. The initial line of defense against the Marathas and the Dutch was this. (MeMumbai,2021:online)

Until the mid-nineteenth century, Mumbai was basically the Fort, with various villages such as Mazagaon, Byculla, Mahim, and Matunga on the outside. The ‘Black Town,’ nestled among coconut trees, was located outside the Fort’s walls. This comprised the current areas of Girgaon and Bhuleshwar. The Fort Wall, with its twelve gun-mounted

The delineation of the Fort Precinct is based on the historic extent of what was originally the fortified town. The borders were increased to incorporate the space originally oc cupied by the ramparts after the defenses were demolished. In this area, new public buildings were constructed that were crucial to the Precinct, as they were designed to physically and visually strengthen the fortified community. (Fort Management Plan,2007)

bastions, went from the sea to the Lion Gate, then west to the present-day University buildings, then north, following Mahatma Gandhi Road (Hornby Road) to V.T., then east to the Fort St. George. (MeMumbai,2021:online)

The Art District – In 1998, a group of cultural organizations and art galleries in the region formed the Kalaghoda Association, which has been striving to preserve the area since. This organization has made conservation a top priority and hosts annual art festivals from the 1st to the 14th of February to raise awareness of the area’s art galleries and architec tural heritage.

25 Figure 31 - Plan Showing the Fort Precinct and its sub precincts (Source: Fort Management Plan,2017)

At present, the Fort precinct is a business and art district in the city of Mumbai. It is roughly divided into seven districts.

The Corporate District - In the early 1990s, the Ballard Estate Welfare Association (BEWA) was founded. It recently commissioned an Urban Management Plan from Bombay First and the Urban Design Research Institute and is now in the process of putting it into action. (Fort Management Plan,2007)

FORT PRECINCT MUMBAI 26

All of this changed dramatically when the wall was torn down in 1862-63. The population was growing as a result of increased trade. As part of the city expansion plan, Governor Sir Bartle Frere demolished the fort walls (Governor from 1862 to 1867). The ditch had been filled in. The metropolis began to stretch itself across the Esplanade, as if released from lengthy imprisonment, were imposing structures began to rise, marking the com mencement of modern Mumbai. The town was so little that it was only a mile long from Apollo Gate to the Bazaar and two furlongs wide from Church Gate to the Bunder, which is where today’s Fort is located. (MeMumbai,2021:online)

4.2 PRESENT SCENARIO

Horniman Circle Association and The Banking District - The Horniman Circle Association was founded in early 1999 and has since created a thorough Conservation Blueprint for the restoration of this heritage zone, as well as architectural regulations that all structures in the area must adhere to. (Fort Management Plan,2007) It is now expanding its scope to encompass the Banking District, with the goal of acting as a catalyst for its restoration and physical improvement.

Figure 32 - Plan showing the listed structure in Fort Precinct (Source: Fort Management Plan,2017)

Oval Maidan – In 1994, residents from all across the oval neighborhood banded togeth er to help upgrade this Grade-l heritage open space. After a long legal battle with the state government, the OVAL (Organization for Verdant Ambience and Land) eventually gathered funding through private donations and restored the ancient Maidan from 1997 to 1999. (Fort Management Plan,2007)

Figure 34 - Pie chart showing the percentages of the structures in the Fort Presinct (Source: Fort Management Plan,2017)

Civic Node – The BMC headquarters, the ancient Victoria Terminus station building, and institutions like the Times of India are all supporting the notion of forming an association to improve the physical condition of this vital civic space in the city.

FORT PRECINCT MUMBAI 28

Shopping District – This neighborhood has grown in importance as a business corridor and is one of Bombay’s most prominent heritage streetscapes. A complete design hand book has been produced by the MMR Heritage Conservation Society for rationalizing signage and street furniture in order to recreate the mood of this region. The Municipal Corporation is currently working on a plan to pedestrianize this area. (Fort Management Plan,2007) Efforts to organize an association have been attempted since 1999, despite the fact that one has yet to be formed.

Figure 33 - Plan showing the use of the structures in Fort Precinct (Source: Fort Management Plan,2017 )

Tourist District - With its concentration of commercial establishments, large and small ho tels, and numerous restaurants, this area on the southern edge of the Fort Area has sig nificant potential to become a tourism district and might well organize itself to position the precinct as a tourist district. Its unique location, sandwiched between a lovely beach promenade and a lively commercial thoroughfare (Colaba Causeway), all within walk ing distance of the Fort area, might make it an ideal tourist destination.

The Fort Precinct has been significantly transformed over the years, rather insensitively. Additions of floors, façade changes, and reconstruction are all frequent in the Fort. The majority of the organically developed districts, such as Bora Bazaar have been rebuilt. Because the building in this region is densely packed and fairly ancient, the majority of them require structural repairs as well as enhanced light and ventilation.

4.3 EXISTING URBAN FABRIC OF FORT PRECINCT

There is no room for place-based or area-specific development under the current blan ket ordinance (which applies throughout the city). As a result, much new construction is discordant in terms of building footprint, streetscape, and scale. The setbacks that are presently imposed, result in development that is totally contrary to the streetscape that characterizes the Fort Precinct. All the new developments, particularly their setbacks, detract from the street affinity character. Many of the things that were developed as a part of purposeful urban design gestures have been demolished insensitively by changes or out-of-scale interventions in the area.

The Flora Fountain, which was built to commemorate the intersection of the bow-like cross axis, is nearly submerged in discordant parking lots and insensitively placed street furniture and accompanying paraphernalia. Similarly, the garden surrounding the foun

Figure 35 - Bharat Insuarance Building worn out facade (Source: Author )

Figure 36 - Haroon House lacks maintainance (Source: Author )

Many of the things that were developed as part of purposeful urban design gestures have been demolished insensitively by changes or out-of-scale interventions in the area. The addition of floors to the Horniman Circle buildings, which were built as a group to have the same height, is a good example. Planning authorities occasionally make inter ventions in public spaces or plazas that are detrimental to the precinct’s or that particu lar public space’s overall character. The Flora Fountain and the plaza at the Gateway of India are two examples of this type of discordant growth.

FORT PRECINCT MUMBAI 30

Figure 37 - Heritage structure in dilapidated form (Source: Author )

However, in the current setting, due to the lack of standardized criteria for such work, the architectural merit of these buildings is frequently lost during repair. The majority of reconstructions entail façade adjustments or entire overhauls. It frequently entails the installation of stories or wings. These are carried out in an unsympathetic manner, oblit erating any architectural value that the building or street may have had. In the interiors of the structure, people frequently take advantage of the high ceilings and create lofts within the floors. It is evident how the building bylaws are insensitive to the existing fabric of the Fort Area.

Figure 39 - Picture showing contrast between maintained and notmaintained heritage structures (Source: Author )

Figure 38 - Heritage structure in dilapidated form (Source: Author )

Figure 44 - Ongoing constructure of Metro (Source: Author )

tain does not aid in pedestrian traffic flow or enhance the node, but rather contributes to the visual clutter.

FORT PRECINCT MUMBAI 32

Figure 42 - Picture showing original columns given support by steel beams (Source: Author

Figure 40 - Flora Fountain Junction (Source: Author )

Figure 41 - Picture showing encroachment in the arcades of the structure (Source: Author

Figure 43 - Ongoing constructure of Metro (Source: Author )

Many of the encroachments occur within the confines of government-owned structures, making them effectively legalized encroachments. Because their function is ‘temporary in nature,’ these encroachments are almost always poorly designed constructions, mar ring the architectural merits of the other buildings in the property. They also obstruct the utilization of what was intended to be open space for the buildings’ users. Many of these encroachments limit views of major landmarks as well as views of the Precinct’s open spaces.

5.0 HERITAGE MANAGEMENT PROGRAMS IN INDIA AND MUMBAI

HERITAGE MANAGEMENT IN INDIA AND MUMBAI 34

5.1 HISTORY OF HERITAGE MANAGEMENT IN INDIA

Preservation of historic resources is a relatively new professional field in developing coun tries like India. Bombay has a recent history of historic preservation attempts. It was the first contemporary city in India to have made an effort to establish preservation guide lines for heritage resources and the BMC was the first and only local government to cre ate laws that protect its heritage structures.

Figure 46 - General Assurance Building left in shambles (Source: Author )

On January 15, 1784, philologist Sir William Jones founded the Asiatic Society. Antiquar ians formed this group with the goal of compiling a list of historic structures in India. Sir Alexander Cunningham, a second lieutenant in the Bengal Engineers, realized that in ventorying alone would not be enough to conserve the ancient structures in the early 1800s. Cunningham petitioned the British government in 1848 to boost funding for the group, which would allow it to document structures as well as assist in their physical main tenance. (Archeological Survey of India:2011) In 1848, a new organization called the Archeological Survey of India was formed in response to the change in the institution’s

The Archeological Survey of India (ASI) is the sole government organization body over looking the heritage preservation activities in India at a national level. The entire country of India is divided into 24 zones and each zone has a head office that oversees all pres ervation activities within the zone. Funds from the government of India help ASI maintain historic preservation projects throughout the country. (Vineet, D:2004)

Figure 45 - Blackie House (Source: Author )

CATEGORY VIII Or such other category as the authority may deem fit.

purpose (ASI). Since then, ASI has been fully in charge of all preservation efforts in India. Even after India’s independence in 1947, the agency continued to serve as the country’s sole government office in charge of preservation efforts.

for the preservation of ancient and historical monuments, archae ological sites and remnants of national interest, for the control of archaeological digs, and for the protection of sculptures, carvings, and other such things,”. The ASI is India’s only governmental institution legally committed to safeguarding historic places, and the organization’s operations encourage a top-down approach. (Vineet, D:2004)

Ticketed protected monuments and archeological sites (other than the world heritage sites and sites included in the Tentative List)

CATEGORY III

HERITAGE MANAGEMENT IN INDIA AND MUMBAI 35

Protected monuments/ archaeological sites inscribed on the World Heritage Cul tural Site List of UNESCO

CATEGORY VII

CATEGORY IV

Protected monuments and archaeological sites included in the tentative list by the World Heritage Committee

Table 1: Grading criteria followed by archeological survey of India (ASI) (Source: ASI website)

Because India is such a large and diverse country, there is no single technique that will result in an effective preservation procedure. Despite this, the organization (ASI) fails to address this. On the contrary, it has recently developed even larger generalized ways of managing historic sites across the country. The modification to AMASR, which was published in The Gazette of India, Extraordinary, Part II-Section 3-Sub-Section I on August 24, 2011, establishes the following types of monuments and archaeological sites for the entire country:

Monuments and sites with adequate flow of visitors identified for charging an entry fee.

CATEGORY I

Protected monuments and archeological sites identified for inclusion in the World Heritage Tentative List of UNESCO

CATEGORY VI Living monument which receives a large number of visitors/pilgrims

The rules were nominally amended after independence, although they are still heavily affected by antiquated laws. The Ancient Monuments and Archeological Sites and Re mains Act of 1958 (AMASR) is the legislation that governs the organization’s approach to historic site protection. The preservation procedure classifies a precinct or set of buildings as protected monuments, and 157 historic sites are only referred to as “protected mon uments.” Such approaches, which focus on the physical remains of historic sites, appear to ignore the social and cultural dimensions of those sites. AMASR fails to recognize and respect intangible social or cultural “values,” instead of emphasizing the constructed

The British documentation and practices continue to have a strong influence on ASI’s op erations. The continuous usage of the Treasure Trove Act (1878) demonstrates the British colonial past’s lasting effect on ASI. To establish a site’s historic importance, the catego ries of monuments designated in the current ASI paradigm place a strong emphasis on architecture. As a result, the ultimate goal of ASI’s current preservation model appears to be the preservation of architectural fabric. (Vineet, D:2004)

Other monuments are located in the Urban/Semi-urban limits and in the remote villages.

“Anenvironment.Acttoprovide

The operating rules of ASI were developed in the previous century when historic values were predominantly represented by particular “monumental” constructions. The method has not been changed to reflect a more current understanding of historical values. The ASI’s archaic methods are a throwback to the organization’s colonial heritage. The or ganization did not cut its conceptual umbilical cord to its predecessor organization even after India gained independence in 1947. The organization’s operations are still based on antiquated legislation like the Indian Treasure Trove Act of 1878.156 This law was enacted to protect valuables discovered by accident. (Vineet, D:2004)

CATEGORY II

CATEGORY V

While advocates for the heritage list emphasized human, design, and long-term eco nomic considerations, a significant force in the city was also at work, largely focused on short-term profit. A significant portion of the real estate community believed that any recognition of heritage would obstruct their ability to maximize their financial interests. They’ve sought to reduce any thoughtful and nuanced discussion of Mumbai’s housing, environmental, and social issues to a clumsy debate about redevelopment and discrim ination against “locals.”

HERITAGE MANAGEMENT IN INDIA AND MUMBAI 36

Richly deserves careful preserva tion.

The heritage Regulations for Greater Bombay 1995, commonly known as Regulation Number 67, Regulation 67, or Development Control Regulation 67, is the city’s most im portant ordinance for historic preservation (DCR 67). This legal document is made up of three primary sections. The first section examines the legal precedents that led to the creation of DCR 67 and goes on to describe the heritage property rating criteria. The second component is a list of heritage buildings and places that have been identified. The document’s final section explains how the heritage listing process works and how the preservation committee is formed. (Vineet, D:2004)

Deserves protection of unique features and attributes.

TABLE 2: Development Control Regulation 67, Heritage Grading Criteria. (BMC DCPR-2034:378)

PrecinctsPrecinct deserve sensitive devel opment in terms of mass, scale, setting and require conservation of their heritage and cultural signifi cance.

The inclination of the Development Control Regulation 67 to rely on architectural or aes thetic value has its origins in the way the British ruled India as a colony. Even after a long period of time, educational and political patterns have remained mostly unchanged. Many significant government institutions have remained mostly unchanged. The major ity of the current governmental entities and power structures in India were established around the middle of the nineteenth century.

II GRADE III

A. DEFINITION

GRADE – this grade comprises buildings and sites of national or historical importance, embodying excellence in architectural styles, design technology, and material usage, they may be associated with a great historical event, per sonality, movement, or institution. It may also comprise natural her itage value. They have been and are prime landmarks of the city.

Within the confines of Bombay City, which covers an area of 169 square miles, the Bom bay Municipal Corporation (BMC) is in charge of civic development initiatives. The Mum bai Metropolitan Region Development Authority (MMRDA) is in charge of overseeing infrastructure enhancement projects in the Mumbai Metropolitan area, which encom passes around 1,6812 miles of land adjacent to Bombay. Both organizations are working on a variety of projects and studies to better understand historic resources in their respec tive jurisdictions. (Vineet, D:2004)

HERITAGE MANAGEMENT IN INDIA AND MUMBAI 37

A. DEFINITION

Development Control Regulations 67 (DCR 67), a document published by the Bombay Municipal Corporation (BMC) in 1995, is the only example of historic preservation at a city level in the entire country of India. DCR 67 sets listing and grading requirements that are independent of ASI’s operations. It is India’s first effort aimed at recognizing and preserv ing historic structures on a local level.

GRADE GRADE

B. OBJECTIVE

HERITAGE

MANAGEMENT IN INDIA AND MUMBAI 38

A. DEFINITION

Private preservation firms are hired by both groups to execute trial projects or produce preservation strategies. The pilot projects are designed to serve as a feasibility study for a large-scale project, allowing the organization to gain a greater knowledge of the pro ject’s effectiveness. The BMC is solely responsible for heritage preservation within the city, while the MMRDA is responsible for preservation projects throughout the metropolitan area. Some of MMRDA’s study or pilot projects are located within the city limits, as MMR DA was established to assist BMC in its activities. MMRDA collaborates with BMC if the pilot project progresses to the implementation stage.

Grade II – this grade comprises building/ precincts, of regional or local importance, possessing special architectural or aesthetical merit or cultural or historical value, though of a lower order than that of heritage grade I. They are local landmarks contributing to the image and identity of the city. They may be the work of a master craftsman or maybe models of proportion and ornamentation or designed to suit a particular climate. Heritage grade II build ings within the premises of which independent/ separate additional buildings/structures may be per mitted to be constructed, owing to the availability of adequate surrounding open space and con sumed FSI, have been assigned GRADE IIB. The remaining Grade – II buildings have been assigned Grade – IIA.

Deserves intelligent conservation. B. OBJECTIVE

Grade III – this grade comprises buildings and precincts of impor tance for townscape, they evoke architectural aesthetic or sociolog ical interest though not as much as Heritage Grade II. These contribute to determining the character of the locality, and can be represent ative of a lifestyle or a particular community or region and may also be distinguished by setting on a street line or special character of the façade and uniformity of height, width, and scale.

5.2 HERITAGE MANAGEMENT IN MUMBAI

C. SCOPE OF CHANGE

i) External and internal changes and adaptive reuse would gen erally be allowed. Changes can include extensions / additional buildings in the same plot or com pound provided that extension / additional building is in harmony with and does not detract from the existing heritage building/pre cincts especially in terms of height and/or facade.

Theacity.coexistence

ii) Additional buildings /new inter ventions in a Grade-I complex shall be permitted only if the develop ment does not mar the grandeur, scale, setting, and view of the main Grade-I structure and the new development is in harmony with the main heritage structure.

iii) Development in surrounding area/vista: All the development (excluding repairs) in the vista of a Grade - I heritage, within 100 m. Periphery or as may be delineated on the plan, shall be regulated and controlled ensuring that it does not mar the grandeur of or views from Heritage Grade – I. Development permission may be granted within this regulated area provided that the proposed devel opment does not mar the gran deur, scale, and setting off, or view of or from Heritage Grade-I. In the case of World Heritage sites, the directives given by the Govt. from time to time will be applicable.

External changes too may be permitted, subject to strict scrutiny. Care should be taken to ensure the conservation of all special aspects/features of the Grade – II A building concerned.

Grade –II(B): In addition to the above, additional building(s) in the same plot or compound may, in certain circumstances, be allowed; provided that, such additional building(s) shall be in harmony with (and shall not de tract from) the Grade-IIB heritage building(s) or precinct, especially in terms of height and/or façade and such building shall be termed as Grade-II (B).

Many of the administrative and bureaucratic structures that the English developed are still in use in India. One such institution is the Bombay Municipal Corporation (BMC), which was founded in 1882. The organization was established as a single governing body to guide the city’s long-term growth and oversee infrastructure projects. Since its founding, the organization has also been in charge of managing different projects within Bombay’s city limits. Since then, the BMC has been instrumental in transforming Bombay into a meg

C. SCOPE OF CHANGE

of suburban areas into city cores is a global phenomenon, and Bombay is no different from other world megacities in this regard. By 1970, the Bombay Municipal Corporation (BMC) had lost control of civic and infrastructural development in Bombay and its suburbs. In 1975, the Mumbai Metropolitan Region Development Authority was established to assist the BMC in managing the expansion and management of this meg alopolis (MMRDA). The primary goal of this organization is to support BMC in the devel opment of new growth centers and infrastructural projects in the Bombay metropolitan area. (Vineet, D:2004) BMC and MMRDA have established offices dedicated to historic preservation projects, recognizing the importance of history in the city-building process.

C. SCOPE OF CHANGE

i) No interventions are permitted either on the exterior or interior un less it is necessary for the interest of strengthening and prolonging the life of the buildings or any part or features thereof. For this purpose, absolutely essential and minimum changes would be allowed and they must be in accordance with the original. Repairs shall follow conservation norms based on proven standards with the use of like to like or similar material.

HERITAGE MANAGEMENT IN INDIA AND MUMBAI 39

Grade IIA - In addition to the scope for development permissi ble for Grade – I, internal chang es, and adaptive reuse may be generally allowed. In certain circumstances, the extension of a Grade - IIA heritage building may also be allowed; provided that such extension shall be in harmony with (and shall not detract from) the Grade - II A heritage building concerned or precinct, especially in terms of height and/or façade.

5.3 GOVERNANCE

HERITAGE MANAGEMENT IN INDIA AND MUMBAI 40

ii) detailedmissionshalliii)Reconstruction/redevelopmentfeatures.retainingallowednon-structuralii)tastelessterorcouldtheshouldshallextensions,i)PRECINCTdetailedmissionshallReconstruction/redevelopmentbeallowedwiththeperoftheCommissionerasbelow.Sensitiveadditions,alterations,interiorrenovationsbepermissiblebutthesenotalterthecharacterofprecinct.Thenewinterventionsbecontemporarybutsubtleinspiredbytheoriginalcharacbutshouldnotbeapastiche/imitationofit.EssentialstructuralandrepairsshallbeforstructuralstabilitywhiletheoriginalarchitecturalbeallowedwiththeperoftheCommissionerasbelow.

UNESCO designated Watson’s Hotel as a world-historic site in 2018, despite its deteriorat ed state, as part of the “Victorian gothic and art deco ensembles of Mumbai” classifi cation. Around 100 buildings from the 19th and early 20th centuries are included in this collection. In reality, the state of Watson’s hotel building or esplanade home was the one main complaint UNSECO raised at the time. The esplanade mansion is one of the only surviving cast-iron structures in the world. It was supposed to be a structure for his thriv ing drapery and tailoring business in the city, with office space and shops. It was built in England at first, and by 1867, the components had been delivered to India. It was then built on-site and finished in 1869. It was a much-celebrated work of architecture during its prime, with an external cast-iron frame that was typical of many 19th-century structures in London, large open balconies on each of its five stories, and a majestic atrium. The struc ture now lies in shambles and has been deemed fatal for the inhabitants and surround ings. The mansion is listed as a Grade II-A structure as per the grading system of Mumbai.

6.1 HISTORIC CONTEXT

WATSON’Sauction. ESPLANADE MANSION 42

The construction of Watson’s Esplanade Hotel went hand in hand with one of the most frenetic and far-reaching chapters in Bombay’s urban history. The old British fort walls were demolished in August 1864, releasing vast stretches of land in the heart of South Bombay. This was a period of thriving trade, particularly in cotton, and merchants were earning millions. John Hudson Watson, a successful cloth merchant with a huge store on Churchgate Street, now Nariman Road, was one of these men. Watson bid Rs 110 a square yard for a block on the Esplanade to construct his dream hotel when the newly freed-up land was put up for

Figure 47 - Picture showing front facade of the Esplanade Mansion

(Source: https://imaginoso.com/india/mumbai/esplanade-mansion-watsons-hotel-east-elevation)41

6.0 WATSON’S ESPLANADE MANSION

In the early 1900s, Watsons Hotel faced a lot of competition, and by 1920, it had stopped operating as a hotel. It has since passed through several hands and been dubbed ‘Espla nade Mansion,’ which it still bears. A new owner partitioned the building into apartments and commercial spaces in the 1960s. Lawyers in newly independent India considered the proximity to the high court as a considerable benefit, and many of them established

Figure 48 - An early watercolour photograph render as planned (Source: https://theculturetrip.com/asia/india/articles/a-brief-history-of-watsons-hotel-indias-oldest-cast-iron-building/)

Figure 49 - An aerial view of the Esplanade Mansion (Source:tle-carrock/history/51-watson-s-esplanade-hotel)https://www.castlecarrock.com/index.php/about-cas

Figure 51 - Picture showing activities by the visitors at the mansion (Source: https://victorianweb.org/history/empire/india/83.html)

When Watson’s hotel initially opened, it was known as the Esplanade Mansion. It had the first steam-powered elevator in India. It was highly ventilated, thanks to punkhawallas (fan bearers) who served each chamber as well as the design. Moreover, practically every room had an ensuite bathroom. The hotel has its own peculiarities: the ground floor is 20 feet high, the first floor is 17 feet, the second floor is 15 feet, and the third and fourth floors are 14 feet high. (Anshika Jain: 2019)

WATSON’S ESPLANADE MANSION 44

Figure 50 - view of the Esplanade Mansion (Source: https://en.wikipedia.org/wiki/Watson%27s_Hotel)

6.2 OWNERSHIP SHIFTS AND RENT CONTROL ACT, 1999

Figure 52 - view from the balcony of the Esplanade Mansion (Source: https://heritagehackathon.weebly.com/watsonr squos-hotel.html)

According to the Mumbai-based urban design research institute (UDRI), the building’s in itial design and layout called for 130 rooms. On the ground floor, the magnificent central atrium was encircled by dining rooms, stores, and a colonnade of cast-iron columns, with the current Army and Navy building acting as a park to the south of the hotel that could be viewed from the atrium. It was the greatest symbol of grandeur in the 19th century, Bombay, with its double-height ceilings, huge atrium, Minton-tiled flooring, exclusive res taurants, and lavish chambers. It was a five-star hotel that sparked the concept.

In a district of turrets, gabled roofs, stones, and arches, he wanted his hotel to stand out, so he picked a minimalist iron framework. He may have been influenced by techno logical advancements and as a symbol of modernism. The Crystal Palace, which had caught London by storm in 1851, may have had a considerable influence.

Rowland Mason Ordish, a British structural engineer best known for the winter garden in Dublin, Singapore’s Cavanagh Bridge, and his work on the famed crystal palace in Hyde Park, London, built for the Great Exhibition in 1851, designed Watson’s Hotel. The columns were built at Derby’s Phoenix Foundry Company and shipped to Bombay by ship. The building is still cited as a trend-setter by architects, and it is the first example of a multisto rey liveable building whose load is carried entirely by an iron framework. This makes it a landmark in the skyscraper’s development. The iron frame was the forerunner of the steel frame, which gave birth to the skyscraper.

WATSON’S ESPLANADE MANSION 46

In July 2005, the structure was added to the World Sites Fund’s 2006 World Monuments Watch, a list of the world’s most threatened monuments compiled by UNESCO. The Royal Opera Theatre, another major landmark that was once on the list, has been magnifi cently renovated. Watson’s hotel, on the other hand, has not been so fortunate. Two balconies of the building fell in July 2005, shortly after it was placed on the international monuments watch list, killing one person and wounding six others. In July 2018, another deadly catastrophe occurred when a balcony collapsed and crushed a cab parked on the road below. Fortunately, no one was hurt. Even walking close to the building now is

The Maharashtra state government passed the Maharashtra Rent Control Bill, 1999, to regulate rental housing, and the Maharashtra Rent Control Act, 1999, went into force on March 31, 2000. The Act’s goals are to “unify and consolidate” rental housing throughout the state, as well as “promote the construction of new residences by ensuring a reason able return on investment by landlords.”

Figure 57 - Image showing dilapidated facade (Source: https://asanyfuleknow.blogspot.com/2019/06/thestate-of-esplanade-mansion-in.html)

Figure 55 - Image showing the Iron frame and the ground floor converted into shops (Source: http://www.udri.org/projects/conservation-study-esplan de-mansion-watsons-hotel/#iLightbox[image_carousel_1]/1)

Figure 56 - Image showing dilapidated facade (Source: http://www.udri.org/projects/conservation-study-esp lande-mansion-watsons-hotel/#iLightbox[image_carousel_1]/1)

Figure 53 - Image showing the Iron frame and the ground floor converted into shops (Source: https://victorianweb.org/history/empire/india/83.html)

Figure 54 - Image showing the lawyer offices in the building (Source: https://victorianweb.org/history/empire/india/83.html)

Unfortunately, the act has had a negative impact on Mumbai’s heritage and other struc tures, including Watson’s hotel, as it is still known. The ordinance was enacted as a tem porary measure in the post-World War II era to curb inflation and profiteering, but it has lasted for decades. It allows the owners of many historic houses to change only a small amount of rent, significantly less than the rate of inflation or market rates, and it prevents them from having their properties evicted.

their chambers here. The structure now contains 15 apartments and 200 businesses most ly lawyers. This resulted in it falling under the Bombay Rents, Hotel, and Lodging House Rates Control Act 1947, often known as the Bombay Rent Control Act, which modified the pattern of use dramatically from its original design.

This has resulted in a situation where tenants can, for all intents and purposes, continue on indefinitely while property owners receive pennies on the dollar. As a result, they have limited motivation to maintain or invest in these structures, many of which have become dilapidated. Even though the supreme court of India declared the practice of determin ing a “standard rate” as “no longer rational” in December 1997, the legislation and its un workable clauses remain in place. The Watson’s hotel has been a victim of this tragedy, and decades of neglect have brought it to its knees.

6.3 INVOLVEMENT OF UNESCO AND ICOMOS

Figure 61 - Image showing dilapidated roof (Source: https://www.firstpost.com/long-reads/esplanade-man sion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-atits-past-present-and-future-6968751.html)

6.4 PRESENT SCENARIO

dangerous. In addition, the state housing body, the Maharashtra Housing and Area De velopment Authority (MHADA), labeled it hazardous in 2007 and 2011 and requested its tenants to move - but to no avail.

WATSON’S ESPLANADE MANSION 48

In the year 2019, the Bombay high court intervened. The court ordered the building to be evacuated in April 2019, and the civil engineering department of the Indian Institute of Technology – Bombay was tasked with conducting a structural audit. According to the assessment, attempting structural repairs would be risky, irrational, and financially unvi able due to the building’s state. The Bombay High Court, in June of the same year, em phasized the finality of the demolition judgment by requesting that the MHADA explain all of the safety procedures it would take before demolishing the structure.

The building’s proprietor, Sadik Ali Noorani, and the legal tenants of the property agreed to pay 5 crores towards restoration and rehabilitation in January-February 2020. The land lord of the Esplanade Mansion was ordered by the Bombay High Court to produce an estimate of the cost of conserving and restoring the building.

“Most buildings of the nominated property are in a fair or good shape of conservation, with two exceptions. The first is the former Watson’s Hotel, which is known at present as the Esplanade Mansion. It is listed as a Grade II A building and is in need of urgent con servation intervention”. (UNESCO:2018)

Figure 60 - Image showing cast iron staircase (Source: https://www.firstpost.com/long-reads/esplanade-man sion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-atits-past-present-and-future-6968751.html)

Figure 59 - Image showing the name plates of the inhabitants (Source: https://www.firstpost.com/long-reads/esplanade-man sion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-atits-past-present-and-future-6968751.html)

The International Council of Monuments and Sites (ICOMOS), based in Paris and advising UNESCO on world heritage sites, has asked the Maharashtra government to take imme diate steps to preserve the structure. The state administration has responded by clarifying that all applications for alterations or additions to cess buildings must be submitted to the Heritage Conservation Committee. To date, however, no action appears to have been taken.

Figure 58 - Image showing the cast iron column (Source: https://www.firstpost.com/long-reads/esplanade-man sion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-atits-past-present-and-future-6968751.html)

6.5 CONCLUSION

The rise of Mumbai from a trading port to a commercial powerhouse and a splendid city is inextricably linked to Watson’s hotel. The current practice is to allow structures to

Heritage monuments that are not inhabited by humans are often easier to maintain and restore (if a government is prepared to do so) than heritage buildings that are still in use.

deteriorate to the point of collapse due to the Rent Control Act, after which rebuilding is permitted with the inducement of a higher Floor Space Index (A government-sanctioned floor space index that determines the size of the building in relation to the plot on which it stands).

The Maharashtra Rent Control Act of 1999 has been criticized for the deterioration of historic “cessed” buildings in Mumbai because the modest rents it enables landlords to charge are insufficient to keep heritage sites in good repair. Instead, tenants pay a nom inal fee to the housing authority, which manages the repair money — but its actions are frequently unsuccessful. When these structures are dismantled and rebuilt, they are given a higher FSI, or floor space index, allowing them to be much taller than previously.

Even if it were still viable today, restoring a structure like the Esplanade Mansion would be difficult and expensive, because the building’s cast-iron framework would have to be re paired or recreated. But there is a lack of interest in conservation and it is always treated as secondary. Even though conservationists have fought long and hard to safeguard it for decades, it is a building that exemplifies all that Is lacking with the historic manage ment of the city.

Figure 62 - Image showing the present conditon of the mansion which is going through repair works (Source: Author)

Figure 63 - Image showingshowing the constrast between the Army& Navy Building and the Esplanade Mansion (Source: Author)

WATSON’S ESPLANADE MANSION 50

In Mumbai’s historic precincts and gaothans (urban villages), lived-in heritage structures are frequent. However, because there are no clear legal measures for their protection, many of them are in a state of serious deterioration. There is no regulation requiring land lords to restore and maintain heritage sites they own, and tenants in derelict buildings pay relatively little rent. In order to ensure that heritage aspects are preserved, owners of heritage structures are not permitted to make any changes to their structures. However, to maintain a heritage structure, landlords require incentives and financial support, which are not provided by legislation.

Figure 64 - Royal Opera House Front Facade (Source: https://www.architecturaldigest.in/content/inside-majestic-grandeur-mumbais-newly-restored-opera-house/)51

Situated on the border of the Fort precinct is the Royal Opera House. The prefix ‘Royal ‘was added to ‘Opera House’ to commemorate the fact that the building’s foundation stone was placed during the colonial time in 1909, and King George V inaugurated it in 1911 while it was still under construction, before it was finished in 1915, exactly 105 years ago. While the idea of creating an opera house was conceived in the early 20th century, it was in 1908 that Jehangir Framji Karaka, a Parsi businessman who ran a coal brokerage firm, and Maurice Bandmann, a Calcutta-based theatre artist, decided on the final de sign for the Royal Opera House. The Royal Opera Theatre, located in South Mumbai, is India’s oldest and only surviving opera house. It was once called the ‘theatre-de-luxe of the East’, a shining jewel in ‘Bombay the Beautiful’—the of India. The Royal Opera House

7.0 THE ROYAL OPERA HOUSE

THE ROYAL OPERA HOUSE 52

The Royal Opera House in Mumbai, India’s sole surviving opera house, reopened in Octo ber 2016 after a 23-year hiatus following its closure in 1993. The enormous structure, which is over a century old, has a long and illustrious history of supporting performing acts other than opera. In 2010, the Gondal family hired conservation architect Abha Narain Lambah to renovate the structure. Her team of civil contractors, conservators, stage crafters, and acoustic specialists worked for six years to refurbish the original structure and renovate the interiors to meet modern comfort and safety standards. It has long been regarded as one of India’s most iconic historical sites, having been constructed more than a century ago, but its beauty has now been recognized with the UNESCO Asia-Pacific Award for Cultural Heritage Conservation after the restoration. The structure with its baroque design combines Indian and European architecture styles is listed as Grade II structure.

7.1 HISTORIC CONTEXT

(Source:age-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)https://artsandculture.google.com/asset/archival-im

7.3 A DECLINE IN CHANGING TIMES

The Opera House, with its baroque architecture, specialist acoustics, and beautiful inte riors, was a historic addition to the city’s architectural heritage for a city that had previ ously lacked world-class theatres. The Opera House was purchased by the Maharaja of Gondal, HE Vikram Singhji, in 1952.

By the 1970s, many changes had been made to the interiors of the building and the original baroque theatre, with the baroque style interiors being renovated and recondi tioned into a more modern or art deco style. The multi-tier baroque side-balconies and the antique plaster ceilings were either covered or demolished entirely, in keeping with the Art Deco style.

Figure 65 - Image showing past interiors

(Source: https://www.firstpost.com/long-reads/esplanade-man sion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-atits-past-present-and-future-6968751.html)

However, by the 1980s, the Royal Opera House was losing money due to the growing popularity of other institutions in the city. It was converted into a single-screen theatre because it proved difficult to support the facility solely on live acts. With the introduction of VCRs and home theatres, as well as widespread video piracy, single-screen cinema halls across the country began to collapse, and Mumbai was no exception. We saw the demise of legendary cinema halls and theatres, including the Capitol and Edward theatres and the Opera House; many were forced to close, and with the introduction

THE ROYAL OPERA HOUSE 54

Figure 69 - Image showing past interiors

7.2 OWNERSHIP SHIFTS AND CHANGE OF USE

quickly became one of the city’s most cherished institutions after its opening. Solely the city’s affluent were served in its early years, and it only performed operas.

Figure 66 -Image showing past interiors

Figure 67 - Image showing past interiors

(Source: https://www.firstpost.com/long-reads/esplanade-man sion-as-155-year-old-mumbai-landmark-faces-its-end-a-look-atits-past-present-and-future-6968751.html)

The cinema was purchased by Ideal Pictures Ltd. in 1935. Due to changing tastes and the opera house’s difficulty in maintaining the enormous construction only on the earn ings from operas, it was modified. It was extensively refurbished the following year, with new flooring, tiles, doors, window frames, and colored cement. By 1936, the opera the atre was showing both films and fashion displays. The British Pathé films, black and white newsreels that actually pioneered that movement in this part of the world, were the first to be shown here. Many film shoots have taken place here, as well as some fantastic premieres. It held various Bollywood acts as well as live theatre performances by Prithvi raj Kapoor, Bal Gandharva, and Dinanath Mangeshkar. (Sridevi Nambiar: 2017)

(Source:age-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)https://artsandculture.google.com/asset/archival-im

Figure 70 - Image showing past interiors

(Source:age-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)https://artsandculture.google.com/asset/archival-im

Figure 68 - Image showing past interiors (Source:age-main-auditorium-entrance-dome/xgGWF8Af9EEZEA)https://artsandculture.google.com/asset/archival-im

THE ROYAL OPERA HOUSE 56

Figure 72 - Image showing state of Royal Opera House before restoration (Source:

https://www.wsj.com/articles/BL-IRTB-32869)55

The Maharashtra State Government desired to take full control of the Opera House in or der to restore it to its former glory. After validating the legal status of the cultural structure, the government proposed that the Mumbai Urban Heritage Conservation Committee (MUHCC) acquire it. The MUHCC had previously been tasked with creating plans for the opera house’s repair because it was designated as a Grade II Heritage Structure. A de tailed conservation proposal was prepared by Mumbai’s most well-known conservation

Initially,heritage.inMay

of multiplexes, it was difficult for these historic single-screen theatres that didn’t offer air conditioning or modern facilities to keep up. (Vidhi Bagadia: 2017)

2001, it was said that the opera house could not be renovated but could only be restored because it was a Heritage building. Even finances for restoration had to be obtained. With these two fundamental considerations in mind, the planning dictum was as follows: “The historicity of the building and its architecture will be lost if it is not used as a theatre and there should not be a change of user.” (MMRHCS: 2001)

The Opera House ran into trouble when even those began to fall out of business as a result of the proliferation of video and digital technology. The Opera House was even tually closed down in 1993 by its owners. The decision to put this cultural icon to rest was regrettable and unavoidable, but it wasn’t permanent.

Figure 71 - Image showing state of Royal Opera House before restoration (Source: https://www.wsj.com/articles/BL-IRTB-32869)

After more than a decade of neglect, the Maharashtra State Government declared in 2008 that restoration work will commence, much to the delight of the city’s art and cul ture lovers. Because the Opera House was a Grade II heritage structure, every detail was scrutinized. For a project like this, a number of permissions were needed, both statutory and

7.4 REBIRTH

The initial proposal was to convert a portion of the open plot to be developed commer cially in order to generate revenue to cover the costs of restoring and maintaining the existing heritage building. To move forward with this strategy, it was also determined that it was necessary to engage with the current owner to obtain his assent to the incentive plan.

https://artsandculture.google.com/story/MwWBPMjCigNyIQ)

Figure 73 - Image showing The Royal Opera House after restoration (Source:

3. Upgrading it to a 21st-century performance space with state-of-the-art acoustics, sound design, air conditioning, electrical works, and fire-fighting systems. (Abha Narain

TheLambah:2008)formerMaharaja

https://artsandculture.google.com/story/MwWBPMjCigNyIQ)

of Gondal envisioned that the structure’s original splendor will be restored as a result of the conservation work. By late 2011, the external restoration had been accomplished to a large extent. Following that, the World Monuments Fund (WMF) declared the building’s inclusion in its 2012 global list of endangered architectural sites, with Watson’s Hotel being the only other building in Mumbai on the list, to raise aware ness of its significance and to support the owner’s efforts to preserve the structure. The Gondal family’s intentions to restore and refurbish the building’s interiors were authorized by the Mumbai Heritage Conservation Committee (MHCC) in January 2013.

7.5 CONCLUSION

If we compare the Royal Opera House to the Esplanade Mansion, the opera house does not have any tenants living in it or it does not have any commercial shops. As mentioned in the last chapter heritage monuments that are not inhabited by humans are often easier to maintain and restore (if a government is prepared to do so) than heritage build

architects. The MUHCC authorized Abha Narain Lambah and her companions to under take the structural stabilization and repair of the structure in May 2008. (Anjali Thomas: 2008)

When the restoration began in 2009, 16 years of neglect had taken their toll. The roof was leaking, the balconies were propped up, and the structure was extremely fragile due to the fact that it had been through 90 monsoons. All of the design aspects were obscured or deleted throughout the years and were replaced with additional art deco or modern details. The three-pronged restoration included:

THE ROYAL OPERA HOUSE 58

1. Restoring the building’s structural integrity;

Figure 74 - Image showing The Royal Opera House after restoration (Source:

2. Restoring the baroque theatre’s original design intent; and

Conservation architect Abha Narain Lambah has restored the building to its original de sign using historic images and documentation, while also adding state-of-the-art acous tics and facilities. The rebuilt Royal Opera House serves as a general entertainment ven ue, hosting concerts, plays, fashion exhibitions, talks, poetry recitals, book launches, and dance.

The owner the Maharaja of Gondal, has the capital to fund the conservation process of this structure, which is not the case usually. The majority of the landlords, who have a heritage listing under their name, do not have the means to fund the conservation pro cess. These structures are usually residential or multi-tenanted structures. The government does not provide any kind of support or incentives to these owners for the conservation process; hence they are not motivated and eventually fall prey to the tempting offers given by the developers.

Figure 76 - The Royal Opera House present interior (Source: https://www.architecturaldigest.in/the-list/abha-narainlambah/#s-cust0)

Figure 77 - The Royal Opera House present interior

Figure 75 - The Royal Opera House present interior (Source: https://www.architecturaldigest.in/the-list/abha-narainlambah/#s-cust0)

(Source: https://www.tripoto.com/mumbai/trips/here-s-why-you-have-to-visit-mumbai-s-royal-opera-house-5b8ebc248a1c1)59

ings that are still in use. Having the owner not deal with a number of tenants makes the conservation process easier. It is the decision of only one party to invest the amount and take charge of the process. On the other hand, it is generally seen that the government only backs the conservation projects which gives them something in return. The Royal Opera House is one perfect example. The government tried to acquire this structure from its owner so that in the future it became a source of income. Having that not worked out, the government actively participated in the conservation process of the structure.

THE ROYAL OPERA HOUSE 60

8.0 CRITIQUES AND SHORTFALLS OF THE PRESERVATION PROCESS

Figure 78 - Ismail Yusuf Trust Building converted into Zara Outlet (Source: Author )

Lack of active interest by the government – The Urban Design Research Institute (UDRI) initiated the Fort Management plan first in 2003. The plan provides guidelines and rec ommendations for heritage management in the Fort Precinct. This report was then for warded to the MHCC for reviewing and further forwarded to the Municipal Corporation to form an integral part of the Development Control Regulations. But these recommen dations have still not been integrated into the regulations.

CRITIQUES AND SHORTFALLS

Lack of Definitions - The definitions of essential phrases like building, precincts, preserva tion, conservation, and protection are not defined in the DCR 67. These terms are used in the grading criteria, although their definitions are not mentioned anywhere in the DCR 67 document. These important concepts are not defined in any other texts or publications. Due to a lack of definitions, the terms can be interpreted differently, and some of the pre viously classified heritage pieces may have been delisted as a result of the differences in interpretation. Such loopholes are exploited by the builders and developers to acquire heritage land.

Figure 79 - Army and Navy building converted into a Westside Clothing outlet (Source: Author )

The government only supports the conservation process of the structure where the gov ernment profits in return. High-end business owners or commercial properties are given more preference by the government. The Royal Opera House is one example and the Ismail Yusuf Trust Building is another. The building now houses the international fashion giant, Zara. The building originally housed small offices.

Conservation techniques and process – The regulations do not give any sort of guidelines and procedures for the preservation process. The regulations only state phrases such as “ Richly deserves careful preservation”,” deserves intelligent conservation” and “Deserves protection of unique features and attributes” in its objective column. These phrases do not provide any concrete ways to go about the conservation process and are kept open to interpretation.

Figure 82 - Five mile markers

(Source: https://www.thehindu.com/news/cities/mumbai/mark ers-of-history-milestones-in-mumbai/article19948079.ece)

Small scale structures and elements – The current preservation process fails to identify some crucial historic elements. For example, in the 1995 heritage list, fifteen milestone markers were listed, but these markers are no longer listed. Despite the fact that the 1995 list claims that these many monuments were installed between 1816 and 1837, The activi ties in Bombay throughout the early part of the 1800s are depicted by these mile markers. The fifteen-mile markers are named after the Saint Thomas Cathedral, which was once the hub of all commercial activity in Bombay and is now located within the British colony in the south of the city. The cathedral was close to Bombay Green, an open space that served as a hub for the city’s economic activity until the mid-nineteenth century. The

Top-down Approach – The preservation process promoted a top-down approach. There is no mention of the involvement of residents or the general public in any of the publi cations reviewed for this investigation. The scholars or experts who compiled the study made no mention of working with the residents during their research. This method is elitist in its own right. Due to this, there is sort of a stigma attached to the heritage conservation process.

(Source: https://www.hindustantimes.com/mumbai-news/bmcgoes-that-extra-mile-to-restore-200-year-old-markers-in-mumbai/story-BezKjvTNlVsFrksQKZGLbL.html)

Lack of Proper Documentation and historic research – There are deficiencies in the docu mentation standards. The documentation misses key details such as building typologies, also the precinct’s architecture, which is peculiar, is not investigated in order to compre hend the causes behind its appearances. The documentation also fails to describe the original use of the space as in how the space was originally used. There also seems to be no documentation of any sorts of the socio-cultural and demographic aspects of the current inhabitants of the structures. People are only addressed as a secondary priority in the paper, which concentrates on building type. The preservation strategy should strike a balance between historic preservation, which attempts to conserve the city’s historic fabric, and the demands of current residents.

Figure 80 -Sir Dinshaw Manockjee Petit Patho- Bacteriological Laboratory (Source: @beyondheritage)

CRITIQUES AND SHORTFALLS

Figure 81 - Five mile markers

In the middle of the suburban region of Mumbai, stands a 66-million-year-old and 200-foot-tall monolith made entirely of black basalt, known as Gilbert Hill. The hill was formed during a volcanic lava spread in the Mesozoic era in the Indian state of Mahar ashtra. (Madhushree, G:2018) The natural feature was delisted from the heritage list, the reasons for which were unknown. Despite its geological uniqueness, Gilbert Hill was delist ed, and the site is already under intense urban development pressures. Due to the dense urban environment of Fort Precinct, no natural aspects could be highlighted to illustrate the lack of natural heritage identification, hence a rationale from outside the research area had to be discussed.

Underappreciation of Contemporary Architecture – Architectural heritage should not be always associated with a structure built 100-150 years back. The heritage listing should evolve with time like the architecture evolves. Recognition of such architecture should be included in the current documentation of structures, as these types of structures have a distinct architectural value. The heritage list should be regularly updated with such structures.

Historically Significant Natural Features and parks – There is still no entry on the heritage list that is solely based on biological or natural characteristics. The mangrove region near a historic Prong’s lighthouse is the only natural feature featured in the 2012 list. There are 1501 heritage sites in Mumbai, but this is the sole natural element on the list. The light house on the Prong, which was completed in 1885, maybe the sole reason this location is ever listed. One such example is Gilbert Hill.

CRITIQUES AND SHORTFALLS

Figure mons/4/4a/Mumbai_03-2016_19_Antilia_Tower.jpg)https://upload.wikimedia.org/wikipedia/com

84 - Kanchanjunga apartments by Charles Correa (Source:

Figure 83 - Gilbert Hill (Source: https://en.wikipedia.org/wiki/Gilbert_Hill)

Figure https://shaumyikasharma.wordpress.com/2015/06/)

85 - Antilia (Source:

fifteen-mile signs showed distances for traders traveling by land to Bombay Green. The delisting appears to be warranted because the markers have lost their importance as a result of the changes in the environment. The reasoning underlying the delisting does not appear to be sound.

CONCLUSION68

Figure - Ruttonsee Mulji Pyaai

(Source: https://imagewrighter.com/mulji-jetha-fountain-mumbai/)

9.0 CONCLUSION

Heritage preservation, in all of its forms, faces a variety of distinct challenges. The issue must be considered in the context of the society’s cultural, economic, and political ide als. One of the most significant roadblocks to completing this work is a lack of funding. On a local level, collaboration with the public and private sectors is required. Because legacy is a human achievement, it is also possible to include foreign institutes interested in this topic. People’s involvement in conserving their legacy, identity, and understand ing of its significance is seen as a key aspect in ensuring the long-term viability of cultural legacies through a successful sustainable development program. The success of conser vation operations is dependent on legislation and administrative procedures. This can be accomplished by providing incentives and encouraging people to assist in maintaining the city in order to urge them to stay and preserve it. Financial incentives such as tax re bates or government funding will encourage and motivate the smaller landlords to carry out preservation works.

The relevance of the old city, open spaces, gardens, and infrastructure to the environ ment must be studied, and the population must be involved in drafting protection meas

As mentioned in the introduction chapter, the process of recognizing and preserving her itage conservation is comparatively a new field in developing countries. Mumbai initiat ed and leads the heritage conservation activities in India. Bombay was the country’s first city to enact legislation to conserve heritage components and develop city-wide preser vation plans. Despite being a ground-breaking endeavour to preserve historic properties at the local level, DCR 67 has numerous conceptual flaws. The flaws have been explored extensively in earlier chapters, but now is a good time to summarise the criticism and make solutions to improve the preservation process.

In Mumbai, heritage structures are listed individually and not as an area. The introduction of area-based protection will help to preserve the structures as a group. Currently, the structures are listed individually with no correlation with the context, which enables the landlords to control their individual plots. Area-based protection recognizes and protects the historic nature of the area to benefit the present and future generations. It also makes sure that all building renovations, property development, or redevelopment in the neigh borhood, including landscape design, respect the neighborhood’s history and enhance its heritage character and value.

If Mumbai’s preservation mechanism creates a document based on a thorough exami nation of the conceptual frameworks that underpin historic preservation, the city’s pres ervation process will be strengthened. This in-depth understanding can only be acquired through substantial historical research, which is not currently permitted under DCR 67’s preservation strategy.

outstanding city. The preservation model should be updated to include a policy for the city’s infrastructure preservation.

ures in collaboration with the responsible government. DCR 67 fails to recognize historic infrastructure projects. It’s also beneficial to promote tourism in the old city without en dangering it. This gives the impression that the tourists are benefiting them financially, and that their cultural property ought to be preserved and protected because it is part of the world heritage. As a result, people, society, and businesses should all be aware of the need of maintaining heritage buildings and historic cities in order to preserve cultural and urban identity.

The credit should be given where it is due. The city of Mumbai is a very young city com pared to the world. Despite this, the city has managed to install such a systematic ap proach to the heritage preservation of the city. It is a great example for the other states in the country to take inspiration from as India has a very rich historical past. Proper con servation can go a long way in preserving history for many generations to experience. To strengthen the preservation process of the city, it needs to recognize the heritage value more than just the architecture and aesthetics.

There are numerous other historical and critical infrastructure projects spread around Mumbai that are now unidentified by the current historic grading procedure. For exam ple, Ruttonsee Mulji Pyaai is a stone fountain which is built in the Indo – Saracenic style. It’s an intriguing composition that starts with a wide circular trough with four cardinal points, each with four miniature-domed pavilions, and then ascends vertically in a pyramidal form. At the center is an octagonal drum with a trough and a domed octagonal pavil ion, with a figure of a youngster reading a book on the dome. Drinking water was availa ble from two troughs, East and West, while the North and South troughs were for animals. Such historical infrastructure projects have become an important part of the city, and they should be recognised for their contributions to the development of Bombay. The city becomes a habitable area when people, architecture, and infrastructure come togeth er, and this amalgamation should be recognised in order to establish and maintain an

A proper graphical and pictorial format to document in detail the structures is required. The structure’s photo documentation captures its current state and provides a visual help for form readers to better grasp the resource’s context. However, there were no archive images, and no attempt was made to elaborate on the site’s historic surroundings. In some parts of Bombay, the constructed fabric is extraordinarily dense. Pictorial docu mentation aimed at documenting a specific feature within the dense urban fabric will be an excellent tool for understanding the historic element’s context within the city.

CONCLUSION CONCLUSION70

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RAHUL SUSHANT SAWANT | 21400482 | MANCHESTER SCHOOL OF ARCHITECTURE