The SSAT Journal, 2016-17 print version by Soumik Das

FROM THE HOD’S DESK A MESSAGE

KEYA MITRA, PHD. PROFESSOR AND HEAD DEPARTMENT OF ARCHITECTURE, TOWN AND REGIONAL PLANNING INDIAN INSTITUTE OF ENGINEERING SCIENCE AND TECHNOLOGY, SHIBPUR

The Department of Architecture , Town and Regional Planning will graduate the 63rd batch of students in the Bachelor of Architecture course in May 2017, while the Post graduate course in Planning will complete 43 years. Our rich legacy spanning these past decades is our greatest asset, as we have a fountainhead of heritage to learn and draw inspiration from. At the same time, heritage brings with it, responsibility, to perpetuate the legacy and do justice to the history crafted by some of the tallest figures of the architecture and planning professions. The Students Society of Architecture and Town Planning has these two pillars as its cornerstones. In the past one year, the SSAT has engaged in a number of activities. In the competition arena, the department has done well though a lot more needs to be achieved to do justice to our illustrious past. Our entries were shortlisted in a number of categories in the Annual NASA Design Competition and in the Zonal NASA Convention, and I look forward to our students securing top positions in these nationwide competitions, once again, in the years to come. Teachers’ Day was celebrated by the undergraduate and post graduate students in a gesture of recognition of the special relationship that exists between the teachers and students of this department, which functions more like a family, where we are connected by a shared heritage and common aspirations. The Annual Education Tour held during November 2016 was a great success. Demonetization right in the middle of the tour once again showcased the strength of our tremendous alumni network as our friends and well wishers rallied to help the Tour group continue with and complete the tour as planned. The Department published The Indian Arch ’16, an ambitious venture where articles were received from some of the biggest names in the architecture profession nationally and internationally. With support from the Institute, the magazine could be published on time and it is definitely a collector’s time that will be treasured by recipients. SSAT took the initiative to organize a 3 day workshop on Computation in Design tutored by Ar. Joy Mondal and there were many enthusiastic participants. The department welcomed this initiative and encourages more such co-curricular engagements. As another academic year draws to a close, and SSAT readies itself for a change of guard, I wish to place on record, our continued support and encouragement for SSAT activities. I wish that SSAT achieves greater heights in the years to come and wins more laurels for our alma mater. Jai Hind!

Front Cover By Devarpan Mukherjee, 5th Year

THE FRATERNITY THAT IS ARCHITECTURE The students of the Department of Architecture, Town and Regional Planning, Indian Institute of Engineering Science and Technology, Shibpur are changing very fast and positively. Most of them have come here to study Architecture by choice and not by only residual option. The students of first year take at the most six to nine months to get adapted with the course and start loving it. The seniors may complain about scarcity of chance of interaction with the freshers but by the time the freshers graduate to second year they mix up well with seniors and the seniors also readily accept them. Every student gets benefited from seniors particularly in the domain of design inputs and usage of software. It is well appreciated when the students place their demand of furtherance of intensive use of the computer laboratory which they protect and love as precious resource. ‘Computational Parametric Design’ as a tool is evolving like a shooting star. There may be long debate on utility of software in ‘Architecture’ but application of it is irreversible. The performance of the students of the department, in the recent past, in the national and international ‘Design Competitions’ are highly commendable and in most of the cases they participate in these competitions on their own. Their creativity is also recognized far and wide in the campus. Even after conversion of this institute to one of National Importance (INI), finance to these students’ endeavors is still a major constraint. It is appreciable, the way the Students’ Society has started managing the departmental resources on their own innovative manner. Sometimes the provisions of resources made by the department do not match with the students’ demand but this phase lag is temporary. The department has also stepped out of its limits in assisting the students in many ways, to name a few like reimbursing the travel expenditure made during the annual educational tour and procuring requisite number of hardware, software and peripherals. In this regard the current Chair of the department deserves a special mention. As a consequence of conversion of this institute to one of national importance the students are being admitted for last two years (since 2015) through national level admission examinations both in Under Graduate and Post Graduate levels and are pooled from all corners of the country. This has helped the society of students in uplifting their dynamicity of thought and widening of their perceptions. Presently the department boasts of its high level and quality of faculty contributed by its members, nine out of thirteen possess Doctorate degrees. Research scholars of varied domains of interests are finding their means of quenching their thirst of higher knowledge in this department. The Doctorate programme of this comparatively small department is a saga of success. It is envisioned that the conjugal efforts of the teachers and students will help the department in ascending newer and newer heights.

PROF. ADITYA BANDYOPADHYAY, PH.D. PROFESSOR-IN-CHARGE, STUDENTS SOCIETY OF ARCHITECTURE AND TOWN PLANNING INDIAN INSTITUTE OF ENGINEERING SCIENCE AND TECHNOLOGY, SHIBPUR

বাংলার স্থাপত্য ও তার বিবর্তন

A Legacy, A Wish & A Hope With the year almost nearing to its end, the only thing I am being reminded of is

“Time flies, but memories last FOREVER”.

জ�োসেফ অ্যালেন স্টেইন - ক্ষনিকের আলাপ

My tenure of being the Editor of The SSAT JOURNAL, has been a very hectic one, no doubt, esspecially in the last few months, but looking back I have no complaints against it. Because it has showered upon me memories, sweet and sour both, but recollection of which I shall cherish forever. Add to it loads and loads of experience in designing a magazine. Topping it off was my wish to become the editor of The SSAT JOURNAL - & the journey never seemed to be monotonous. This Journal would never have been complete, had I not received the support from the students, faculty and the alumni who had graciously contributed their bit to the making of this magazine. Specially I would like to thank the authors for their articles to give the magazine its current shape. Most importantly, I would like to thank Sakshi, Shayantani and Shubhayan Da for their constant help, even in the dead of the night, throughout this process. I hope that you may find reading this magazine enjoyable, and I have every hope that the legacy will continue in the future.

Soumik Das Editor, SSAT. 1

STADIUM

SAKSHI SINGH

2ND YEAR

AND ITS SUSTAINABILITY

SOUMIK DAS 3RD YEAR

By definition, a Stadium is a setting for the conduction of outdoor sports, concerts and similar events. The stadium comprises a stage or a field for the occurrence of the event, and a tiered structure completely surrounding it for the spectators to view the event. The origins of the word ‘stadium’ root back to the Greeks, when the Latin word ‘stadion’ referred to a measure of 600 human feet. In today’s times, a stadium would only be officially declared as one, if at least 50% of it is a built structure – concrete seats or stands. If the major part of the stadium tends more towards nature (grass hills and the like) the sports arena would not be considered as a stadium. Stadia may be classified based on their origins, their form, materials of construction and purpose. Different activities demand for different designs for stadia. A stadium may be meant for one or more than one sport. On the basis of the layout of the stands, it might be open, oval and horseshoe. An open stadium is one which does not have any stands at the immediate end of the pitch. An oval stadium means there are stands all around the performance area. When one end is open, the stadium is called a horseshoe shaped stadium. Several European varieties are rectangular comprising of four distinct and different stands on each of the four sides. Based on structure, a stadium could either take up a conventional form, or be domed, as in several modern cases. The dome may be considered as a misnomer, because the structure could actually be either vaulted or trussed or may possess a more unconventional design. Newer versions are coming up with newer strategies. Some have partial roofs, some movable infrastructure. Design is breaking conventions, to be precise. The Greeks and the Romans first brought to the fore the concept of stadia. The earliest known stadia were developed as stands surrounding horseshoe shaped race courses. Built on hillsides, these stadia utilized the existing contours to give the spectators a tiered view of the ongoing event. The one in Olympia in the western Peloponnese, Greece was the venue for several sport events, of which sprinting courses were the chief ones. The Romans lent monumentality to their version of the stadium. Think of the Colosseum, one of the Seven Wonders of the World, which stands as an epitome of the grandeur of Roman architecture. It is the largest amphitheater to be built using sand and concrete. Seating in the stadium galleries was based on social tiers. Romans also developed the designing of the Circus form of a theatre, as well as multi-user amphitheater.

Modern stadiums, in their earliest designs, were not conceived to have a sustainable approach. The construction of stadiums present twin problems – (i) the stadium should be majestic and almost an icon of the city and (ii) the gigantic scale requires huge amount of resources and land is very much a non-renewable resource like fossil fuels. The simultaneous occurrence of these two requires the need of sustainability in the stadiums. With reference to this, modern stadiums can be divided into 2 categories : Mega-event based (e.g. Olympic Stadiums) and League stadiums. The main difference lies in the frequency of use of their use : Mega-event based are used once while the league stadiums are in usage for the whole year through league games, concerts, etc. The variation in the frequency is mainly because the former is state owned and does not allow its regular usage. Moreover mega-events like Olympics is generally organized in a single city and the burden of resources falls on the single city. World Cups do not face these problems because they are usually organized by refurbishing the existing ones. Olympics are generally organized in Olympic Villages which occupy sizeable portion of the city’s land. They are mostly temporary in use but permanent in construction. Most cities submitting the bid for such events are considerably populated and construction faces the major problem of re-allocation of enormous number of residents since both require maximum resources for their optimum performance. In addition the events require large scale infrastructure and efficient financial solutions which in many cases the cities are unable to provide. Just six months on from the 2016 Games, a number of Rio’s major Olympic venues have fallen into a state of disrepair. Since the Paralympics closing ceremony, the Maracana Stadium has been looted, the key Games precinct has been shut down and the city’s Olympic golf course is struggling.– The Guardian. Among others the Bird’s Nest in Beijing sits idle without generating enough revenue for its maintenance and Hitler’s Olympic village is in ruins. The concept of sustainability can be defined as the condition of meeting the needs of the present without compromising the ability of the future generations to meet their own needs. (World Commission on Environment & Development, 1987). As such the modern stadiums can be conceived to be an enclosure of an area – the permanency of the

sign for the pitch with respect to its closeness. The north, east and south galleries after the event can be removed to provide contoured land acting as a natural gallery. Furthermore a part of the roof structure for the temporary gallery is used as a commercial space generating revenue from the public use of the community park. The transformed London Olympic Stadium is another example of increase on demand – increasing from 25,000 capacity to 67,000 in addition to being able to host a larger variety of sports and concerts.

Above : Incheon Stadium with its temporary structure Below : Incheon Stadium with its temporary structure removed Source : Archdaily

enclosure determined by the frequency of its usage. The Incheon Stadium in South Korea designed by Populous in collaboration with local firm Heerim Architects and Planners in 2014 provided a sustainable approach in this regard. The proposal was to design a stadium for a capacity of 70,000 and shrink it to 30,000 after the event to be used as the People’s Park in Incheon. Instead of trying to reduce from 70,000 to 30,000, the design approach was to enlarge the 30,000 to 70,000 capacity. Due to this change the cost of construction was drastically reduced since the west part of the stadium is permanent in nature while the other parts have temporary structure. The concreteness of the west gallery allows an ideal de-

The colossal rooftops of the stadiums can be used to harness maximum solar energy which would reduce the non-renewable energy consumption of the arena and is being adopted by majority of the prominent stadiums around the world to reduce carbon emissions. Chinnaswamy Stadium, Bengaluru is its effort to adopt a longterm solution has installed its own solar plant with solar panels in the eastern stands.It is capable to power most of the stadium facilities including the floodlights and is equivalent to 200AEH. Super Bowl organized in 2016 at Levis Stadium, Santa Clara, CA has taken it further to organize a Net Positive game along with many other stadiums around the world trying to develop into a carbon-positive design. Often leasing or renting out the stadiums to shopping malls, convention and business centres, hotels, etc. do not generate enough revenue to maintain these “White Elephants”. What if the fundamental idea of onshore stadiums was replaced with offshore ones ? The German architects stadiumconcept has developed the ambitious and extraordinary project of the Floating Offshore Stadium for the FIFA World Cup 2022 to be held in Qatar. The proposal is to design a stadium capable of floating on water and this floating nature gives it the ability to be trans-

ported anywhere on the planet depending on the need, assuming the host has a shoreline approachable from the oceans. This mobility allows it to be used in a much more efficient sustainable manner. Being situated on land the stadiums encroach upon the precious land resource and is not an obstacle to the regular functioning of the city. Moreover, it can harness the tidal and wind energy as well, along with the solar energy. The stadium can be rented out or used by the owner in a manner fit throughout the year for various purposes. The nature of the pitch can be changed easily since the stadium is floating and not fixed to the ground. And the maintenance cost does not have to be borne by the residents of a single country alone.

Top : Seaside view of Floating Offshore Stadium Middle : Structure of Floating Offshore Stadium Bottom : Sectional View of Floating Offshore Stadium Source : Archdaily

The strategy conceived is to design a simple stadium in terms of its geometry as per the requirements of FIFA, UEFA and the international standards on comfort and safety. Number of seats has been designed to be within a range of 33000 (minimum UEFA standard) and 88000 including the 65000 seats required for FIFA World Cup openings and finals. The structure is placed on a baseplate which holds the stadium bowl supported the vertical and horizontal members similar to the ones constructed on land. The baseplate can be constructed as precast pieces assembled on site or constructed in-situ. The baseplate is further held by a number of buoyant bulbs which help in leveling the stadium properly instead of a singular float. With time, the technology for stadium construction has been upgraded and will continue in the future days. But strong commer-

cialization of the stadium and the race to provide premium services in the stadiums has been a demoralizing factor in this process and has taken out the involuntary enjoyment originally associated with sports with the common man being left out of the equation. Optimum sustainability can be achieved only if all resources are properly used.

ACKNOWLEDGEMENTS : 1) https://sourceable.net/makes-stadium-sustainable/ 2) 3) 4) 5)

https://www.royalchallengers.com/blog/rcbgogreen-chinnaswamy-worlds-first-solar-powered-stadi um-15032 https://www.terrapass.com/sustainable-football-stadiums http://s3.amazonaws.com/academia.edu.documents/35903110/STADIUM_CONSTRUCTION_ AND_SUSTAINABILITY-THE_REVIEW_OF_MEGA-EVENT_STADIUMS_1990-2012-Er ten__Ozfiliz.pdf http://www.archdaily.com/138162/floating-offshore-stadium-stadiumconcept

Graphics

: SOUMOYADIP SARKAR

BE-তর্ক

DECODING ENCLOSURES :

ORTHOGONAL & ORGANIC

SARTHAK CHAKRABORTY 4TH YEAR

Left Top : Human Habitat form developed due to the very essence of the concept of enclosure as described abstractly Left Bottom : Creation of Enclosed Space in Townscape (Sketch by townscape artist Gordon Cullen)

One of the prime concerns while designing a space would be the creation of a proper enclosure – a well defined space that has spatial and visual distinction. Every organism trends to seek shelter that shall enclose him within a vertical as well horizontal barrier from the vast expanse of nature. This holds true for all - for an insect seeking refuge within its honeycomb, a snake digging up its bill or a bird retreating to its nest after a long and tiring day. An enclosed space is crucial to every organism’s haunt. But the sense of enclosure and the need for it is most strongly felt by humans. This sense of enclosed space is achieved both through a space demarcated by four walls, a roof and floor, as well as through plazas, pockets and squares that provide the deemed delineation in an urban dense environment. The sense of enclosure is a universal concept – providing security to the weak and territoriality to the strong. This is a fundamental concept for space planning and a key note for all planners, architects and urban designers. If we delve into the historical significance of the evolution of enclosed spaces a little, we may clearly and distinctly trace out the very first form of shelter having been created, the ‘Terra Amata‘ which was of an organic form, developed due to the needs of the

early pre-historic man. Gradually, the needs of the occupant became manifold. The concept of four walls and a roof came up. With time and with the introduction of different schools of art – the Baroque, the Renaissance, the Art deco – these four walls and roof underwent several modifications and enhancements, in terms of aesthetics and materials. The fluidity of the organic shelter transformed into rigidity of the orthogonal shelter. This orthogonal alternative for a shelter seemed considerably practical and functional until the fluidity was rediscovered (not in the truest sense) in the new ‘Representative Architecture’ – in the works of the present day stalwarts like Zaha hadid, Frank Lloyd Wright, Michael Reynolds etc. The buildings of these stalwarts are characterized by their seamless take over human habitations and nature. The same is an important attribute of Vernacular Architecture – Architecture without Architects. There surely is beauty in the creation of spaces by people for themselves based solely on their needs and ideas, without following any strict aesthetic modules. That is what vernacular architecture is about and it is worth appraisal and research. The issue is that vernacular practices alone cannot deal with the complexities that the urban environment is posing on mankind today. The ultimate aim that is the basic needs and aspiration of our society should be addressed. Certain vernacular practices are low on technology and cannot be relied upon to create the buildings of today. What can be done, however, is to observe and learn how these practices result in the complete synergy of the built form and nature. The organic form of vernacular architecture is worth drawing a lesson from. We see that the transition and growth from Organic to Orthogonal to Organic describes the evolution

‘Tera- amata’ the prehistoric shelter form

in the gradual understanding of function and form. The choice lies between any of the two. One architect might appreciate ‘Popular Architecture’ while another might believe in ‘Representative Architecture’. The choice depends on the understanding and the proportion of stress on functionality or aesthetics. Our ambience greatly depends on the nature of the enclosure we are within. We might consider space as ground and enclosure as figure. An enclosed space provides psychological security to the user. It might also be said that an enclosed space is required in order to appreciate the character of the open spaces. This necessity can be addressed by using either complete harmony or complete aggression. The choice is that of the person who is creating the space. The choice is mine. The choice is yours. IMAGE SOURCE : Google Images

The fluidity of curves designed by Zaha Hadid through a performance arts centre also gives it an organic form. The structure can be seen as a seamless entity with the contours of the surrounding landscape.

SKETCH : Soura Manna, 2nd year 10

â&#x20AC;&#x2DC;The falling waterâ&#x20AC;&#x2122; by Frank Lloyd wright is an excellent impression of orthogonality in complete agreement with vorganic architecture.

SHOWCASE

ARCHITECTURE IN ART

INTERPRETING ‘DESIGNED SPACES’ IN INDIAN PAINTINGS

Preamble Architecture and Art are often inseparable. Former is referred to as ‘the art and science of space design’, while the later is ‘expression or application of human creative skill and imagination typically in a visual form’. Originally, there were five branches of ‘Art’ - music and sonic art, visual art, performing art, literary art and architecture. Through ages, architecture was partially diverted from art group and blended with indispensible technologies of science. By application, architecture is real, intrinsic and utilitarian but the other branches are treated as contingent and imaginative. The aesthetic value of a building or space may not be accepted if it fails in function or use as designed for. On contrary, the aesthetic and intellectual value is the predominant way to judge painting, poetry, music, sculpture or drama. Thus, a valid and long-term debate persists among the architects and artists, ‘Is Architecture an Art?’ Let the debate continue by its own way. Coming to domain of architecture, we often practice scribbling when designing a space. The scribbled lines represent built forms of an actual three dimensional imagined space on a two dimensional surface (i.e. on paper, cloth or wall etc.). Globally, the practice is conventional and age-old as it conveys a sense of ‘reality’ and ‘concept’ of designing the space that to be installed in future. Therefore, an architect plays a role of an artist who creates a ‘painting’ of a future space which is to be judged by the users. An artist from visual arts also prepares paintings of similar items which describes a fact or an imagination or their blend without any connection of installation. Thus the artist’s creation doesn’t make the people alert about the technical-

DR. SOUMEN MITRA Assistant Professor ities or reality. The observer only enjoys and comments on perceived ‘good’ or ‘bad’ quality of the drawings. The painters may not face any challenge in proving the technical correctness in presenting the designed spaces in their paintings, rather, they are judged on the basis of concept and philosophy. Often the designed spaces or built forms in artist’s painting may not portray ‘realism’ but an ‘abstract built form’ drawn by an architect may not be accepted by commons. Therefore, the paintings of architects and artists are judged in different ways and attitudes, though, both the communities incorporate similar features in their paintings. Artists’ drawings are extended over a vast domain like portrait, landscape, still life, sketches and cartoons, although, sketching or painting of built forms brings the architect and the artist on same platform. Though, most of the ancient and medieval artists have focussed on figures and landscapes, but historically, many artists have worked on depicting architectural features in submissive ways. May be, the common’s attitude towards viewing an artist’s drawing also emphasizes landscapes, figures and still life and consequently the impression of ‘designed space’ is someway ignored. But, how the artists have perceived built forms in their paintings? Is there any diversity in approach? If yes, what are the primary differences in approach from an architect? What are the major elements of difference if compared? Hundred questions may be framed in this context. Considering above queries, the article briefly outlines the evolution of Indian Paintings in context of depicting build forms or designed spaces i.e. conceptualizing the topic - ‘Architecture in Art’. Primarily the

interpretation has been done based on – (a) techniques and features of portraying building art, (b) understanding the skills and concept of painters in context of contemporary socio-cultural and socio-political beliefs, and (c) identifying the influence or connectivity of global painting techniques as received or fusioned in Indian Paintings.

Indian Paintings Indian paintings possess rich and glorious traditions across space and time. Similar to the tradition of architectural artefacts, painting art also exhibits diverse characters in main-streams, regional styles and uninterrupted fusions till date. Pictorial representations of architecture (designed spaces) have appeared in Indian paintings in its own ways and not superseding the themes, actions or figures. The intellect, skill and concepts of Indian artists depicted the best possible ways in presenting socio-cultural life and traditions, and provided under-explored facts of building science and art in their personal ways. Themes in ancient and medieval paintings of unknown artists echoed homogeneity in portraiture, while, approach of modern painters became heterogeneous and unique. Sometimes, articulated blends of personal ‘isms’ and traditional folk arts are observed in modern and post-modern painters. In earlier period, Indian paintings were ritualistic, devotional, decorative, entertaining and educational. Philosophic concepts, symbolism (in shape, lines, colours, tones and textures) were used dramatically in depicting ‘imaginative realism’ which often produced super-natural forms. The craft, form, images and subject matters of paintings were controlled by tribes, religions, guilds and royal courts. Philosophy of Indian paintings was principally based on two aspects and was evolved during Vedic era – (a) theory of rasa and (b) theory of shadanga.

Fig 1: Navarasa painting

Theory of rasa (Fig. 1) depicts variety of aesthetic flavours that was conceptualized by a mythical-sage priest Bharata (~500 AD) and was theorized by Avinavagupta (~1000 AD). Nine principal feelings of human nature were developed alongwith prescription of colours – Shringar (Erotic) [Pale Light Green], Hasya (Humorous) [White], Karuna (Pathetic) [Grey], Raudra (Terrible) [Red], Veera (Heroic) [Pale orange], Bhayanaka (Fearful) [Black], Bibhatsa (Odious) [Blue], Adbhuta (Wonderous) [Yellow] and Shanta (Peaceful) [White]. Shadanga explains six various moods and expressions (shadanga) of - rupabheda (knowledge of appearance), pramanam (correct perception, measurements), Bhaava (action of feelings), Lavanya Yojana (infusion of grace), sadrisyam (similitude) and varnikabhanga (artists’ manner of using colour, texture and brush). The literary sources indicate that colours for painting in ancient and medieval India were collected from natural sources. The principal colours used were red ochre (dhaturaga), vivid red (sindura), yellow ochre (haritala), lapis lazuli (blue), lampblack (kajjala), chalk white (khadi mitti) terra verte (geru mati) and green. All these colours were locally available except lapis lazuli which came from Pakistan. Mixed colours e.g. grey were used on rare occasions.

Pre-historic Paintings Evidences of paintings in paleolithic pre-historic era can be traced back at caves of Bhimbetka (Madhya Pradesh) and Narasingh-

Classical Paintings

Fig. 2: Bhimbetka

Fig. 4: Harappa

Fig. 3: Anatolia

Fig. 5: Egypt

garh (Maharashtra). Other areas are in mirzapur and Banda (UP), Mahadeo hills in Bundelkhand, Larimur hills in Baghelkhand, Singanpur in Raigarh and Bellary (Karnataka). Later, wall paintings are observed in ancient Indus-Saraswaty civilization in present Pakistan. Figures 2 and 3, Bhimbetka (India) and Anatolia (Turkey) respectively, exhibit similar nature of cave paintings in context of space planning. Both paintings indicate animal hunting. Anatolia painting exhibits realistic human figures while Bhimbetka shows geometric presentations. Both paintings exhibit no space setting in horizontal tiers, but demarcate ‘planometric’ projection which enhances the sense of action, mobility and perspective in subtle way. Harappa (Fig.4) and Egypt (Fig. 5), in contrast, portray horizontal tiers to explain socio-economic and socio-political scenes. In depicting of figures Harappa is crude whereas Egypt shows a better action format and better quality of human figures. Both in Harappa and Egypt no such built-form is noted. Harappa indicates social, political and economic life by incorporating king, bull, fishes and hunting figures. The unity has been depicted by a series of persons horizontally in bottom. Egyptian relief-work focuses on economic life of hunting and agriculture. The plate doesn’t represent any single event; rather multiple scenes are explained in horizontal tiers. There is no system of foreshortening or increasing sizes of figures.

Timeline during 200 AD – 900 AD portrays the ‘classical period’ of Indian art and culture that was patronized by the kings of Gupta, Satvahana and Rashtrakuta dynasties. Themes of paintings were mostly based on social, cultural and political life of society under Buddhism, Hinduism and Jainism. Major evidences are observed in mural paintings of Ajanta, Ellora and Bagh cave of Western Ghats. Areas like Kanchipuram, and Badami in southern India also exhibits series of classical paintings. Cave paintings in walls and ceilings of Ajanta usually portray the life of Buddha and jataka stories. This time, concepts of Navarasa and Shadanga were practiced on paintings. Process of such paintings followed tempera technique. First a coat of rice husk and gum was applied on the canvas of raw wall and ceiling. When dried up, a lime coat was applied. Afterwards, the wash painting was done by using five colours - red ochre, yellow ochre, lapis lazuli, lamp black and white. Fig. 6 explains a scene from Mahayana phase of Buddhism that was painted in cave 17 of Ajanta. The theme combines three rasas – karuna (grey), shanta (white) and veera (orange). Around 20% of the canvas has been decoloured due to long-term non-maintenance prior to the re-discovery by John Smith. It explains a story of Jataka – Prince Vessantara and his consort Maddi are leaving palace. A good crowd is observed in left side of the road in equal proportions of ladies and gents. A royal couple is viewing the scene from the palace window. The painting truly demonstrates the social life, architectural format and landscape inclusive of unique figure patterns. The social life indicates gender equity in the society. The figures are multi-coloured, probably for depicting variety of caste. The figures drawn are frontal but most of them possess two or three inclined axes instead of a single vertical axis. Hence, all heads are inclined either in left or right side to express the mood and mobility of postures. Use of umbrella indicates the hot and sunny climate as of central and western India. The palace truly depicts the temple

Fig. 6: Vessantara Jataka, Cave 17, Ajanta features of Gupta and Satvahana dynasties. Specially, the columns resemble the Gupta art of Sanchi, Tigawa, Bharhut, Lalitpur and Deogarh. The cushion capital, upper circular shaft and octagonal lower shaft complement the evidences of art and architecture in contemporary timeline. The building is one storey high comprising of long inclined eaves those are often observed in temples. Use of an entrance portico supported by four columns was common in palatial buildings, as described in literary sources. Even, the rear wall in right side depicts use of bricks in buildings. In representation, the artist used his excellence in drawing linear perspective, a sense of one vanishing point in the right but not truly vanishing. The true sense of perspective in Ajanta paintings should be credited to the excellence of the artists’ skill and knowledge as formal system of perspective drawing was introduced almost thousand years later in Europe. However, unlike the representation of palace, size of the figures varied in terms of status in the society. Therefore, the faces in the window and the faces on the street don’t follow any rule of realism. But the Ajanta drawings are treated as one of the greatest influencing painting in the world due to portraiture of navarasa, articulation of colours and textures, and, for a convincing story that discloses the history of classical art in India.

Medieval Paintings For another seven hundred years (10th – 17th century AD), India witnessed a grand exploration of artisanal skills in miniature paintings. Four major schools of painting were originated in India. Early schools were ‘Pala’ in east and ‘Apabhramsa’ from west. Artists from both schools used papers and palm leaves

for painting. Most of the illustrations were inspired by Vajrayana Buddhism. Evidences of architectural drawings or designed spaces were scare in these paintings. The painters focussed mostly the contemporary social and religious life. The paintings were characterized by sinuous lines and subdued tones. Later two major schools of painting were evolved, one by the Muslim rulers and the other by Rajputana kings. Pre-Mughal rulers, notably, Alauddin Khilji and Iltutmish patronized mural paintings and illustrated manuscripts on cloths. Major themes of paintings comprised of administration and entertainment. On contrary, Rajputana paintings were thematically based on devotion, socio-culture and entertainment and got inspiration from local folk art and culture. Miniature paintings under pre-Mughal Delhi Sultanate were influenced by Persian and Arabic paintings and themes. The culture reached its crest under patronage of Mughal emperors. Baburnama and Akbarnama describe authentic illustrations of the contemporary social and court rules. The Mughal paintings were highly inspired by Persian court culture and a few Persian artists were brought to India. Some notable painters during 15th – 16th century were Abad-us-Samad, Dasawanth and Basawan. Between 1562 and 1577 a series of nearly 1400 cloth paintings were produced representing the new style and were placed in the imperial studio. The marital intimacy between Mughal and Rajputana kings produced remarkable fusions in miniature art. Figures 7, 8 and 9 are examples of miniature paintings under Mughal regime. First figure is a scene from Akbarnama where, Abul Fazal is placing ‘Ak-

Fig 7: AkbarNama

Fig 8: Entertainment in Harem, Mughal

Fig. 10: Interior barnama’ to Emperor Akbar in presence of a crowd in court. Figure 8 describes leisure and entertainment at Mughal harem. Third one represents a court scene where people are offering certain prayer and demand to the king. The selected paintings demonstrate contemporary patterns of Mughal buildings in details. All of them exhibit decorated walls, gems and stones embedded in marble or other wall stones. The decorations are primarily geometric or following patterns of arabesque (calligraphic). The scene from Akbarnama has been drawn in portrait format, where, the hierarchy of a royal court is described. Representation of the ‘designed space’ indicates a sense of multi-tiered and multi-point perspective but actually the painter skilfully blended the concept of vertical tiers and three-dimensional manifestation. Predominant colour of buildings is orange which relates the construction by red sandstone. The roofs are flat with long eaves and no use of arch resembles the art techniques adopted by Emperor Akbar. The painting indicates a sense

Fig. 11: Krishna

Fig 9: Court

Fig. 12: Entertainment

of bird’s eye view which starts from the gate of fort below and ends at a large ‘chabutra’ where the king is sitting. The figures don’t represent the perspective proportions but the aesthetic appeal is closer to Indian philosophy. The painting of harem during era of Jahangir clearly indicates a one-point perspective in high eye level. Similar to post-Akbar tombs and mosques, evidence of opus-sectile (inlay work) is observed in all walls and parapets. The painter skilfully draws the octagonal building alongwith arches. Practice of open terrace in upper level is clearly demonstrated in the painting. Use of curtains and carpets are indicated. Evidence of ‘mashrabi’ (jaali) is found in rear parapet. Fig. 9 demonstrates an aerial view of a court but in a vertical hierarchy. Intrinsic inlay work is avoided here. It also adds a temporary ‘chhatri’ (shelter-pavilion) and practiced fountain of later Mughal period. Overall, the mughal miniature paintings possess some uniform criteria – (a) use of red, orange and green colours, (b) sense of perspective at higher eye level, and, (c) practiced built forms.

Paintings of Rajputana in Rajasthan resemble the local folk art and may be classified in four schools – Mewar, Marwar, Hadoti and Dhundar. Three paintings have been selected from the school. Figures 10, 11 and 12 respectively describe the interior of a royal family, scene from Krishna mythology and entertainment of royal couples. All the pictures truly describe the built forms of Rajasthan but the representation merely follows three-dimensional interpretation in perspective sense. The first figure includes both interior and exterior which is a realistic imagination of defragmenting. Painting of interior describes the furniture, wall decoration and accessories those are observed in forts. The wall incorporates niche for keeping lanterns. The bright orange colour in interior and cold grey and blue colour in exterior creates a sharp contrast to focus on interior scene. In Fig. 11, mythological story of Krishna demonstrates the building of commons. A one storey high building, crowned by three chhatris above, possesses long eaves, decorated columns with brackets and decorated lintel over the door. The storage of butter-milk indicates a normal practice of Rajasthan. Use of red, black and white enhances the sharpness. But, the chhatri at roof level explains the Mughal order which connects the painter’s skill and knowledge also the realism. Third painting (Fig. 12) is almost similar to Mughal miniature, but, the three-dimensional technique is vanished. The built form drawn is frontal and incorporates bow-eave, kanjura parapet and inlayed wall. The painting cannot be differentiated from the Mughals.

Folk Paintings There exists a fade demarcation line between folk and main-stream paintings in India. Folk paintings are targeted to explain social and religious life, epics, myth, nature and mood of commons. Communities engaged in folk paintings usually work under vertical transfer of knowledge by generations. The folk map of India represents participation of almost all the states in India with ample varieties in formats and themes. Some of them use earthen colour as mat finish, while the others use vibrant primary colours. Some communities draw thick black borders in figures, whereas, other focus on intrinsic details of figures. Many of the communities earn by narrating the folk paintings in semi-urban and urban areas. Unfortunately, the thousand year traditional art form doesn’t represent any designed space that could help the architect friends to conceptualize the built

form of the community or the contemporary building culture. The technique the communities adopt is truly oriental and doesn’t represent though a realistic perspective format. Among innumerable groups and paintings, some famous indigenous paintings are observed as Madhubani (Bihar), Kavad, Bhopa and Phad (Rajasthan), Kalamkari (Andhra Pradesh), Pattachitra (Orissa), Pat and Patua (Bengal), and, Pahari and Chamba (Himachal Pradesh). Very few of them provide information about architecture (built form). Madhubani paintings (Fig. 13) of Mithila region (Bihar) depict social and religious life. Generally the women of Brhamin and Kayastha castes are traditionally involved in such painting. Phad painting (Fig. 14) of Rajasthan exhibits a medieval tradition. People of low caste usually prepare the painting on 15’ x 5’ scrolled cloth. They use flour, gum and bright colours. The stories include Ramayana, Krishna-leela and Hanumanji. Figures are drawn in profile with sharp black edges. Three dimensional interpretations are often oblique and follow axonometric systems (Fig. 14). Kalamkari of Andhra Pradesh is a type of scroll painting drawn on cotton clothes (Fig. 15). Researches approve Iranian influence in its name – pen (ghalam) and craftsmanship (kari). Often the topics incorporate epics and Indian mythological stories. First the outline is done by charcoal. Natural dyes are used as different colour. After application of each colour, the cloth is washed by buffalo milk. Interpretation of three-dimensional space as perspective projections is almost absent here. The placement of various elements is vertical and tiered but without any demarcation line. Kalamkari focuses the mood of the topic and the figures drawn are usually pattern-based. Thousand year old Pattachitra (Fig. 16) of Orissa state tells the stories of Jagannath and Vishnu (local deity). During bhakti movement of 16th century from Bengal to Orissa, ‘Krishna’ became one of the most favoured topics in such drawings. Pattachitra is painted on papers, clothes and other handicraft materials. Colours like yellow, red and green are predominant. The painting mostly exhibits two-dimensional representation by using solid colours and patterns, and uses profile pictures with intrinsic details. Pat or Patua paintings (Fig. 17) continue tradition of Bengal for more than 700 years. Surprisingly, the paintings and narrations are performed by Muslim ladies and are mostly found in western part of West Bengal. Apart from mytho-

Fig. 13: Madhubani (Bihar)

Fig. 14: Phad (Rajasthan)

Fig. 15: Kalamkari (Andhra Pradesh)

Fig. 16: Pattachitra (Orissa)

Fig. 17: Pat (Bengal)

Fig. 18: Pahari (Himachal Pradesh)

logical stories, the ‘pat’ also refers to socio-cultural and socio-political systems and also stories of colloquial sub-deities. The painters, instead of using solid colours, prefer playing of light and shade on paintings that represents three-dimensional sense to the drawings. Dark blue, black red, yellow, green and orange are major colours to use. Pahari paintings (Fig. 18) of Himachal Pradesh incorporate several branches like Kangra, Chamba etc. The style was originated during late 16th century and hence, was severely influenced by Mughal art of miniature paintings. Design of space is similar to Mughals and Rajasthani painting. A number of other styles of folk paintings continue in India. Among them, major branches are Tanjore painting, Mysore painting and Lepakshi (Vijaynagara) painting. All such paintings echo the narrations of Hindu religion, deities, stories of Indian epics and mythological stories.

Modern Paintings During 18th century, the political turbulence in India due to decline of Mughal regime and increasing power of the British, art of India couldn’t flourish. Though the folk art continued in some communities sporadically, but, the mainstream art of India remained almost stagnant. The artists were primarily influenced by the Victorian art and became mere copiers. Art appreciation became confined within aristocrats and rich merchants. In 19th century, a few notable English artists - Cunningham, Fergus-

son, Havell, Cousins and Percy Brown tried to revive Indian art by channelizing through a modern way. Later, the tradition of Indian painting became artist-centric and ‘ism’-centric, instead of following a common pattern of traditional Indian paintings. The modern Indian drawings became semi-westernized and were patronized by the British. During the initial phase of art revival in India, Raja Ravi Verma (1848-1906) of Kerala became one of the most popular painters who was inspired by European techniques but softened the anatomy, colour, appearance and appeal as of Indian context. He had chosen mythological stories and contemporary social incidents as subjects and water and oil as medium of paintings. Unlike traditional Indian paintings, he concentrated on depicting realistic imagery based on linear perspective systems. Most of his paintings portray perfect application of one- or two-point perspectives for the entire canvas. Fig. 19 depicts a realistic space design of a south Indian temple in true perspective sense. Two figures, the lady and the beggar, also represent true proportion of figures how a human eye views. Raja Ravi Verma worked on appropriate measures of light and shadows on figures and built forms. The western art could not survive long in Indian society. A group of intellectual Indian personnel initiated art movement against the British. Subsequently, new avenues of art form were opened up with a blend of western and eastern art formats. The tradition-

Fig. 19: Donation: Rava Ravi Verma al folk styles also merged in the main-stream. Three schools of art namely Bengal, Bombay and Madras were born. The Bengal School of Art was the brain-child of Rabindranath Tagore. While setting up the natural-

istic education hub in Santiniketan, he patronized the modern art movement that was supported by other eminent personnel, notably Abanindranath Tagore, Gaganendranath Tagore, E.B.Havell and A.K.Coomaraswamy. Talented artists like Nandalal Bose, Binod Behari Mukherjee, Jamini Roy, Suren Kar and Ramkinkar Beij joined the school afterwards. Bengal School of Art didn’t follow a single style of representation; rather, every artist portrayed his painting in its own way. Rabindranath was fond of abstract surrealism art. The soft strokes with under-toned mat colour in his paintings exhibit realistic dream those are close to oriental art of representation. The temple in a serene quiet landscape (Fig. 20) exhibits such feature. Away from realistic perspective drawings, he captured the true ‘mood’ of drawing instead of adopting a true snapshot technique. On contrary, Jamini Roy got inspiration from typical folk paintings of Bengal, Mithila, Orissa and some other regions ...”his underlying quest was threefold - to capture the essence of simplicity embodied in the life of the folk people; to make art accessible to a wider section of people; and to give Indian art its own identity, influenced by Kalighat painting (pat)”. His drawings (Fig. 21) are geometric and pattern-based. Use of vibrant and earth

Fig. 20: Rabindranath Tagore

Fig. 21: Jamini Roy

Fig. 22: Gaganendranath Tagore

Fig. 23: Nandalal Bose

Fig. 24: Manishi Dey

Fig. 25: Amrita Shergil

colours alongwith white dots and strokes provide an impression of indigenous ‘alpona’ of Bengal. Jamini Roy took advantage of making profile figures. Subdued space design is observed in his paintings almost in two-dimensional representation. Thick black borders, unusual eye format and solid colours are major styles of Jamini Roy. Away from folk art, Gaganendranath Tagore worked on western semi-abstract format. He played with contrasting colours like while, black and red. He is treated as “the only Indian painter before the 1940s who made use of the language and syntax of Cubism in his painting”. The painting ‘Magician’ (Fig. 22) depicts his style. The space exhibits an appropriate two point linear perspective with overlapped figures to represent existence of parallel worlds. Nandalal Bose, one of the most respectful artists to Bengalis, got inspired from Mughal, Rajput and Japanese Paintings. Social and cultural lives of people are clearly depicted in Bose’s painting (Fig. 23). Format of miniature paintings and the subdued colours of Japanese paintings are equally applied here. Manishi Dey developed his skill in water colour (Fig. 24), especially using the mode of fantasy. His paintings perfectly portray the Indian habitat and built forms but using western methods. Amrita Shergil consciously attempted to revitalize classical Indian art (Fig. 25). She was passionate in painting of poverty, daily life of commons and Indian festivals. Use of colours like red, black, grey and white indicates a special identity for her paintings. The Progressive Artists Group in Bombay was formed in 1948 under Francis Newton Souza. Other personnel were S .H. Raza, M.F. Hussain, K.M. Ara, S.K. Bakre and H.A. Gode. This group broke away from Bengal School of Art and represented the modern forceful art of independent India. Fig. 26 explains a dense multi-tiered urban set up of contemporary period. Similar to deconstructionism, Souza has represented the buildings, often not in vertical axes. The buildings include churches and other colonial structure of 19th century. Use of colour indicates a gloomy and pale ambience. M. F. Hussain (Fig. 27) often presented seriocomic and satires in his paintings. Following abstract art, he reached to realism. Use of black patches and borders often demarcate the paintings as abstract, but, the moods are appropriately expressed even though figures lack proportions like snapshots.

Conclusion

Fig. 26: Francis Newton Souza

Fig. 27: M. F. Hussain Indian paintings, across space and time, narrate the stories of nature and human life. Even it’s a royal court or a scene of poverty; the artists are more concerned to express its mood. Philosophy of navarasa and sadanga has been adopted, active or in subdued ways, although the contents changed in changing space and time. This is indeed an appreciation that the folk paintings of India reached almost to eternality in terms of human life and culture, while, other patronized art forms are contemporary and seen through a certain time frame. The classical, medieval and modern paintings are based on imposed or self-instructions. But one can relate that all such paintings are inspired by folk arts of India. All the genres, except colonial paintings, don’t focus on snapshot perfection but reveals the philosophy of art. Moreover, culture and mind-set of Indian artists always received the fusional elements from Iran, Arab, Europe, Chinese and Japanese art format, but, the indigenous expressions remained unchanged. Technicalities of ar-

Fig. 28: Scheme Planning of Dilli Haat, Pradip Sachdeva chitects’ drawing, though borrowed from European skills, and the system is still continued in the architecture fraternity, however, appeal to capture mood in any drawing is a major issue in Indian paintings. This article may be concluded here by putting an architect’s painting as an architectural scheme that really explains the level of inspiration from traditional Indian paintings.

References Colourful Stories: Indian Folk Painting Dhar, P.P, Indian Art History – Changing Perspectives, Documentation of Indian Miniature Paintings, Resorce Centre for Traditional Paintings, National Institute for Micro Small and Medium Enterprise, sponsored by Ministry of Textiles, Government of India, Graham, G., Philosophy of the Arts: An Introduction to Aesthetics, Third Edition, Routledge publications, 2005 Historical Painting Techniques, Materials and Studio Practice, University of Leiden, The Netherlands, 1995, The Getty Conservation Institute http://asi.nic.in/asi_monu_whs_ajanta_caves.asp http://onlinebharatanatyam.com/navarasa-the-nine-moods https://en.wikipedia.org/wiki/Indian_painting https://en.wikipedia.org/wiki/Modern_Indian_painting https://www.pinterest.com/isrnyi/mural-painting Indian Art Painting – Unit 11 (http://Smartprep.in) Introduction to Modern Indian Art & Early Instance of Abstraction in the Pre-Independence Indian Painting, Chapter 3, (shodhganga.inflibnet.ac.in/bitstream/10603/41107/8/08_chapter%203.pdf) Mapping the field of Indian art criticism: Post-Independence, AAA Research Grant, Final Report, 2009-10 Panorama of Indian Painting, Report, Ministry of Information and Broadcasting, Government of India, 1992

Confession :

Indications of references are not provided in appropriate locations in text for not to make the readers over-burdened with referenced authors or years. This may be treated as a crime for an author, but the article aims at understanding the overall theme and not to examine the correctness of an answerscript.

PRACTICE

FRAGMENTED VISION :

PLACES THAT WE GO

SUDIPTA ROY

GRADUATED IN 2013

ARCHITECTURAL

THOUGHTS

Walk – Look – See …. Imbibe.

She spends a couple of minutes in front of the house. Takes a few needed measurements and marks the street on the map that she was carrying and starts walking again. Her companion is busy clicking a few more photographs. She looks around. Sipping the hot tea with that earthen flavor and the gingery smell filling up the air, she starts flipping through her sketchbook and browsing through the pictures she’s been clicking since the morning. It was her first day here. Oh! She left her measuring device somewhere in the narrow alley. She needs to go back to find it. Walking towards that narrow street, she stopped in front of the old house on her left, which she passed by the first time when she was roaming around, that limewash with the extra bluish tint in it, those pillars on the verandah on a 4 feet high plinth and that slightly open heavy green wooden door from where you can see the ray of white sunlight permeating through the jali covered courtyard, the cross hatch shadows they make, that sudden cool air and the smell of dampness, dust and falling plaster, and that noise of the utensils coming from the kitchen on the other side of the courtyard, she notes them in her mind unconsciously. Started to walk again, thinking to herself, where did her friend go, why couldn’t she find her yet? Even her number is not reachable! What’s that noise! That constant sound of a machine humming, the one that’s overpowering even the high pitched Bollywood song playing somewhere nearby. It’s coming from the house on her right; she peeks inside through the small rectangular window like opening leading to the semi basement, a series

of machine indeed, powerlooms, she thought. It is quite possible here. Ahead, the street takes a turn to the left and she saw around, men in their white kurta pajama walking up and down, the humming of the new machines even louder and almost silencing the other clacking sounds of the wooden handlooms, but still manages to create wonder with the six yards of the famous silk. Closed wooden doors, these half wet stone laid sloping streets; the street goes downhill. There’s a recurring colour scheme of this place, it occurs to her, bluish white, a greenish teal, a dark tan, yellowish lime wash or sometimes red and this brownish stone, kind of sinks into you. Remembering what she came back for, the measuring device. She has to find it somehow, without which how will she finish her measured drawings. That repetitive betel leaf pattern on the plinth of these houses gives an edge defining character to these structures, she says to herself. They do not need boundary walls to protect their homes, she chuckles. Suddenly someone pushed her from the back, before she could turn around she saw two kids disappear through the door into the house on the left. She heard someone scolding them. The smell of the incense sticks, a temple must be nearby. Tracking it she finds an idol tucked inside the narrowest temple chamber she has seen till now, three hundred years old, the writing on the wall said. Curious, she walks in, inside, women are sitting together with their pickle jars kept in the sun and chatting among themselves, they saw her and continued their conversation. To her right a stairway was going upwards. She hesitated for a second and

started climbing up the dark wooden staircase. How people living here can feel so secure, that they always keep their entrances open, that anyone can go in, even to some extent, she thinks. She understood one thing, she is being noticed and that in these extremely closely built houses and this narrow street, there are eyes all around her. Finally the staircase ended in the terrace and she gasped for fresh air. She felt relieved in the warm sunlight. It was the end of February but the chill in the air was still there. Moreover the warmth cannot droop in the street below, the houses were too high compared to the street width and the wind was causing a tunnel effect, her technical mind whispered. She looked across the terrace to find that one can actually walk from one terrace to the other. Series of houses, like an irregular colored checkerboard in front. Losing all hopes for her measuring device by now, she tried dialing her friend’s number which went unanswered. She started coming down the staircase again and started walking. She felt lost in a way but there’s a directional vibe if one notices the people on the road. They are busy in their own chores but maybe if she walks straight it will lead somewhere. This was not the way she walked the first time, where did she lose her way! She should have paid more attention to her surroundings. She opened her phone for the location on the map, after all technology is a savior. The maze of numerous narrow streets which showed up on the screen jumbled her mind totally. How can people live here in such close knit manner, it surprised her. She tried orienting herself to some extent. And it lead to the kachoris being fried up in the boiling hot oil in that huge black iron cooking pot on her right. Leaving all hopes of a gps directing her to her destination, she filled herself with the crisp hot food. She noticed in amazement the handlebar moustache the cook was sporting and the deft way he was finishing his work. With lost hope for direction and her finding her friend she now became aware of where she was. The imposing old structures on either side, the line of wooden railings on the verandahs from one house to the other, the ornamented brackets with their lotus buds pointing downwards, the men busy conversing on the otlas of their home, faces of the kids and old ladies from the quarter open heavy wooden doors, the small idols and shrines under the tree or on almost every corner of the street and the faith of the worshippers and the care with which they are offering their prayers, the sky above was like a zigzagging

trail of white light and the pigeons fluttering around, some sitting in a row, the cow standing in front of that vegetable vendor, chewing whatever he gave it with all the time of life it has. Or those sparrows chirping on the entangled overhead wires and that curious face with heavy glasses from that iron grilled window looking down, the dog that was lazily cuddled up near the corner, how the streets took a turn and every turn was like a gathering point for the people with shops around and bustling with activity, people sipping through their hot chais, bargaining with the shop owner in that high pitched voice, or that smell of the jasmine flowers hanging from the strings, she noticed everything. Pause. She tried to imagine this very same street without these. It felt lifeless and purposeless. Is it possible to recreate this? Is it even necessary? The “Community or the people who live here” as we think we know it, the “Intangibles” as we call it, the bond they share and the result of which is Architecture as we see it, is it essential to save them? Time flows, people residing in a place evolve, and their needs change, their mode of building changes, what remains are what they have inherited and the transformation to being a heritage starts. Architecture is responsive to the place, it is difficult to look back and place ourselves in that time and understand the process of when, why and how. A structure as we see it in a frozen time was not built at one stroke, it took years, generations, their evolving choices of materials, sense of aesthetics, change in uses, their economic condition, to bring into life what we see in front of us. One can have assumptions of so many conditions from even a simple change in the grill pattern of the balconies facing the street. There comes the need to conserve and give importance to the traditional knowledge that has being passed on for several generations. It is not enough to have a technical knowledge of the construction system, materials, architecture, but it takes a sensitive approach to understand the relation of the built to the one that can only be perceived or abstract. Thoughts crossed her mind and she saw a change in the objects in the shops around her, an increase in the flowers for offerings, objects used in the pujas. A buzzing sound filled her ears, she concentrated to listen, it was coming from down ahead, the street abruptly ended there. She was taken aback, but she continued walking. A white rectangular blank white opening was in front of her with trees framing it from either side. What revealed as she slowly went

ahead were the steps leading down. To the banks river Ganga, they led. Her first glimpse of the holy waters as they call it in Kashi, Varanasi. She sits down on the steps of the ghat and in the middle of all the mayhem she felt a sense of completeness. What was she searching for and what she obtained were things that were poles apart, but the process opened her eyes to the simple things in life. She could see the people taking dip in the waters, hoping their sins would wash away, the person meditating on the steps, searching for peace, the uncountable people offering

prayers to the river, the boats tied to the ghats and the numerous majhis taking people across the river for ride, the sound of their rows splashing the river and music being played on the flute somewhere nearby. She travelled, she has lost her way, in the narrow streets of one of the oldest living city in the world, amidst the unimaginable diversity of people, and she needs time to let the essence of Benaras, the ras of life, to seep in. She starts walking again, along the steps of the ghat. Travel inwards, they say. She has already embarked upon that journey.

The inspiration and context of this article is our site study in Varanasi as a part of the PG 2nd Semester Studio work (Urban Conservation Strategy For the Historic Precinct,Along the Ghats) at Dept.of Architectural Conservation, School of Planning and Architecture, New Delhi. Site Studies are an integral part of an architectural studio. Physical mapping of the place forms the base of the understanding of the history of the place and the culture which leads to further documentation of the tangible and intangible heritage, identification of issues, analyzing them and finally proposing for solutions for different restoration measures, infrastructure upgradation, adaptively reusing the abandoned, risk preparedness or reviving the dying tradition of the place. Varanasi in the present day though being an intensely diverse historic settlement, a sangam for people around the world and a repository of ancient knowledge system, is facing extreme

challenges in terms of the urbanisation without upgradation of infrastructure and services of the city, insensitive addition and alteration to heritage, spiritual gentrification without thought and the ever increasing tourism pressure. This article is a fictional attempt to capture the essence of the site or the structure as we architects see it, the elements on which we focus, or the ones that we overlook. It is the complete experience which includes processing the visual, audio, olfactory senses and then transcending in our memory to form an image of the place with all these attributes. For a unique historic city like Kashi or Benaras or Varanasi, all names to the same place, it is even more difficult to understand what to conserve, the life of this city doesnâ&#x20AC;&#x2122;t lie on its built heritage, it resides in its greater religious aura, which appeals to each one who have visited this place in a different wavelength, it cannot be measured, documented, mapped, but is the indispensible element that can only be felt.

Crowded Indian Market Street

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বাংলার স্থাপত্য ও তার বিবর্তন অরুনাভ সান্যাল চতু র্থ বর্ষ

'বাংলার স্থাপত্য' নিয়ে আল�োচনা করার আগে, প্রথমেই দু একটা বিষয় স্পষ্ট করে নেওয়া ভাল�ো। বাংলার স্থাপত্যকে তাদের গঠন আর জ্যামিতি অনু যায়ী বিভিন্ন গবেষক তাদের নিজস্ব দৃ ষ্টিভঙ্গি অনু যায়ী ভাগ করেছেন। আমি চেষ্টা করেছি ইতিহাসের সাথে সাথে স্থাপত্যকে মিশিয়ে দিতে, যাতে শুধু তথ্যের ভারে বিষয়টা ক্লান্তিকর না হয়ে ওঠে। মধ্যযু গে 'বাংলা' অর্থে - আজকের দু ই বাংলার সাথে সাথে বিহার, ঝাড়খন্ড আর উড়িষ্যার ক�োল ছু ঁয়ে উল্টো পিঠে ত্রিপুরা আর মেঘালয়ের বিস্তীর্ণ অংশকে ব�োঝাত�ো। গত আড়াই হাজার বছর ধরে বাংলাকে কত শত রাজা, ভূ স্বামী, সামন্ত, প্রভু বা জমিদার শ্রেণী শাসন করেছে। তাদের ধর্মবিশ্বাসের ও ভূ মিভাগের উপর ভিত্তি করে বিভিন্ন যু গে বাংলায় বিভিন্ন স্থাপত্য ও ভাস্কর্যশৈলীর বিকাশ ঘটেছে। অধিকাংশ সময়েই এই সমস্ত রাজা কিম্বা ভূ স্বামীরা আবার একছত্র বাংলাকে তাদের দখলে আনতে পারেননি। গঙ্গাহৃদি, গ�ৌড়, পুন্ড্রবর্ধন, বঙ্গ, সমতট, সু হ্ম, রাঢ়, তাম্রলিপ্তিকা, সামন্তভূ ম, মল্লভূ ম, ভুরশুট, হরিকেল ইত্যাদি বিভিন্ন আঞ্চলিক নামে বাংলার বিভিন্ন আংশকে এই সমস্ত শাসকেরা শাসন করেছেন। স্বভাবতই দেখা গেছে একই সময়ে বাংলার বিভিন্ন প্রান্তে সমান্তরাল ভাবে দু ট�ো তিনটে ভিন্ন স্থাপত্য শৈলীর বিকাশ ঘটেছে, যা পরবর্তীকালে আবার একই সাথে মিশে গেছে। বাংলার স্থাপত্য মানে শুধু বাংলার মন্দির বা মসজিদ নয়। বাংলার স্থাপত্য মানে বাংলার কুঁড়ে ঘর, বাংলার চালা, বাংলার তুলসী মঞ্চ। বাংলার স্থাপত্য মানে ম�োগলমারির ব�ৌদ্ধ বিহার, প্রত্যন্ত গ্রামের জীর্ণ নীল কুঠি, ভাঙাচ�োরা জমিদার বাড়ি। বাংলার স্থাপত্য মানে অসাধারন কাঠের কাজের সাথে সাথে টেরাক�োটা আর পঙ্খের কাজও। বাংলার স্থাপত্যের বিবর্তন নিয়ে বলতে গেলে পুরুলিয়ার পাঁচ হাজার বছরের প্রাচীন গুল�ো থেকে শুরু করে পাল যু গের ব�ৌদ্ধ বিহার হয়ে, সেন যু গের দেউল ছু ঁয়ে, ইসলামী মসজিদ স্থাপত্যের বর্ণনা করে বাংলার টেরাক�োটা মন্দিরগুল�োতে এসে থামতে হয়। এর পরও বাকি রয়ে যায়, ব্রিটিশ, পর্তুগিজ, ফ্রেঞ্চদের মহাসাগর পার করে নিয়ে আসা ইউর�োপিয়ান স্থাপত্যের প্রভাবে উদ্ভূত ঔপনিবেশিক স্থাপত্যরীতি। আবার শ্রেণী বিভাগ করতে গেলে শুধু সময় অনু যায়ী করলেই হয় না, ধর্মভেদেও স্থাপত্যরীতি সম্পূ র্ণ আলাদা। এক কথায় অকুল সমুদ্র। তবু আমি চেষ্টা করব যতটা সম্ভব সংক্ষেপে ইতিহাসের সাথে সাথে বাংলার স্থাপত্য ও তার বিবর্তনের রূপরেখাটা স্পষ্ট করে তুলতে।

প্রাচীন কাল থেকে গুপ্ত যুগ (খ্রিস্টীয় তৃতীয় শতাব্দী পর্যন্ত) মহাভারতে গাঙ্গেয় উপত্যকা ও তার সংলগ্ন অঞ্চলে - বঙ্গ, সু হ্ম আর পুন্ড্র নামে তিনটে পৃথক রাজ্যের উল্লেখ পাওয়া যায়। অনু মান করা যায় মহাভারতের কাহিনী অন্তত তিন হাজার বছরের পুরন�ো। এছাড়াও হিন্দু ধর্ম গ্রন্থ (৮০০৭০০ খ্রীঃ পূ :) আরণ্যকে পুন্ড্রবর্ধনের উল্লেখ আছে। বাংলায় প্রাচীন তাম্র যু গের সভ্যতার নিদর্শন (১৫০০ - ৬০০ খ্রীঃ পূ :) পাওয়া যায় বর্ধমানের পাণ্ডু রাজার ঢিপিতে (সিন্ধু সভ্যতার শেষ পর্যায়ের সম সাময়িক), বাঁকুড়ার দিহার সহ পশ্চিম মেদিনীপুর ও বীরভূ মের বিভিন্ন প্রত্নক্ষেত্রে। সমস্যাটা হল এই সব প্রত্নস্থল গুল�োর অধিকাংশই মাটির নীচে চাপা পরে আছে। তাই সে সময়ের স্থাপত্য রীতি নিয়ে বিশেষ কিছু বলা শক্ত। এছাড়া বাংলায় পাথরের অভাব, এখানকার আদ্র জলবায়ু , বর্ষাকালীন বৃ ষ্টিপাত আর বন্যার দরুন খুব পুরন�ো স্থাপত্য পাওয়া দু ষ্কর। তবে এটুকু জানা যায় যে সে সময়ের সভ্যতা ছিল মূ লত গ্রামীণ। বৃ ত্তাকার বা চ�ৌক�ো মাটির বাড়ি বানান�ো হত। প�োড়া মাটির ইট ও বাঁশের ব্যবহার হত বিভিন্ন ক্ষেত্রে।জৈন গ্রন্থ আচারাঙ্গ সূ ত্র (৫০০-৪০০ খ্রীঃ পূ :) অনু যায়ী আজ থেকে প্রায় আড়াই হাজার বছর আগে রাঢ় বাংলার বীরভূ মে (সে সময়ের নাম - বজ্র ভূ মি ও শুভভূ মি) জৈন ধর্ম প্রচারকরা জৈন ধর্মের প্রচার শুরু করেন। এরপর থেকেই যত সময় যায়, বাংলায় বিভিন্ন জনগ�োষ্ঠী ও ধর্মের আনাগ�োনা শুরু হয়। গ্রীক সম্রাট আলেকজান্ডারের ভারত আক্রমণের পর থেকে ভারতের প্রামান্য ইতিহাস শুরু হয়েছে। তাদের বর্ণনায় খিষ্টপূ র্ব ৩০০ শতকে গঙ্গার ম�োহনায়, বিস্তীর্ণ আংশ জুড়ে গঙ্গাঋদ্ধি/গঙ্গাহৃদি রাজ্যের উল্লেখ আছে। আজকের উত্তর ২৪ পরগণার চন্দ্রকেতুগড়, দে-গঙ্গা ও বেড়াচাঁপা সহ বিস্তীর্ণ অঞ্ছল জুড়ে গঙ্গাহৃদি রাজ্যের প্রত্নঅবশেষ পাওয়া যায়। এরপর সম্রাট অশ�োকের (২৬৮-২৩২ খ্রীঃ পূ :) সময় বাংলায় অজীবক, ব�ৌদ্ধ ও জৈন ধর্মের প্রভাব থাকলেও, মূ লত তার রাজত্ব কালেই বাংলায় ব�ৌদ্ধরা প্রভাব বিস্তার করেছিল। বাংলার সমসাময়িক উল্লেখয�োগ্য শহরগুল�োর মধ্যে তাম্রলিপ্ত (তমলু ক), পুন্ড্রবর্ধনের রাজধানী দেবক�োট (দক্ষিণ দিনা�জপুর), আজকের বাংলাদেশের বানগড়, উয়ারী-বটেশ্বর ও মহাস্থনগড়ের কথা বলা যায়। এর মধ্যে ক�োনটা ছিল পরিখা

পদের উল্লেখ আছে তাতে আলাদা করে বঙ্গের উল্লেখ আছে। অধিকাংশ জনপদগুল�োর পতন হলে ভারতবর্ষে গুপ্ত সাম্রাজ্যের সূ চনা হয়। সম্ভবত এই মহাজনপদগুল�োর শেষকাল থেকেই উপাসনাগৃহ ও মন্দির নির্মাণ রীতির প্রচলন শুরু হয়। বাংলাদেশের বৈগ্রামে প্রায় দেড় হাজার বছরের পুরন�ো গুপ্ত যু গের একটা মন্দিরের ধ্বংসাবশেষ পাওয়া গেছে। সম্ভবত গুপ্ত যু গের অন্যান্য মন্দিরের মতই এর সামনে ছ�োট বারান্দা ও সমতল ছাদ বিশিস্ট গর্ভগৃহ ছিল। আমার জ্ঞানত এটাই বাংলার সবথেকে প্রাচীন মন্দিরের ধ্বংসাবশেষ। এছাড়া চন্দ্রকেতুগড়ের অবশেষ দেখে বিশেষজ্ঞদের মত - এখানেও গুপ্ত যু গের সমসাময়িক সূ র্য মন্দির ছিল। আমার বিশ্বাস গুপ্ত যু গের শুরু থেকেই, বাংলায় কিছু ছ�োট মন্দির নির্মাণের প্রচলন হয়। গুপ্ত যু গের শেষকালে রচিত বিভিন্ন পুরাণ অনু যায়ী যে ৫১ শক্তি পীঠের উল্লেখ পাই তার মধ্যে ত�ো ১৬ খানাই বাংলায়। আশ্চর্যের বিষয় হল এর মধ্যে আবার কিছু জৈনদের কাছেও পবিত্র স্থান। রাজনৈতিক ও প্রাকৃতিক কারনে, বাংলায় মূ ল মন্দিরগুল�োর কাঠাম�ো অবশিষ্ট না থাকলেও ভারতের অন্যান্য কিছু শক্তিপীঠে খনন করে খ্রিস্টীয় তৃতীয়-চতুর্থ শতাব্দীর মন্দিরের অবশেষ পাওয়া গেছে। মূ ল সমস্যাটা হল এই সব প্রাচীন প্রত্নক্ষেত্র থেকে মন্দিরগুল�োর প্রাথমিক প্ল্যানটুকু ব�োঝা গেলেও, উপযু ক্ত প্রমান ও গবেষণার অভাবে ত্রিমাত্রিক গঠনশৈলী ঘেরা দু র্গশহর, ক�োনটা নদী বন্দর আবার টলেমির বর্ণনা অনু যায়ী ক�োথাও ছিল ব�ৌদ্ধ মঠ। মঠ বা বিহারগুল�ো ছিল ধর্ম ও জ্ঞান চর্চার কেন্দ্র। সমসাময়িক ভারতে সে সময় (সাঁচি) ব�ৌদ্ধ স্তূ প ও পাথর কেটে শয়ন কক্ষ, উপাসনা গৃহ বা চৈত্য হলের নির্মাণ শুরু হয়েছে। এরপর কয়েকশ�ো বছর এগিয়ে আসা যাক গুপ্ত যু গে। এর মাঝে উল্লেখয�োগ্য স্থাপত্য বলতে যশ�োরে 'দমদম পীরের ঢিবি'র উল্লেখ করা যায়। খুব সম্প্রতি খননের ফলে যে তথ্য বেরিয়ে এসেছে তাতে অনু মান করা যায় - এখানে একটা জৈন মন্দির ছিল (স্থাপনাকাল ১০০ খৃষ্টপূ র্ব)। যাইহ�োক, গুপ্ত যু গে (খ্রিস্টীয় ৪-৫ম শতক) বাংলায় ব্রাহ্মন্য ধর্মের প্রভাব বৃ দ্ধি পায় । তবে বাংলায় এরও আগে থেকে শৈব ধর্মের প্রভাব ছিল। প্রসঙ্গত উল্লেখ্য যে বৈদিক যু গে (১৫০০-৫০০ খ্রীঃ পূ :) হ�োম-যজ্ঞ ইত্যাদির প্রচলন থাকলেও উপাসনা স্থল বা মন্দিরের উল্লেখ নেই। আজ থেকে প্রায় আড়াই হাজার বছর আগে বৈদিক যু গ শেষ হলে ভারতবর্ষ-ষ�োলটা মহাজনপদে বিভক্ত হয়ে যায়। জৈন গ্রন্থে যে ষ�োড়শ মহাজন-

নিয়ে বর্ণনা দেওয়া সম্ভব নয়। বড়জ�োর আনু মান করা যায়। আগ্রহীরা গুপ্ত যু গে নির্মিত সাঁচির ১৭ নং মন্দিরটা দেখতে পারেন। মায়ামাতাম ,সমরাঙ্গন সূ ত্রধারা (১১শ শতাব্দী) আর ভরত নাট্যশাস্ত্রের (৫ম শতাব্দী) মত প্রাচীন গ্রন্থে স্থাপত্যা ও ভাস্কর্যের বিভিন্ন বিষয় নিয়ে উল্লেখ আছে।

গুপ্ত যুগ থেকে পাল যুগ ( তৃতীয় থেকে অষ্টম শতাব্দী ) শুরুর আগে প্রথমেই একখানা প্রশ্ন করি। ক�োলকাতার ইতিহাস কত বছরের? কি বলছেন? জ�োব চার্নক...গ�োবিন্দপুর...সাবর্ণ রায়চ�ৌধু রী? মন্দ বলেননি। কিন্তু যদি বলি ক�ো�লকাতার ইতিহাস দেড় হাজার বছরের পুরন�ো। কি বিশ্বাস হলনা? বিশ্বাস না হলে এক কাজ করুন। চটপট নেট খুলে দেখে নিন ২০০১ সালে 'দমদমের ক্লাইভ হাউসের ঢিপিতে' খনন করার পর, এ.এস.আই কর্তাদের কীরকম তাক লেগে গেছে। নদী বিধ�ৌত এই গাঙ্গেয় ব-দ্বীপের জঠরে আরও কত আজানা ইতিহাস লু কিয়ে রয়েছে কে জানে! আসলে, এই

সব প্রাচীন প্রত্নক্ষেত্রগুল�োর অধিকাংশই কয়েকশ�ো বছরের অবিছিন্ন বসবাসের সাক্ষ্য বহন করে। ধারাবাহিক বসবাসের ফলে, খনন কাজ চালিয়ে মাটির বিভিন্ন স্তরে বিভিন্ন পর্যায়ের অবশেষ পাওয়া যায়। যেমন ধরুন নদীয়ার বল্লাল ঢিপি। সম্ভবত নবম শতাব্দীতে পাল যু গে এখানে একখানা ছ�োট মাপের ব�ৌদ্ধ বিহার ছিল। পরবর্তীকালে হয় তা পরিত্যক্ত হয় কিংবা দ্বাদশ শতাব্দীতে সেন যু গে ব�ৌদ্ধ প্রভাব কমে গেলে হিন্দু রাজা বল্লাল সেন এই ব�ৌদ্ধ স্থাপত্যের উপরেই তার প্রাসাদ জাতীয় কিছু নির্মাণ করেন। ফলে বল্লাল ঢিপি শুধু দু ট�ো যু গের সাক্ষ্যই বহন করেনা, তার স্থাপত্যরীতিও খুব অদ্ভু ত। আবার ধরুন তীর্থক্ষেত্র হিসেবে কালীঘাট (আদি শক্তিপীঠ) বা গঙ্গাসাগরের উল্লেখ পাওয়া যায় দেড়হাজার বছরের প্রাচীন পুরাণ থেকে; অথচ বর্তমান মন্দির গুল�ো প্রায় সবই বানান�ো হয়েছে শেষ ৩০০-৪০০ বছরের মধ্যে। মূ ল মন্দির গুল�ো হয় ধ্বংস করা হয়েছে, নয় কালের গর্ভে হারিয়ে গেছে। কখন�ো ভিত খুড়তে গিয়ে, কখন�ো বা আবার মাটি কাটতে গিয়ে হঠাৎ করে যখন বহু প্রাচীন ক�োন স্থাপত্যের সন্ধান মেলে - তখন আবার তার আল�োকে নতুন করে স্থাপত্যের ইতিহাসকে পর্যাল�োচনা করতে হয়। এই সময় মূ ল মন্দিরের চারক�োণে চারটে ছ�োট মাপের মন্দির নির্মিত হত। কেন্দ্রে থাকত ত্রিরথা শিখর মন্দির (পঞ্চায়তন স্থাপত্যরীতি )। ২০০৪ সালে খুলনা বিশ্ববিদ্যালয়ের একদল স্থপতি, বাংলাদেশের স�োমপুর মহাবিহারের একটা ত্রিমাত্রিক মডেল তৈরি করেছেন। সপ্তম শতাব্দীতে হিউয়েন সাঙ তার বিবরণে - বাংলার ময়নামতিতে (শালবন বিহার) প্রায় ৩৫ খানা ব�ৌদ্ধ বিহার ও তাম্রলিপ্ততে অসংখ্য মন্দির ও বিহারের কথা উল্লেখ করে গেছেন। এই সময় হিন্দু মন্দির ও ব�ৌদ্ধ বিহার উভয়ই ছিল। হিউয়েন-সাঙের বিবরণ অনু যায়ী সপ্তম শতাব্দীতে গ�ৌড় রাজ শশাঙ্ক ছিলেন ঘ�োর শৈব এবং ব�ৌদ্ধ বিদ্বেষী। সে সময় কর্ণসু বর্ণে প্রায় দশ খানা ব�ৌদ্ধ মঠ ও পঞ্চাশটা দেবমন্দির তিনি দেখেছিলেন। বর্তমানে শশাঙ্কের রাজধানী কর্ণসু বর্ণের কাছেই রক্তমৃত্তিকা মহাবিহারের (রাজবাড়িডাঙ্গা, মুর্শিদাবাদ) অবশেষ পাওয়া গেছে। খুব সম্প্রতি বাংলাদেশের ভিতরগড়ে ষষ্ঠ-সপ্তম শতাব্দীর এক দু র্গশহর ও সম্ভবত বাংলাদেশের সব থেকে বড় ব�ৌদ্ধ বিহার মিলেছে। এছাড়া ম�োগলমারির ব�ৌদ্ধ বিহারে (পশ্চিম মেদিনীপুর) যে খননকাজ চলছে তার রিপ�োর্ট আনু যায়ী এখানে ষষ্ঠ-দ্বাদশ শতাব্দী অব্দি বসতি ছিল। হুগলীর মহানাদ , বাঁকুড়ার সারেনগড়ও বহু প্রাচীন জনপদ।

পাল-সেন যুগ (অষ্টম থেকে ত্রয়�োদশ শতাব্দী) পাল রাজারা (অষ্টম থেকে দ্বাদশ শতাব্দী) হিন্দু ও ব�ৌদ্ধ উভয় ধর্মেরই পৃষ্ঠপ�োষকতা করার দরুন এসময়ে বাংলায় একাধিক ব�ৌদ্ধ বিহার ও মন্দির নির্মাণ করা হয়েছিল। বিক্রমপুর, রামাবতী (বরেন্দ্রভূ মি) ও জগদ্দল ছিল এই সময়ের উল্লেখয�োগ্য শহর। পাল রাজারাই বাংলাদেশের হলু দ বিহার, সীতাক�োট বিহার, পাহাড়পুর (স�োমপুর বিহার), বিক্রমপুর ( মুন্সীগঞ্জ), জগদ্দল (রাজশাহী) ও বিক্রমশীলার (ভাগল� পুর) বিহারগুল�োর নির্মাণ করান। তাম্রলিপি অনু যায়ী নালন্দা,

ব�ৌদ্ধগয়া ও মগধেও তারা বিহার নির্মাণ করেছিলেন। খুব সম্প্রতি বাংলাদেশের নাটেশ্বরে খনন করে,পাল যু গের একটা ব�ৌদ্ধ মন্দির পাওয়া গেছে। বর্ধমানের ভরতপুরেও একখানা প্রাচীন ব�ৌদ্ধ বিহারের অবশেষ আছে। অস্টম - নবম শতকে পাথরের তৈরি বরাকরের (বর্ধমান) সিদ্ধেশ্বর শিব মন্দিরটা হয়ত�ো বাংলার প্রাচীনতম মন্দির যা এখন�ো অক্ষত অবস্থায় রয়েছে। এছাড়াও বহুলাড়ার সিদ্ধেশ্বর শিব (বাঁকুড়া) মন্দিরটাও সম্ভবত পাল আমলেই তৈরি। পাল আমলকে বাংলার স্বর্ণযুগ বলা যায়। শুধু শিল্প, ভাস্কর্য বা স্থাপত্য নয়, এই সময়েই অতীশ দীপঙ্করের জন্ম বিক্রমপুরে, এই সময়েই চর্যাপদের রচনা। বীটপাল ও ধীমান ছিলেন এই সময়ের বিখ্যাত ভাস্কর। খ্রিষ্টীয় দশম শতাব্দীতে চন্দ্রবংশীও ব�ৌদ্ধ রাজাদের সময় বাংলাদেশের ময়নামতি ও পণ্ডিত বিহারের উল্লেখ পাওয়া যায়। একাদশ শতাব্দীর শেষভাগে কলিঙ্গ রাজ অনন্তবর্মা, বাংলার একাংশ দখল করলে বাংলায় কলিঙ্গ স্থাপত্যকে অনু সরন করে রেখা বা রথা দেউল নির্মাণের প্রবণতা আসে। এই সময় বাংলার স্থপতিরা আর্চ তৈরির পদ্ধতি না জানায় কর্বেলিং করা হত(Corbel arch)। সেন রাজারা (একাদশ - ত্রয়�োদশ শতাব্দী) ছিলেন মূ লত হিন্দু ধর্মের পৃষ্টপ�োষক। সেন আমলে, ওড়িশার কলিঙ্গ স্থাপ� ত্যের অনু করনে অসংখ্য রেখা ও রথ* দেউলের নির্মাণ করা হয়েছিল। ঢাকেশ্বরী কালী মন্দিরও সেন যু গেই তৈরি। সমসাময়িক লেখায় সু বর্ণ নামে একজন স্থপতির উল্লেখ আছে। এবার দেউল প্রসঙ্গে আসি। দেউলের সাথে কলিঙ্গ স্থাপত্যের নাম জড়িয়ে থাকলেও দেউল মূ লত উত্তর ভারতের 'নগর স্থাপত্যের-শিখর রীতি' থেকে অনু প্রাণিত। কলিঙ্গ স্থাপত্যে রেখা দেউলের মধ্যে থাকত গর্ভগৃহ (পুরীর জগন্নাথের সবথেকে উঁচু মন্দিরটা হল রেখা দেউল), তার সামনে যথা�ক্রমে ছ�োট থেকে বড় মাপের তিনটে পীঢ়া দেউলের মধ্যে জগম�োহন, নাটমন্দির ও ভ�োগমন্দির নির্মিতি হত। এই পীঢ়া দেউলগুল�ো হত উচ্চতায় রেখা দেউলের চেয়ে খাট�ো এবং উপরের অংশটা পিরামিডাকার। প্রসঙ্গত উল্লেখ্য যে এই রেখা দেউলের বিভিন্ন গঠনগত অংশের নামকরন আমাদের মানব দেহের সাথে সাদৃ শ্য রেখে করা। যেমন ধরুন মন্দিরের নীচে থেকে উপরের বিভিন্ন অংশ - পাভাগা (বা পা), জঙ্ঘা (বা থাই), গান্ডী (বা মধ্য-প্রদেশ), মাস্তাকা (বা মাথা) এবং খাপুরি (বা কপাল)। বাংলার দেউল, ওড়িশার দেউল থেকে অনু প্রেরনা নিয়েছে কিন্তু হুবুহু অনু করন করেনি। বাংলার দেউল গুল�োর গায়ে পঙ্খের কাজ (চুনা পাথর চূ র্ণের সাথে উদ্ভিজ্জ রঙ মিশিয়ে অলঙ্করন) ছাড়াও ইট খ�োদাই করে মূ র্তি ও জ্যামিতিক ভাস্কর্য দেখে যায়। বাংলায় রেখা দেউল জনপ্রিয় হলেও, সামান্য কিছু পীঢ়া/ভদ্র দেউলও আছে। বাঁকুড়া স�োনাতপল ,দেউল�ভিড়া), বর্ধমান(ইছাই ঘ�োষের দেউল), পশ্চিম মেদিনীপুর(� জিনসার), হুগলী(সাতদেউলিয়া), পুরুলিয়া (বান্দা, তেলকুপি - প্রাচীন তৈলকম্প বন্দর, দেউলঘাটা, পাখবিরা, পারা, ছড়রা), দক্ষিণ চব্বিশ পরগনা (জটার দেউল) ইত্যাদি বিভিন্ন স্থানে নদী বা জলাশয়ের তীরে এইরকম রেখা দেউল নির্মিত হয়েছিল। তবে এই দেউলগুল�োর বৈশিষ্ট্য হল - বাংলায় কিন্তু কলিঙ্গ স্থাপত্যের অনু সরণে মূ ল মন্দিরের সামনে জগম�োহন

অলঙ্করণ ঃ অরুনাভ সান্যাল

বা নাটমন্দির তৈরি করা হয়নি। মন্দিরের সামনে জমায়েত হবার জন্য চাতাল বা প্রার্থনাস্থল বাংলায় বিরল। তবে এটাও মনে রাখতে হবে যে এর অধিকাংশই ছিল জৈন মন্দির। পরে বাংলায় জৈন ধর্মের প্রভাব কমে এলে সেগুল�ো হিন্দু মন্দির হিসেবে ব্যবহার করা শুরু হয়। দু ঃখের বিষয় হল উপযু ক্ত সংরক্ষণের অভাবে আজ এর মধ্যে সামান্য কিছু দেউলই অক্ষত রয়েছে; আর যেগুল�ো আজও টিকে রয়েছে প্রতিদিনের অবহেলায় অযত্নে সেগুল�োও একটু একটু করে ধ্বংসের পথে এগিয়ে চলেছে। পঞ্চাশের দশকে পাঞ্চেত ড্যাম নির্মাণের ফলে পুরুলিয়ার তেলকুপিতে (প্রাচীন ভৈরবস্থান) বাইশখানা প্রাচীন দেউল (৭-৮ম শতাব্দীর) জলের তলায় হারিয়ে যায়। গ্রীষ্মের দু পুরে, শুকন�ো নদীখাতের মধ্যে এক খানা ভগ্নপ্রায় নিঃসঙ্গ দেউল, হাজার বছরের সভ্যতার সাক্ষী হয়ে দাঁড়িয়ে থাকে আজও। *রথা বা রথ' দেউল হল বিশেষ এক প্রকার খাঁজকাটা রেখা দেউল। খাঁজের উপর ভিত্তি করে ত্রিরথা (৫-৮ম শতাব্দী), পঞ্চরথা (৮-১৫শ শতাব্দী), সপ্তরথা (১৫শ শতাব্দীর পরে) ও নবরথা শৈলীর প্রচলন ছিল উত্তর ভারতের হিন্দু স্থাপত্যে। যে শিখরের পুনরাবৃ ত্তি দেখা যায় (Sekhari Mode) বা রথ ভগ্নাংশের ব্যবহার দেখা যায় (Fractal Geometry) এগুল�ো হিন্দু ধর্মের কিছু গভীর আধ্যাত্মিক ভাবনার প্রতীক। এক থেকেই বহু কিংবা এই মন্দিরগুল�ো অনন্ত ব্রহ্মাণ্ডের এক ক্ষু দ্র অংশ - এরকম কিছু দর্শন ব্যক্ত হয়েছে মন্দিরের স্থাপত্য ও জ্যামিতির মধ্যে দিয়ে।

ত্রয়�োদশ থেকে ষ�োড়শ শতাব্দী এই গ�োটা সময়টা জুড়েই বাংলায় প্রবল অরাজকতা চলেছিল। ইসলামী শাসকেরা হুগলীর পান্ডুয়া (বিষ্ণু মন্দির), মালদার গ�ৌড়ে বেশ কিছু হিন্দু স্থাপত্য ভেঙ্গে মসজিদ নির্মাণ করেছিলেন। আসলে মন্দির ছিল দেবতার আশ্রয়স্থল আর মসজিদ হল মূ লত প্রার্থনাস্থল। দু য়ের দর্শন ও ব্যবহারের মধ্যে এতটাই মূ লগত পার্থক্য ছিল যে মন্দিরগুল�ো সব দিক দিয়েই বিশাল প্রার্থনাস্থল হিসেবে ব্যবহারের অনু পযু ক্ত ছিল। এছাড়াও ষ�োড়শ শতাব্দীতে কালাপাহাড়ের আক্রমণের দরুনও বাংলার বহু মন্দির ধ্বংস হয়। বরাকরের বেগুনিয়া*(১৪৬২), মল্ল রাজাদের নির্মিত ডিহরের জ�োড়া শিব মন্দির (১৩৪৬), বৈদ্যপুরের জ�োড়া দেউল (১৫৯৮), বাঁকুড়ার একতেশ্বর শিব মন্দিরের মত সামান্য কিছু ব্যতিক্রমী উদাহরণ বাদ দিলে এই সময় বাংলায় মন্দির স্থাপত্যের নিদর্শন প্রায় নেই। ঘাটালের চার চালা সিংহবাহিনী মন্দির কিম্বা বর্ধমানের গাড়ুইয়ের পাথরের চারচালাটা ১৪ - ১৫শ শতাব্দীর বলে দাবী করা হলেও - এ নিয়ে যথেষ্ট বিতর্ক আছে। মন্দির স্থাপত্যের বিকাশ রুদ্ধ হয়ে গেলেও এই সময় কিন্তু গ�োটা বাংলা জুড়েই অসংখ্য প�োড়ামাটির মসজিদ নির্মাণ করা হয়েছিল। ড�োম (গম্বু জ), ভল্ট, আর্চ (খিলান), স্কু ইঞ্চ ও পেন্ডেনটিভের ব্যবহার ইসলামী স্থাপত্যের হাত ধরেই প্রথম বাংলায় প্রবেশ করে। পরবর্তী কালে এই বিভিন্ন নির্মাণ ক�ৌশলগুল�ো বাংলার মন্দিরেও ব্যবহার করে হয়েছে। ত্রি-

বেণীর জাফর খান গাজীর মসজিদটা (১২৯৭ খ্রি) বাংলার সবথেকে প্রাচীন মসজিদ। প্রাচীন মসজিদগুল�োতে ম�োটামুটি ভাবে - প্রার্থণা কক্ষ, ছাদের উপর অর্ধ-বৃ ত্তাকার গম্বু জ এবং উঁচু মিনার থাকত। বাংলার ইলিয়াসশাহী শাসকদের রাজত্বকালে নির্মিত মালদার আদিনা মসজিদ (১৩৬৯ খ্রি - তৎকালীন দক্ষিণ এশিয়ার বৃ হত্তম মসজিদ) সে সময়ের এক অসাধারন স্থাপত্য কীর্তি। এই সময় অলংকরণ হিসেবে পাথর এবং টেরাক�োটা - উভয় মাধ্যমেরই ব্যবহার দেখা যায়। এর পর যত সময় গেছে বাংলার মসজিদ গুল�োতেও নিজস্বতা আসা শুরু হয়। পঞ্চাদশ শতাব্দীর মাঝামাঝি থেকেই বাঁকান�ো কার্নিশ ও চালা রীতির প্রভাব লক্ষ্য করা যায় (মালদার একলাখী সমাধিস�ৌধ)। এমনকি ক�োন ক�োন ক্ষেত্রে মসজিদের সামনে বারান্দাও নির্মিত হয়েছে, ঠিক যেমন থাকে গ্রামের কুঁড়েঘরে। এই সব মসজিদের একটা গুরুত্বপূ র্ণ আংশ হল ড�োম বা গম্বু জ। প্রথম যু গের পাঠান ড�োম গুল�ো ছিল অর্ধবৃ ত্তাকার। এরপর যত সময় গড়িয়েছে ,মুঘল আমলে বিভিন্ন বিবর্তনের মধ্যে দিয়ে শেষ পর্যন্ত এই গম্বু জগুল�োও ছু ঁচল�ো হয়ে উঠেছে। * বেগুনিয়া - এক ধরনের বাংলা রেখা দেউল যার উপরের অংশটা সামান্য স্থুল। বেগুনের সাথে আকৃতিগত সাদৃ শ্যের জন্যই এরকম নামকরন।

ষ�োড়শ শতাব্দী থেকে ঊনবিংশ শতাব্দী বাংলার স্থাপত্যকে ভাল�োবেসে যারা বিষয়টা নিয়ে চর্চা করেন তাদের কাছে এই সময়টা হল স্বর্ণখনি। কারন এই সময়টাতেই বাংলা খুঁজে পেল তার নিজস্ব স্থাপত্যরীতি ও ভাস্কর্য। শতাব্দী জ�োড়া অরাজকতা, কালাপাহাড়ের তাণ্ডব পর্বের পর মুঘল সু বেদারদের শাসনে কিছু টা হলেও বাংলার সমাজে স্থায়িত্ব এল। এছাড়াও মনে রাখতে হবে ষ�োড়শ শতাব্দীতে নদিয়ায় নিমাই, ভক্তিরসের জ�োয়ারে, নিস্তরঙ্গ বাংলার সমাজে এক বিপ্লব নিয়ে এলেন। সপ্তাদশ শতাব্দীর শুরু থেকেই বাংলার গ্রামে গ্রামে মন্দির নির্মাণের জ�োয়ার আসে। ঠিক এরকম একটা পরিস্থিতিতেই বাংলায় তৈরি হল 'চালা মন্দির', যা একান্তই বাংলার নিজস্ব স্থাপত্য। খেয়াল করে দেখবেন, এতদিন পর্যন্ত বাংলার স্থাপত্য ছিল কলিঙ্গ বা উত্তর ভারতীয় বিভিন্ন স্থাপত্যের অনু করন। কিন্তু সপ্তাদশ শতাব্দীতে বাংলার স্থপতিরা অনু করনের রাস্তায় না হেঁটে, বাংলার সমাজ, ভূ মিপ্রকৃতি আর জলবায়ু র কথা ভেবে- গ্রাম বাংলার খড়ের চালাকেই তাদের অনু প্রেরনা হিসেবে বেছে নিলেন। আমার বিশ্বাস অল্প সময়ের মধ্যে মন্দির নির্মাতাদের চাহিদা এই সময় হঠাৎ এত পরিমানে বৃ দ্ধি পায় যে বাংলার স্থপতিরা তাদের চিরপরিচিত গঠন শৈলীটাই বেছে নিয়েছিলন। প�োড়া মাটির ইট দিয়ে বানান�ো এই ছ�োট ছ�োট চালা মন্দিরগুল�োর মধ্যে যেন আবার বাংলার প্রানপ্রতিষ্ঠা হল। পুকুরের ধারে, বটের ছায়ায়, এঁকে বেঁকে চলা সু ঁড়ি পথের দু ধারে, নদীর পাড়ে -বাংলার মন্দিরগুল�ো নিজের স্বকীয়তা বজায় রেখেই গ্রামীন সমাজের সাথে মিশে গেল। এ যেন বানান�োই হল সাধারনের কথা ভেবে - আকারে, আয়তনে, শৈলীতে যেন আমাদের কত কাছের! একদিকে যেমন বিষ্ণুপুর, কালনা

কিংবা পাথরার মত মন্দিরনগরীর নির্মাণ হল, অন্যদিকে প্রত্যন্ত গ্রামের প্রান্তে নির্মিত হয়েছে জ�োড়া শিবের মন্দির। মজার ব্যাপারটা হল এরপর বাংলার এই চালা রীতি আর শুধু বাংলাতেই সীমাবদ্ধ থাকল না, বরং মুঘলদের হাত ধরে সারা দেশে ছড়িয়ে পরল। আশ্চর্যের ব্যাপার হল এই সময় যে রেখা দেউল নির্মাণ বন্ধ হয়ে গেল তা নয়, কিন্তু এই দেউলগুল�োও আকারে আয়তনে হল অনেক ছ�োট। এইসময়টায় বাংলার মন্দিরে আড়ম্বর আর নান্দনিকতার প্রকাশ পেয়েছে অপরুপ সব টেরাক�োটা, পঙ্খের কাজ আর কাঠের কারুকার্যের মধ্যে দিয়ে। টেরাক�োটাগুল�ো আবার শুধু স�ৌন্দর্যায়নের জন্যই ব্যবহার হলনা, বরং একই সাথে যেমন বৃ ষ্টি থেকে ন�োনা ধরা প্রতির�োধ করল�ো, তেমনই ফুটিয়ে তুলল মহাকাব্য, পুরাণ আর তৎকালীন বাংলার সমাজ ও রাজনৈতিক জীবনকে। সময়ের সাথে সাথে বাংলার সমাজ ও রাজনৈতিক জীবনে যে পরিবর্তন এসেছে তা টেরাক�োটার ছ�োট ছ�োট প্যানেলগুল�োর মধ্যেও ধরা পরেছে। এই তিনশ�ো বছরের মধ্যে বাংলার বিভিন্ন প্রান্তে কয়েক হাজার চালা (৪,৮ ও ১২ চালা ), জ�োড় বাংলা (বা এক বাংলা) ও রত্ন মন্দির তৈরি করা হয়েছে (এক রত্ন, পঞ্চ রত্ন, নবরত্ন ইত্যাদি)। চারচালা ছাদের উপর, মাঝের আংশটায় একটা 'চূ ড়া' বা 'রত্ন' থাকলে হয় এক রত্নমন্দির আবার এই এক রত্ন মন্দিরের চার ক�োণে চারটি তুলনায় ছ�োট রত্ন বসালে হয় - পঞ্চরত্ন মন্দির ইত্যাদি। সম্ভবত ইসলামী স্থাপত্যে মসজিদের উপর যে গম্বু জ ব্যবহার হয়, তারই অনু প্রের�নায় বাংলার চালা আর দেউলরীতির মিশেলে প্রথম একরত্ন মন্দিরটার নির্মাণ হয়। দ�োলমঞ্চ ও রাস মঞ্চ গুল�োর নির্মাণ শুরু হয়েছে অষ্টাদশ শতাব্দী থেকে। এছাড়াও বাংলায় পাথরের অভাবে মন্দিরগুল�ো খুব উঁচু করা যায়না বলেই হয়ত�ো একসাথে অনেকগুল�ো মন্দির তৈরির প্রথা আছে। জ�োড়া, চার, আট, বার�ো থেকে শুরু করে একশ�ো আটটা অব্দি মন্দির একসাথে দেখা যায়। এর মধ্যে অধিকাংশ ক্ষেত্রেই আটচালা স্থাপত্যরীতির ব্যবহার করা হয়েছে। বাংলায় সামান্য কিছু মন্দির আছে যেখানে স্থপতিরা আবার মন্দিরের এই বিভিন্ন শৈলীর মধ্যে মেলবন্ধন ঘটিয়েছেন। যেমন ধরুন হুগলীর বালি দেওয়ানগঞ্জ (জ�োড় বাংলার সাথে রত্ন শৈলী), বর্ধমানের দেবীপুর (রেখা দেউলের সাথে চালা শৈলী ) ইত্যাদি। এবার আপনি হয়ত�ো প্রশ্ন করবেন যে, সবই ত�ো বুঝলাম। কিন্তু বাঁশবেড়িয়ার হংসেশ্বরী মন্দির কিম্বা বিষ্ণুপুরের রাধেশ্যাম মন্দিরের নহবতটা ক�োন স্থাপত্যরীতির? হ্যাঁ। বাংলায় এরকম সামান্য কিছু মন্দির আছে যা হল প্রচলিত শৈলীর বাইরে। মন্দির নির্মাতা বা পৃষ্ঠপ�োষকরা তাদের নিজস্ব বিশ্বাস আর সৃ জনশীলতাকে মিশিয়ে এরকম কিছু ছকভাঙা গঠনশৈলীর জন্ম দিয়েছেন। অষ্টাদশ শতাব্দীর শেষভাগ থেকেই বাংলার মন্দিরে, ঔপনি� বেশিক স্থাপত্যরীতির প্রভাব লক্ষ্য করা যায়। যেমন ধরুন - চার্চের অনু করনে ছু ঁচল�ো আর উঁচু শিখরের 'মঠ স্থাপত্য রীতি' (মূ লত দক্ষিণ-পূ র্ব বাংলাদেশে এই রীতি জনপ্রিয় ছিল। পশ্চিমবঙ্গের একমাত্র মঠ মন্দিরটা এখন�ো হুগলীর মহানাদে ক�োনক্রমে টিকে আছে )। এছাড়াও গ্রীক প�োর্টিক�ো

(বারান্দা) আর প্যালাডিয়ান ম্যানসনগুল�োকে (অট্টালিকা) অনু সরন করে গ্রামে গঞ্জে জমিদার বাড়ি ও তার সাথে লাগ�োয়া দালান মন্দিরগুল�োর নির্মাণ শুরু হয় (সমতলছাদের ছ�োট দালান মন্দিরগুল�োকে চাঁদনী বলে)। খেয়াল করে দেখবেন খুব পুরন�ো জমিদার বাড়ির দালানমন্দির গুল�ো কিন্তু বাড়ির সাথে যু ক্ত নয় বরং বাড়ির লাগ�োয়া - কারন সে সময় বাংলার বিভিন্ন উৎসব-অনু ষ্ঠানে গ্রামের জমিদাররা গ�োটা গ্রামকে নেমন্তন্ন করে খাওয়াবার মত সামর্থ্য রাখতেন। কিন্তু চিরস্থায়ী বন্দোবস্তের (১৭৯৩) পর যত সময় গেছে, মন্দিরগুল�ো বাড়ির চত্বরের (Courtyard) মধ্যে ঢুকে এসেছে; অনু ষ্ঠানগুল�ো হয়েছে একান্তই পারিবারিক। বাংলার সমাজ ও রাজনৈতিক পালাবদলের সাথে বাংলার স্থাপত্যও এভাবেই বদলে গেছে। যাইহ�োক, ১৫৭১ এ পর্তুগীজরা ব্যান্ডেল আর হুগলীতে এল, ১৬৫৬ তে ডাচরা চুঁচুড়ায়, ১৬৭৩ এ ফ্রেঞ্চরা চন্দননগর আর ইস্ট ইন্ডিয়া কম্পানি ১৬৯০ তে কলকাতায় ব্যবসা শুরু করার সাথে সাথেই বাংলায় ইউর�োপীয় স্থাপত্যরীতি প্রবেশ করল। হুগলীর ব্যান্ডেল চার্চ (১৫৯৯-প্রথম স্থাপনাকাল), কলকাতার সেন্ট জনস চার্চ (১৭৮৪), বর্তমান ফ�োর্ট উইলিয়াম (১৭৮১ ), রাইটার্স বিল্ডিং (১৭৭০), সেন্ট থমাস স্কু ল (১৭৮৯), ক্লাইভ হাউস - হল এই স্থাপত্যরীতির সামান্য কয়েকটা উদাহরণ। ক�োলকাতার রাস্তায় হাটার সময় একটু চ�োখ মেলে তাকালেই দেখা যায় কিভাবে বাংলার স্থাপত্যে - গ্রীক ও র�োমান স্তম্ভের (Classical Column Order - Doric, Ionic, Corinthi��an) ব্যবহার হয়েছে, কিভাবে পেডিমেন্ট (Pediment) আর ভেনেসিয়ান (Venetian) জানলাকে কলকাতা আপন করে নিয়েছে। এভাবেই সমাজ, রাজনীতি আর সময়ের সাথে সাথে স্থাপত্যও বদলে যায়। শেষ বেলায় এসে কয়েকটা কথা না বললেই নয়। অমিয়কুমার বন্দ্যোপাধ্যায়, ডেভিড ম্যাকাচ্চেন, হিতেশরঞ্জন সান্যাল, সু হৃদকুমার ভ�ৌমিক, মুকুল দে, তারাপদ সাঁতরার মত কিছু পথিকৃৎ, বাংলাকে ভাল�োবেসে, তার ইতিহাস, সংস্কৃতি আর কৃষ্টির খ�োঁজে অভিযান শুরু করেছিলেন। আজও বাংলার বুকে কিছু গুণী মানু ষ নিঃশব্দে কাজ করে চলেছেন । সম্ভব হলে - ''http://www.aishee.org/temples.php''- লিঙ্কটা খুলে দেখবেন। অমিত গুহ নামের একজন স্বাধীন গবেষক কি অক্লান্ত পরিশ্রম করে গ�োটা বাংলার সহস্রাধিক মন্দিরের একখানা চার্ট বানিয়েছেন। বাংলার এই প্রতিটা মন্দির, প্রতিটা টেরাক�োটার ফলক হল আমাদের এই বাংলাদেশের সভ্যতার, সংস্কৃতি, ইতিহাস আর সমাজচিত্রের জীবন্ত দলিল। ভারতবর্ষের আর ক�োথাও মন্দির স্থাপত্যে এত বৈচিত্র্য দেখা যায়না। ভারতবর্ষের আর ক�োথাও এভাবে মন্দির ভাস্কর্যের মধ্যে গ্রামীণ সমাজচিত্র ফুটে ওঠেনি। ষ�োড়শ শতকের পর বাঙালির শুধু স্বতন্ত্র জাতি সত্তারই বিকাশ ঘটেনি, তার সাথে সাথে বাঙালি অজস্র পরীক্ষা-নিরীক্ষার মাধ্যমে খুঁজে পেয়েছিল তার নিজস্ব স্থাপত্যশৈলীকে। অথচ আজ যখন সিমেন্টে আর আধু নিক পেইন্টের ক�োটিং এর নীচে চাপা পরতে দেখি সবকিছু , যখন দেখি অপূ র্ব সু ন্দর টেরাক�োটার ফলকের জায়গায় মেরামতির নামে সারদার ছাপ দেওয়া সাদা টাইলস বসছে, যখন দেখি অবহেলায় অনাদরে স্থাপত্যের কঙ্কালটুকু পরে রয়েছে, গর্ভগৃহ পরিনত হয়েছে

গ�োয়ালে - তখন মনে হয় অসাধারন স্থাপত্য আর প�োড়ামাটির ভাস্কর্যের সাথে সাথে- হারিয়ে গেল আমাদের গর্ব, আমাদের বাঙ্গালিয়ানা, আমাদের স্বকীয়তা আর ইতিহাস। লেখাটা পড়ে যদি একজনের মনেও - বাংলার এই অগাধ ঐশ্বর্যের প্রতি বিন্দুমাত্র আগ্রহ জন্মায়, তবে জানব আমার এই পরিশ্রম সার্থক।

( মূ ল লেখাটা ‘’Puralokbarta (ISSN 2319 7641)’’ জার্নালে প্রকাশিত হয়েছে। এই লেখাটা মূ ল প্রবন্ধের সংক্ষেপিত অংশ।) তথ্যসূ ত্র ও কৃতজ্ঞতা স্বীকার ১. অধ্যাপক স�ৌমেন মিত্র - যার কাছে আমার মন্দির স্থাপত্যের ইতিহাস বিষয়ে হাতেখড়ি হয়েছে। এছাড়াও বর্ধমানের - অজয় ক�োনার, যার এই বিষয়ের প্রতি নিষ্ঠা ও ভাল�োবাসা, আমাকে অনু প্রেরনা য�োগায়। ২. http://www.aishee.org/ এবং অমিত গুহ ৩. বর্ধমান জেলার মন্দির : স্থাপত্য এবং ভাস্কর্য (অজয় ক�োনার) ৪. বাংলার মন্দির স্থাপত্য ও ভাস্কর্য (প্রনব রায়) ৫. David J. Mccutchion, Late mediaeval temples of Bengal: Origins and classification, The Asiatic Society, 1972 ৬. বাংলার টেরাক�োটা মন্দির : আখ্যান ও অলংকরণ, সিগনেট প্রেস (শ্রীলা বসু ও অভ্র বসু )। ৭. প্রাচীন বাংলার মন্দির স্থাপত্য (মঞ্জু হালদার) ৮. ছবি স�ৌজন্য - রঙ্গন দত্ত ও অমিতাভ গুপ্তর ব্লগ , Wikimedia , Google Images , J.D. Beglar, Report of a tour through the Bengal Provinces, Telkupi (Debala Mitra).

Graphics : SOUMOYADIP SARKAR

IS A RELIC REALLY RELEVANT ? SUTOP MUKHERJEE 3RD YEAR

Despite being a Science student, the history of places and people has always interested me. Venturing into the past, and analyzing the views and psychologies of men and regimes have always been a pleasure. Today, students generally loiter about ruins of heritage buildings or other architectural works in the name of study. To add to it, there is rote cramming of notes solely for attaining marks. Knowledge being replaced by cramming! Mere representation of architectural wonders in classroom presentations, without witnessing them in reality, seems to do no good. I realized the truth of these words when I got the chance to visit the tomb of Zafar Khan Gazi in Tribeni, West Bengal, as part of an assignment with a three-day deadline. We had learnt about the tomb as part of our theory classes in the third semester, but, as I said, it did not really spark an interest in me back then. I knew it was the first Islamic structure to be erected in Bengal. The given assignment then encouraged, rather forced, me to take a trip to Tribeni and visit the tomb for myself. Accompanied by two of my friends, I embarked on this short trip on a fine September morning to fulfill a seemingly boring task. It takes about ninety minutes to reach Tribeni from Kolkata. Not too far, but then quite distant from the hustle and bustle of the city. Legend says that the place is considered sacred because it is said to be the confluence of three rivers Bhagirathi-Hooghly, Yamuna and Saraswati; hence known as the Tribeni Sangam. It took me about fifteen minutes to reach the vast expanse of the Bhagirathi-Hooghly river from the Tribeni railway station. The grey waters and the grey skies seemed almost indistinguishable but for the skyline of the Kalyani suburbs. The Tomb of Zafar Khan Gazi stands on a slightly elevated area overlooking the river. Parts of it are under refurbishment by the Archaeological Survey of India.

Let us first delve a little into the history of this place. The mosque was erected in 1298 AD. Sena Dynasty ruled Bengal then, while the throne of Delhi was in the hands of the Khilji dynasty. It was a period of attacks and turmoil in Bengal due to Muslim invasions. Lakshman Sen of Sena dynasty proved incapable of defending his kingdom, and has been thoroughly criticized for the same. A quote from one of the works of Nabinchandra Sen says,“ সপ্তদশ অশ্বার�োহী যবনের ডরে ……… স�োনার বাংলা রাজ্য দিলা বিসর্জন। ” An incredibly influential phase of Muslim architecture in Bengal began in the later part of 13th century in the monuments of newly conquered regions of Tribeni, Choto Pandua and Satgaon in the district of Hoogly. Tribeni, an important centre of Hindu culture, was conquered by Zafar Khan, who was the military commander of the region during the governorship of Ruknuddin Kaikaus (1292-1302 AD). The masjid was completed in 1298 AD, within a century of Mohammed Bakhtiyar Khilji, the military general of Delhi’s Sultan Qutbuddin, taking over Bengal in 1204 AD. The setting of the mosque is quite serene, with a dargah to the right. Both the masjid and the dargah are still in use. During my visit to the place, I witnessed Muslims offering their prayers, but what astonished me was to see even Hindus praying at the dargah. Contrary to current scenarios, this sight was an epitome of unity and brotherhood. The dargah, in the eastern part of the complex, consists of two rectangular enclosures. There is no roof over it today, though it seems unlikely to me that there had ever been a roof. The eastern façade (towards the road) showcases Blackstone ‘jali’ work. The design of the jali and the window suggests inspiration from Hindu temple architecture. Basalt is used in the eastern enclosure, while sandstone in the western one. In the southern side, there are steps leading to the complex. There are two doors for entering the dar-

Southern Facade of the Dargah

Western Facade of the Dargah

Front Facade of the Mosque

gah. The doorframes show Hindu carvings. Parts of the dargah seem to have been obtained by demolishing Hindu temples, such as the presence of figures of Hindu deities on certain faces. There are miniature ‘deul’ type temples, few Hindu signs like ‘mangal ghot’. The dargah housed a few tombs where people were paying reverence, but these failed to ignite curiosity in my mind. A probable reason was my unwillingness to take my shoes off. The mosque is quite unlike the familiar examples of Mughal or Islamic architecture with onion domes, elegant minarets, sophisticated kanjura etc. The mosque at Tribeni contains none of these. The structure is oblong in shape with a five-arched bay and four unusually short, sturdy piers. These two aisles and the arched bays have created ten squares overall, which are spanned by ten domes, but now only a few of them survive. Corbelling was used to erect these domes, the central hole being covered with a stone block. In the western wall, five mihrabs can be espied in all, of which two are more in state of ruin. The central mihrab appears to be remodeled recently. The two side mihrabs are constructed with decorated bricks (perhaps, terracotta). The central mihrab contains vegetal ornamentation with a rosette separating the rectangle at the bottom from the cusped arch above. Terracotta panels are present on either side of the central mihrab. Bell-and-chain motif can be observed in the same terracotta mihrab in the north aisle. On the western wall, there are three niches, each embraced within ornate arches. The demolished parts of Hindu temples have been widely used in these mihrabs. Their frames are from temple wall niches with deities removed and verses

Stories From Ramayana & Mahabharata

Hindu Gods & Goddesses Carved on Stone

Islamic Inscriptions between Hindu Carvings

Inverted Hindu Motifs

from Quran carved in. But it is not all about Hindu fragments. Traditional Islamic motifs such as a sandstone arch with creepers emerging from its cusps ending in roundels and grapes in the arch spandrels can be noticed. There are several plaques throughout the mosque and the dargah, depicting some writings in Arabic script. I took pictures of all of them but was unable to find out their actual meaning. They could be quotes from the Holy Quran, or writings on the life and times of Zafar Khan Gazi, or such other inscriptions. The ultimate question which arises is this â&#x20AC;&#x201C; what should we conclude about this historically and architecturally rich monument? Was it a Hindu temple or an Islamic mosque? Well, I am not in a stage to confirm it now, but I am stunned to see the wonderful amalgamation of Hindu and Muslim architecture. It is evident that destruction and lethal loot had certainly occurred here. Stones, from this very site, were used later to lay the foundation of the mosque for some obvious reason. Perhaps, it was practically impossible for the Muslim ruler to set up a huge mosque as soon as he conquered the place to proclaim his authority and power. The site exhibits ample Hindu traditional motifs which suffice to raise arguments surrounding its origin. There are plaques with Sanskrit inscriptions on the western faĂ§ade of the dargah. Fragments from Hindu temples have been inserted into wall bases often upside down and without removing or defacing figures of Hindu deities. Panels with images of Nabagraha, Dashavatara, Kalpalata and wide vegetal creepers are easily noticed. Some other proofs may have been misplaced or destroyed during the restoration works. It leaves the visitors

wrapped in a mist of queries, which I am sure, cannot be answered with completely certainty. What is important is that, after a long history of bloodshed and vandalism, the place is still active, welcoming both Hindu and Muslims to pay respect. Perhaps this beautiful blend is possible nowhere in science, arts, architecture, social studies, but in faith and worship. Indeed, how beautifully complicated things can be! The sillhouete of the pointed arches add to the spaciousness and grandeur of the mosque interior

(ACKNOWLEDGEMENT: I hereby thank Prof. Soumen Mitra of Dept. of Architecture, T & RP, IIEST Shibpur for his valuable inputs and immeasurable help. I am grateful to my friends Sankhadeep Ghosh and Soura Manna, for their steady support)

Mehrab wall shows sparse decoration within panels

Ruined Domes & Pendentives

Rudimentary Pulpit in the Mosque

A DYING MOHALLA : SHANKHARI BAZAAR SWAGATA CHATTOPADHYAY 3RD YEAR

Shankhari Bazaar is one of the oldest mohallas in Old Dhaka, Peopleâ&#x20AC;&#x2122;s Republic of Bangladesh. Elaborately decorated brick buildings of the late Mughal or Colonial period lines this stretch of narrow lane. The bazaar bears testimony to a rich tradition despite unbridled modifications, accretion, extension over time and even renewal. It is still the most popular venue for Hindu festivals. The Shankhari Community gets its name from Shankha, a sea shell of ritual and religious importance marked distinctively by a high spire and a prominent siphonal canal. The shell is obtained from large predatory

Image Credits (Both): Ferhana Ferdous

sea snail, Turbinella pyrum found in the Indian Ocean.

Location

The bazaar is located a block north of the Buriganga River, near the intersection of Islampur Road and Nawabpur Road, the two main arteries of the old city.

Background

Shankharis or the shell artisans are a traditional occupational group skilled in shell cutting. The Shankharis alongwith the tantis (weavers) are believed to be the

oldest inhabitants of Purano Dhaka. One story ascribes their origin to one Dhanapati Saudagar of Karnataka. His descendants became specialized in shell cutting and over time this grew into a trade caste. They migrated to this region with the Hindu ruler Ballal Sen and put roots down in Vikrampur, a place south of Dhaka. Subsequently in the 17th century, a Mughal Emperor encouraged the trade by providing the artisans with official patronage, tax and duty waivers, and free land for settlement in Purano Dhaka, currently known as Shankhari Bazaar. The other story suggests that in earlier times the Bengali farming community or fishermen populating the river banks used to collect conch shells, powdered them and crafted exquisite bangles, shankha to be gifted to brides. The “poor man’s ivory bangles” earned admiration and the trade gained momentum. Soon enough, the conch shell bangles were incorporated as a part of nuptial traditions. Bankura, Midnapore, North 24-Parganas, Dhaka, Dinajpur, Rangpur, Barisal and Sylhet flourished to be the centres of Shankha craft in erstwhile Bengal.

Demography and Lifestyle

In 1883, James Wise had recorded that Dhaka alone harboured 835 of the total 11,453 artisans in Bengal. Coupled with adjacent mohallas viz. Tanti Bazaar, Goala Nagar, Jhulan Bari, Pannitola, the Shankhari bazaar is a sanctuary to the Hindu Community amidst Dhaka’s Muslim majority. Presently, it is home to about 10,000 people living within 4.6 acres of land making it one of the most densely populated areas of the world. The middle age group (20-40) has the largest share in the population. Population growth rate is alarming. Business dependent livelihood discourages education. Moderate income groups constitute the lion’s share of denizens. The sex-ratio is also strikingly high.

Most of the artisans are Vaishnavites and some are Shaktas. They belong to brahminical gotras and comply with same taboos and rituals as the then higher castes. Most of them are vegetarian. Traditionally, child marriage, polygamy and joint family systems were common institutions. Widow remarriage is still censored with divorce being considered as a deplorable act. Early marriage is still prevalent. Patriarchal families dominate this community. For men the traditional wear is dhoti and panjabi or fatua while women’s wear is primarily sari. Married women wear a pair of conch shell bangles to show marital culture negating widowhood. A distinctive social structure is based on the hierarchy of the trade: merchants, craftsmen and workers. Even today traditional institutions like panchayet remains the ultimate decision maker for the community.

Architecture

In the mid 19th century, the bazaar was considered one of the highest priced localities in Dhaka. The old city’s bazaars cluster to form the historic core and commercial nerve of Dhaka. The existing structural web has organically outgrown all efforts to geometrize. Para or mohalla is the basic spatial unit of the organic pattern in the urban web. This spontaneous neighbourhood has a strong sense of community and alongwith it’s occupational, ethnic and caste homogeneity, it serves as a trading centre, a familial and communal space, a religious, cultural and behavioural pattern and a circulation spine, all at once . These units created a hierarchy of spaces : courtyards, narrow lanes, nodes and major roads. Ghats at river banks link major streets to the river. The narrow lanes that snake through these markets create difficulties for modern transport but offer dynamic views during pedestrian movement. Most of the structures stand shoulder to shoulder without the minimum open space necessary for light and air. These too are being impinged upon by hawkers. A unique architectural attribute of Shankhari Ba-

Schematic Elevation of Shankhari Bazaar, Image Credit : Dhaka Smritir Sahar zaar is the oblong and linear plots with very narrow frontages. This resulted in congested and compact morphological development with growth in a linear pattern along a single street. Expansion of living quarters to create room for blooming business, security concern and subsequent divisions of plot among successors each requiring a street frontage must have been reasons behind such narrow plots. A conservative estimate of person-room ratio was 7.5 in the residential quarters(SFYP, 1990). Nearly 20 temples dot this narrow street. Stylistic variations in architecture testify the influence of the late Mughals, the early Colonial and the Raj through chronologically identifiable features. The form and geometry of buildings were dominated by the Mughal and Colonial style. Motifs and ornamental details, however, drew inspiration heavily from Hindu mythologies. Tri-foil, multi-cusp arches and short decorative free columns with bell capitals and round pedestals are Mughal legacies. The mid 19th century let in humbler versions of Mughal style architecture. Nevertheless, elements like temple courtyards and the juxtaposition of courts at different levels are unique to the mohalla. By the late 19th century a stylistically distinct neo-classical style could be seen in this conch shell market. Use of classical orders in the columns, pilasters, engaged columns, cornices, entablatures, stylized dentils and other decorative elements all reflect a shift towards this new style. Among the orders, Corinthian was favourite. Intricately decorated wrought iron columns and railings as well as wooden posts are another feature of this style. Contemporary Edwardian architecture has an influence on the elevations of many houses. During this period the front facades were refurbished. Roadside verandahs came in covering up ro-aaks at street levels. Most of the old structures were built with load-bearing walls; only the recent follow post and lintel construction system. Common building materials were brick and lime mortar. Brick sizes are variable with smaller ones indicating older buildings. Plinth is

overall high but ceiling height is variable. The repetition of similar building features like triple arches, decorative parapets, cast-iron balcony railings, brackets, column capitals and the uniformity in architectural treatment creates harmony and continuity in the comprehensive development of Shankhari baazar area.

Residential Pattern

Currently, 150 brick buildings flank this 600 feet long narrow street. A typical house is 10-12 feet wide, 70100 feet in length, 2-4 storeyed and is devoid of side windows. Absence of light wells deprives the lower floors of the much needed light and ventilation. Access to the house is through a small front door. A side corridor passes deep inside that leads to stairs and terminates in service areas. Upper floors are mostly used as residence. Rooms are arranged within two parallel parry walls. Cooking is done within family bedrooms. Every house has a tiny, central courtyard open to sky for ventilation and lighting. The topmost floors house a temple. Temples are small but ornamented with motifs on the entrance and on the walls. Balconies overlooking the bazaar are preferred. In contrast to the embellished building fronts, the interiors are grossly unadorned and simply painted over lime mortar. The rear portions too are often left unfinished. During the last 30 years nearly 40 percent of such buildings have been demolished for speculative redevelopment. To make room for the sporadic increase in household size, 2-3 storeys have been added onto the old buildings without adequate foundation. Well worn windows of expensive timber have been replaced by mill steel sheets or fibre panels imitating timber. Lack of services and utilities and other urban amenities, multiple ownership of buildings, high density of population and the aspiration of the residents have degraded many of these structures beyond repair. Shankhari bazaar now seems to be wrapped in rags and this economically marginalized community-the shankha shilpis huddles together in a

ghetto-like space unable to protect their heritage assets.

Economy and Business -the

Shankha Shilpa Conch shells are a sacred emblem in Hinduism. Mythology regards a â&#x20AC;&#x2DC;sinistralâ&#x20AC;&#x2122; conch shell as the abode of Vishnu. They are one of the astamangalas in Buddhism. In ancient times, they were used as war trumpet. Besides Vadya Shankha Narrow Frontage of Buildings, Windows decorated with multi-cusp arches, Image used as a trumpet for good omen, Image Credit : Daily Star Credit : Daily Star other crafts include Jal-shankha for offering holy water to the deity and ornaments such as bangles, buttons and bracelets. These conch shell bangles worn together with red coral ones indicate if a Hindu woman is married. Ayurveda recommends powdered conch shell as a medicine for dyspepsia. A total of 6 different professionals are needed to make each shankha, starting with designing, sketching, cutting, carving, polishing, and the like. Manually operated large steel saw, Shankher Karat is now obsolete and replaced by electric saws. One such saw, an important Vibrant Street Architecture, Image Credit : New Age artifact in conch shell industry, has now been put up in the office of Shankhari Association for display. Samata is the way shankharis cut the shell. The next step to reduce the front edge of the shell by a sharp saw is called majar deya. The procedure of making the shell rounded and plain is called jhapani. Cultural Architecture, Sankha Shops in Shankhari Bazaar, Shells are embossed with creative Image Credit : New Age

Image Credit : New Age

design using steel chisels. Trade in shell products had always been brisk. Previously, the Shankharis imported raw materials for their craft from Calcutta. After 1947, import from Calcutta ceased entirely and direct import from Sri Lanka began. The mass exodus of the Hindu community to India following the historical riots completely deserted Shankhari Bazaar. Apparently, by 1953, with much effort of the government, reorganization took place in the trade. The Conch Shell Industries and the Conch Shell Cooperatives started operating and this arrangement worked well until the Independence of Bangladesh, 1971. Thereafter, sluggish Post Independence economy, introduction of new policies such as the Wage Earners Scheme and adoption of a free market system struck these artisans mightily under the belt. Presently, all the imports are controlled by a few mahajans. Allegedly, the common lot of Shankharis feel marginalised, exploited and dehumanised. Availability of cheaper substitutes like plastic bangles and buttons, greater demand in coastal areas such as Cox’s Bazaar, competitive artisans from outside the traditional community , deterioration in state of the art of conch craftsmen has resulted in dwindling incomes and impoverishment of the of the Shankha artists. Apart from Shankhas, the other traditional crafts that had earlier flourished in the mohalla include musical instruments, paper crafts , sola-pith or crafts using jute straw and styrofoam sheets, clay statues for worship and stone statues to name a few. Recently, goldsmith shops in Shankhari Bazaar saw an astonishing rise. Off late, many of these craftsmen had been switching professions. Cultural tourism is now being targeted to generate sustainable livelihood for the artisans. With careful planning of a thematic tour route, the annual numbers of about 3000 tourists can be boosted to 10,000 saving the artisans and their tangible heritage.

Vulnerabilities

Increase in population, accompanied by highly skewed ownership pattern and low affordability results in the addition of floors above an inadequate foundation instead of redevelopment. The narrow slender buildings built about 200 years ago are too old and dilapidated to live in. A number of these structures collapsed in 2004 killing 19 lives. The inevitable outcome is dweller’s living with death. Escalated vulnerability of buildings, low level of light-

ing and ventilation, lack of open space, inadequate accessibility and scarcity of funds for repair lead to miserable living conditions. The Vested Property Act is another unjustified threat to their ancestral shelter. Today 80-90 percent of houses in the Shakhari Bazaar are listed as vested property. Overall the economic hardship is caused by declining business of Shankha Shilpa. Of the original 142, only 15 shops remain today.

Conclusion

Shankhari Bazaar’s centuries old buildings have an architectural value that outstrips their utility as only places of residence. With its noteworthy urban fabric, intricate artistry , the ambience of a vibrant culture and traditions , it is a livable treasure. Observed lifestyle has a history older than the ruinous structures. The bazaar has long reached an unsustainable state due to and non-existent services and sanitation, crime and violence, and economic hardships. Provision of basic utility services like sewer, drains, gas and electricity, conversion of main street into a walkway and providing street lights will allow upgradation in the quality of life and encourage travelling and transaction at night. By keeping the elevations intact, the housing units should be internally modified by addition of toilets and kitchens. The place and way of life of shankharis are now a tourist attraction. Thereby, cultural tourism should be focused on and Shankhari Bazaar will continue to be a tangible part of the city’s heritage.

Acknowledgement • http://www.hdm.lth.se/fileadmin/hdm/ alumni/papers/CMHB_2009/Bangladesh_-_Md_ Bahauddin_-_Conservation_of_Shakhari_Bazar.pdf • h t t p : / / d h a k a d a i l y p h o t o. b l o g s p o t . in/2007/01/shankhari-bazar-dhaka.html?m=1 • http://en.banglapedia.org/index.php?title=Shankhari • https://en.m.wikipedia.org/wiki/Shankha

Sketched By : S.S.BENEGAL, From the ’81-’82 SSAT Journal

Congested Urban Spaces 43

Sakshi Singh

P 2nd Year

It seems like it all happened just yesterday. I remember being awaken by an unusual buzz in the house. I had plans to stay awake, but then the exhaustion of the day prevented me from doing so. It was 12 at night and my twenty second birthday. Waking up with a start, I quickly did my hair and adjusted my clothes. It was my first birthday after marriage. He was not in bed. Honestly speaking, I had expected this. Back home, Dad always surprised me at 12 on my birthday. A little party, a few gifts and lots of hugs. As I touched up my face in the mirror that night, I couldn’t help but smile. Wonder what he had in store for me. I tiptoed down the stairs, hoping to be surprised any moment. I could hear voices and noises. “Bad at surprises they were”, I thought. All the lights were on. Was it poor planning? Maybe, they just wanted to keep it natural, so that I don’t suspect anything. I heard someone in the kitchen, and someone in the rooms; there were voices everywhere. Maybe they weren’t even prepared. I stood on the stairs and giggled in pity. And then I peeped into the room by the kitchen. I saw him there. All the smile, it just vanished somewhere. I froze. He was in his uniform, grey green trousers, with a shimmer of badges on his chest and shoulders, and his feathered cap on that head

- Sketched by

rupak halder, 1ST YEAR

at me through the mirror, and his facial expressions changed. He turned back, looked into my eyes, as if to say something, but his phone rang up again. The jeeps had arrived. There was no time. I looked on as he boarded the jeep in haste. I looked down at the tiled gateway as the engine began revving. A teardrop fell down my eyes. For that one moment, I didn’t want any surprises, any party, any gifts. But yes, one hug. And somehow he managed to understand. “I’ll be back soon, I promise”, he whispered into my ears as he embraced me. And then, he left.

up high. He was getting ready to leave. Behind him, mom was packing jars in his suitcase, quietly sobbing and wiping her tears with the end of her dupatta. The other members of the house were busy too; the call from the army base camp was urgent and sudden. The enemy had opened fire. He was needed there. As mom left the room, she looked at me with a knowing glance. I stepped into the room and without a word, just went and stood behind him. He looked

Weeks passed. Then months. Then years. They said the enemy had caused a lot of harm. They said they had been overpowered after a lot of struggle. They said several of our soldiers had been martyred. They said he had died. They said he would never come back. They said I shouldn’t wait for him anymore. They said I had gone mad. But I only remembered what he said. He said he would be back. He had promised. I sat at the same old tiled gateway every day. In the mornings. In the evenings. At times I felt him by my side on the bed. I saw him getting off a jeep. I saw him standing in front of the room, in his uniform. I could see him. In his grey green trousers, with a shimmer of badges on his chest and shoulders and his feathered cap on his head up high, but he never really returned. He broke his promise. It took me years, but I have it in the end. Hopes die. So did he.

BRIDGING THE GAP BETWEEN RESEARCH AND DESIGN A NECESSARY EVOLUTION IN ARCHITECTURE ABHINANDAN BERA GRADUATED IN 2011

In 2004, an article titled An Apocalyptic Manifesto discussed how the discipline of landscape architecture is suffering from an identity crisis (Hohmann and Langhorst 2004). The identity crisis, as described by Hohmann and Langhorst, is mainly because of its lack of connection with other fields. In the past landscape architecture has been spoken of with great respect, in reference to poetry, art, and even politics. According to the manifesto, in recent years not only the discipline has lost its connection with core disciplines but also has dropped in terms of popularity. But it is also because there is not a single appropriate definition for everything that landscape architecture is about. One might try thinking about landscape architecture as a profession that deals with the outdoors. ‘Lowline’, a project that boasts an underground park defies that idea (“Lowline Lab” 2016). The project includes the many components that can be categorized and specialized under architecture, civil engineering, botany, lighting engineering, etc. The complexity of the project and the beauty of the outcome has been achieved only because the boundaries between these disciplines have been overcome to work towards a common vision. Other definitions of landscape architecture speak about plants and vegetation as integral parts of practicing landscape architecture. The famous photograph of Louis Kahn’s Salk Institute boasts few trees but responds to the grand landscape in the background. Recent research in landscape architecture deals with problems at a regional scale. One might argue, it then becomes an example of regional planning and not landscape architecture. But while we argue on nomenclature, definitions, and limits of a discipline, some go ahead with a grander vision of uniting such disciplines and calling it ‘interdisciplinary research’. Some have named it Geodesign, others still continue to work on the

Figure 1 : Low Line Project in NYC

Figure 2 : Previous conditions at site

same themes in architecture, landscape, planning and geography (Steinitz 2012). It would, therefore, help not to limit the scope of architecture, landscape architecture and design with a single definition. Broadening the scope to enable a greater vision is possible only with exposure to research and practice. Academicians, researchers, and practitioners of landscape architecture work on themes ranging from a garden in one’s backyard, to understanding how a river changing its course might impact the surrounding vegetation and therefore, the entire ecosystem. While a broad range as such is often a sign of the wide prospects of employment, it may as well confuse the

Figure 3: Bringing sunlight from above ground

Figure 4: Artist’s impression of the Low Line

Figure 5: Salk Institute by Louis Kahn

young minds regarding which to pursue. How do the young decide for themselves without the necessary exposure to relevant knowledge, research, and analysis? Five years of B.Arch. often finds it difficult to

include many courses that will inform future career decisions. And without the required exposure one might find that choosing a specialty discipline for higher studies often resembles a gamble. What if you enroll in a two-year graduate program only to find out after one year, this is not where your interest lies? If one’s interest lies in the profession, some exposure can come with a couple of years of employment. But when it comes to research such opportunities are relatively limited. The previously discussed manifesto was published twelve years ago, and thankfully, the scenario is getting a little more favorable. At Penn State, both departments of architecture and landscape architecture have several ‘tracks’ or themes of studies. These themes include design computation, community design, sustainability, etc. The one thing that is common with all these themes is that they collaborate with other disciplines. The academic transcript of a student graduating from Penn State Architecture or Landscape Architecture will include at least a couple of courses taken outside the department. For architecture students, these courses may include ones in Architectural Engineering, Civil Engineering, Computer Science, Sociology, Psychology, and Geography. For students of Landscape Architecture, these include Botany, Ecology, Art History, Sociology, Rural Sociology and Geography. It is interesting to note that, despite the two departments sharing common studio space in the same building rarely had courses together. This is changing now. Students are taking courses that involve expertise from architecture as well as landscape and are guided by faculty from both departments. The entire university is committed to sharing of knowledge and expertise. Apart from interdisciplinary exchanges, one vital in-

teraction that takes place within the department is between the undergraduate and graduate students. Graduate students are mostly focused on research oriented work and bring to the table certain skills or expertise that comes with years of school as well as experience. Undergraduate students lack the knowledge in theories and precedents, therefore being more suitable to bring in novel ideas to share. The UG and grad students learn from each other. Among the students and teachers, they learn from each other. With this blending of skills and sharing of knowledge and expertise, the department has a practice of challenging and learning from each other and therefore, of pushing the envelope. As you read this and wonder, what this has to do with you, I ask you, o designer, what informs your design? Your design is a decision. If you are dealing with built space, you are building walls or breaking them, allowing light or capturing it; you are changing the way three-dimensional space will make someone respond. Every line you draw is a decision. And that decision is supported by knowledge and experience, thereby making it an informed decision. Experience is something closely related with time, and knowledge with research. It is of utmost importance that the discipline of architecture engages itself with in-depth research. Such an engagement will be challenging and only then will the discipline and its proponents grow. Such an evolution happened more than forty-five years ago when Ian L. McHarg proposed in his book Design with Nature, that landscape architecture should be informed by its surroundings (McHarg and American Museum of Natural History 1969). He stressed on the reliance on in-depth analysis of the ecology, soil, climate, hydrology in the practice of what came to be known as ecological planning. He, therefore, proposed studying the environment and its components as maps and presenting them in layers drawn on translucent paper. Today, Geographic Information System or GIS, a popular research and analysis tool uses the same method. As easy and obvious this sounds, it was bridging the gap between practice, and research and analysis that mattered. A professor of mine at Penn State said research is not always about finding answers to questions. It is about getting to a point where one has the opportunity to ask better questions. I hope reading this article will perplex you, puzzle you and therefore, make you ask questions, want to seek further knowledge,

to be interested in research. For it is only by connecting with updated research that design will evolve. And without evolution, design as a learning process shall be obsolete. Notes: 1. All images of the low line project have been derived from (“Project” 2016) & Google Images. See references for details. 2. Image of Salk institute has been derived from (“Media Resources” 2016) & Google Images. See references for details. Author: Abhinandan Bera Ph.D. Candidate, Department of Architecture Pennsylvania State University University Park, PA 16802, USA abhinandan.bera@gmail.com

References: 1. Hohmann, Heidi M., and Joern Langhorst. 2004. “An Apocalyptic Manifesto.” Landscape Architecture Publicatio 17. http://lib.dr.iastate.edu/cgi/viewcontent.cgi?article=1016&context=landscapearchitec ture_pubs 2. “Lowline Lab.” 2016. The Lowline. Accessed December 20. http://thelowline.org/lab/.McHarg, Ian L., and American Museum of Natural History. 1969. Design with Nature. Vol. [1st]. Book, Whole. Garden City, N.Y: Published for the American Museum of Natural History [by] the Natural History Press 3. “Media Resources.” 2016. Salk Institute for Biological Studies. Accessed December 20. http://www. salk.edu/news/media-resources/ 4. “Project.” 2016. The Lowline. Accessed December 20. http://thelowline.org/about/project/.Steinitz, Carl. 2012. A Framework for Geodesign: Changing Geography by Design. esri

AN INTER-VIEW WITH LEILA ARAGHIAN

TABIAT BRIDGE, TEHRAN Source : Google Images

Bridges have always been close to the heart of Iranian identity. Isfahan, Iran’s top tourist destination and a former capital of Persia, boasts two spectacular bridges from the 16th century Safavid dynasty when the city was at the centre of Islamic art and culture. So it is no surprise that a new hi-tech award-winning structure has appeared in the Iranian capital, Tehran. What is a surprise is that it was designed by a young woman. Tabiat (“nature”) bridge, the largest of its kind in Iran, was Architect Leila Araghian’s first project. She designed it five years ago while a student, winning a local competition for a plan to connect two parks separated by a highway in north Tehran. It was built over two years and was unveiled in late 2014 by Tehran’s mayor, Mohammad Bagher Ghalibaf. It has since become a popular place for hangouts and morning sports. Last month, as Iranians celebrated an ancient festival of outdoor picnicking, thousands flocked to the bridge. The IIA-CREDAI Bengal organized Architectural Convention, “Connecting Histories”, at the J .W. Marriot Hotel on 3rd and 4th of March gave us the opportunity to be up close and personal with this young architect and talk to her about her ideas and inspirations. Q : The Tabiat Bridge was your first big project. It won Architizer A+ award, a global architectural recognition. You were only 26 when you designed it. How did you get the idea? Araghian : Actually, the inspiration goes back almost 11 years when I was crossing a bridge with my friend Alireza Behzadi. We discovered an old couch that somebody just had placed on the sidewalk. We dragged it to the middle of the bridge, sat down and looked at the river. At that point I realized that we normally are used to cross the bridge in one direction, but if we stop in the centre and look to the other direction we can experience a totally new

space. And that state of mind was the first thing I remembered when I took part in the competition for the bridge. Q : You were still studying architecture at that time. Did you always want to become an architect? Araghian : It just happened. It’s not that I was surrounded by architects. I didn’t even know what architecture was, until I started studying it. I chose architecture, because all the other majors seemed soulless, rigid and “cold”. For me, architecture was the most artistic one, but also real compared to other art disciplines like literature. You can’t mess with

spaces all the time, no matter where they are. Spaces affect us physically and psychologically. For instance, if the handrails on our bridge were too short, it would give you a sort of fear of falling down. If they were too high, it could give you a feeling of a prison. If we design bad sidewalks, where people fall down and break their legs, or if we don’t provide enough parking spaces and people fight over them, it’s all our responsibility. Q : Your work bears resemblance to the buildings of Zaha Hadid and Frei Otto. Do you have any design inspirations? Araghian : I’m inspired by the Iberian architects like Alvaro Siza. I’m a fan of his work because of the quality of his spaces. They are minimal but at the same time they give you the chance to discover new spaces. In the field of membrane structures, of course, Frei Otto influenced me. I believe after him nobody has taken the field of tensile structures much further. The work he did 50 years ago is still on the top, he was a master.

gravity- a building has to stand up. You have to respond to all the forces of nature. Q: Talking about responding to reality: Alejandro Aravena, the curator of this year’s Venice Architecture Biennale, criticised universities for not enabling students to find solutions for imminent global problems like poverty and population growth. Would you agree? Araghian : Architecture is such a wide profession that it is impossible for an architect to take care of everything. Schools and universities are places to raise questions and to help students discover what they are interested in. But I agree that social aspects are not that much questioned in schools of architecture in general all around the world, at least as far as I know. We, as architects and urban planners, are responsible for people’s lives. People are confined in

Q : What is your design philosophy? Before you begin a new design, what are the things that you think of at the beginning? Araghian : The first thing that comes to my mind is what the purpose of the design actually is, and what it is supposed to do. I think about the function of a typical project, for instance, a bridge, and attempt to redefine it in a new light. So before we designed the Tabiat Bridge, we looked at typical bridges and redefined it in so many different aspects so as to present it in a completely different way than the mainstream. Q : What is your view of so many glass and steel structures coming up in the world? Are they responsive to nature? Araghian : Well, glass and steel are really not so bad, they come from nature too! We hear from teachers of Architecture, “Oh everywhere they are doing structures of steel and glass, that’s bad”, but it is not true. It all depends on the way we use them, the way we treat them and utilize them to define a space. Before using any material, all we have to do is to treat them in such a way that it is responsive to site and it adds to human comfort. The answer is simply whether we are respecting nature or not. It is not that we have to use wood all the time, because wood is coming from nature, as we have to cut down trees to do that, which makes it far less responsive to nature.

From left : Soumoyadip Sarkar, Shayantani Mukherjee, Ar. Leila Araghian, Lourembam Malemnganba Singh, Soumik Das and Koustav Dhar Q : Coming back to the Tabiat Bridge, What makes it special for you besides being its architect? Araghian : It’s more than a bridge, it’s a public place with benches and corners, where people can stay and spend some time. It’s also the largest pedestrian bridge in the country. And for me the most interesting aspect : it is mysterious. It is designed in a way that every time you visit the bridge, by taking a different route, you can experience it in a new way and discover something different. It’s not a bridge that crosses a river like the famous Khaju Bridge in Isfahan. It’s something completely different. Q : Has the bridge functioned in the way you expected it to work? Araghian : It functioned better than what I was expecting, actually. People have defined it in their own way and I really couldn’t be happier. I used to say it’s just a piece of design on the paper, I couldn’t believe it would actually be built one day. It’s a good feeling to see people are enjoying it, to see them sitting on the benches or just hanging out. It gives me more confidence for my future work but when I come to think of it, it’s one of those things that you get to do only once in your lifetime. Q : On a different track, people always say that success in architecture comes with age and experience, architects rarely achieve success in their youth. So how do you feel having busted that myth? Araghian : It feels really good, actually. I believe I have been lucky too. But now I am at a stage where I have to do a lot more in the field of architecture.

Q : In 2005 you, still a student, co-founded Diba Tensile Architecture together with the friend you mentioned, Alireza Behzadi. One year later the UN imposed the economic and financial nuclear-related sanctions, amongst others. How did these sanctions influence your work? Araghian : For us it was a coin with two faces. On the one hand, we had no international competitors. We started an industry in a market that was completely new and empty at that moment. It gave us the space to grow. But obviously we also faced difficulties. Once we needed to purchase software from Australia, it took them three months to authorize the project and to authorize us just to make sure that we were not going to build bombs with it. Other companies simply sent us an e-mail saying “Sorry, we’re not interested to work with Iran because of the sanctions.” Last year, when we wanted to submit the bridge to an international competition – the World Architecture Festival – we could not even register because Iran had been taken out of the list of countries. I believe the whole idea of the sanctions was to isolate and to suppress us in a way that we become weak, helpless and hopeless. But looking at our bridge and all the attention it has received internationally, we managed to show ourselves to the world. It gives me a very good feeling, a feeling of power. Q : What would be your advice to students currently pursuing architecture? What is your perception of the future of architecture? Araghian : Well, that is a very difficult question, how I perceive the future of architecture, but my advice to students is that, believe in what you are doing and be the best at whatever you do. Find what you believe in architecture, whatever that excites and enthralls you. Be passionate about what you do, be it experimenting with structure, materials, housing, urban design. Q : What is your ultimate goal when it comes to your work? What do you want to be remembered for? Araghian : My goal has less to do with architecture and more to do with city. I would like to be remembered as someone who has made a walk through the city a pleasurable experience.

THE NEW ‘SMART’ THE CHALLENGES OF INDIA’S SMART CITY PROGRAM KRITIKA SHA

GRADUATED IN 2012 Kritika is currently a Graduate (Honours) student at the Faculty of Architecture & the Built Environment (Urbanism), Delft University of Technology and previously an alumni of IIEST, Shibpur (2007-2012). She is presently exploring the interface of urban, social and economic geography in the global south, especially focusing on social-economic sustainability as framework to enable a comprehensive understanding of urbanisation processes. ABSTRACT: India has recently embarked on an ambitious scheme of developing 100 smart cities, aiming to support its ever growing urbanisation. These cities are to become the image of development, which the government wants to present to the world. Although, the intent behind the need for such an ambitious project is justified, several questions have been raised about its planning process. One of its main criticisms is that the program will increase the existing crevasse between different strata of a very complex social structure. This is based on several aspects of the program - its over-reliance on smart infrastructure, not considering the socio-cultural backdrop and ignoring the strong economic reliance on informality. The project in its current form, serving a limited clientele cannot serve the aspirations of the people as a whole, which means that it should be overhauled to ‘include’ rather than ‘exclude’ the people of India. This program will have large social repercussions, which need to explored and debated, before embarking upon it.`

1. INTRODUCTION 1.1

The Premise

Urbanisation has rapidly increased over the last century, at a rate which was beyond anticipation. The population in cities has boomed in the world, where in 1950, only 86 cities had a population of over 1 million, to in 2002 where this number is over 400 (World Urbanisation Prospects, 2002), and is increasing at an exponential rate. The 2014 revision of the World Urbanization Prospects by UN DESA’s Population Division notes that the largest urban growth will take place in India, China and Nigeria. These three countries will account for 37% of the projected growth of the world’s urban population between 2014 and 2050 (United Nations, 2014). Part of India’s response to cope with this urbanisation is a massive national-level program proposing 100 ‘smart cities’, which was presented by the newly elected government in 2014. This mega-project is also marketed as an opportunity for ‘image’ improvement, and is often seen as a method to catch up with the ‘free-world’ in terms of technology, resources and sophistication. The intended purpose of this project is often imagined to usher India

into a model of sustainable and inclusive development. This paper aims to debate upon the current approach in the smart-city program, highlighting in particular how it fails to incorporate the complex socio-cultural issues present in India, within its planning processes. This could lead to an increase of the existing crevasse between different strata of its very complex society. I will present this argument based on the key policy documents of the program which outlines its direction and media reports on its current status, thus helping me understand the implications of this program in its present form.

2. UNDERSTANDING THE PROJECT 2.1

Defining the smart city

Accepting that there cannot be a single definition for smart cities, the policy documents broadly defines a wish list and definitional boundaries to guide 100 selected cities into one mission. It specifies: “In the imagination of any city dweller in India, the picture of a smart city contains a wish list of infrastructure and services that describes his or her level of aspiration. To provide for the aspirations and needs of the citizens, urban planners

Figure 1. India’s focus on smart infrastructure in the new cities; Source: http://smartcities.gov.in/

ideally aim at developing the entire urban eco-system, which is represented by the four pillars of comprehensive development-institutional, physical, social and economic infrastructure” (Ministry of Urban Development, Government of India, 2015).

2.2

The lack of coherence in approach

These pillars, as stated are essential to the well-rounded development of any city. The approach by the government, in reality, however, has been predominantly focused on a ‘smart infrastructure’ (Fig.1) based development (Ministry of Urban Development, Government of India, 2015). This has been partially based on other international models of Masdar city, UAE and Songdo, South Korea in content, to other cities like Dubai, London, etc.in image, and is being marketed quite intensively. This is not new as similar instances have taken place by various state governments promising the transformation of Indian cities into the image of western global cities like London (The Deccan Herald, 2011). This plan of making Indian cities in the image of a “utopian” version of western and middle-eastern cities can have serious repercussions in its social strata, which the smart city program has not anticipated. There is a stark difference in what is marketed and what is perceived of the project by the various parties involved. This is more evident in the people who are responsible for the execution of this project - Bureaucrats, city planners, politicians, who are not on the same page or understanding, leading to an uncoordinated approach towards different perceived visions. The

local citizens and bodies that have been included in the planning process represent a wider range of desires and a certain amount of distrust in the process and scale of implementation. These citizen bodies, unfortunately, only represent a privileged fraction of the population. For a new, smart city to fulfil its ambition of comprehensive development (Ministry of Urban Development, Government of India, 2015), a wider spectrum must be considered. This would lead to a more nuanced project, incorporating the needs and voices of all and not just a select few.

Therefore, a coherent vision, understood and comprehended by all in the same vein, is necessary for a project of this magnitude, as a misinterpretation has repercussions not only in the physical environment, but also on the social environment. This ‘one vision’, currently absent from the program, has led to confusion at an early stage, which would only be compounded as it progresses in a country of over a billion voices.

3. CONTENT BEFORE CONTEXT 3.1 The problems with ‘smart infrastructure’

A major part of the smart city paradigm derives from the concept of ‘smart infrastructure’, where the goal is to make existing infrastructure work in a more integrated way, whether it is waste, habitation or transport connectivity, with a heavy reliance on ICT services. Many European and middle-eastern cities are fore-runners in the inevitable energy transition and smart techology. They see the linking up of infrastructures, technologies and services in key urban sectors (transport, buildings, energy, ICT) as a smart way to improve the competitiveness and sustainability in the built environment along with the quality of life. This has translated to a varied degree of success in promoting the successful use of technology to solve issues pertaining to essential services. Several companies, such as JICA, Japan have already invested in several ventures related to developing smart infrastruc6ture and logistics in urban environments

Figure 2. The destratifying cable cars in Caracas, Venezuela; Source: http://www.architonic.com/cablecarsystemismakingfavelasmorevisible/7000511

in proposed smart cites of Ponneri, Krishnapatnam and Tumkur (Make in India, 2015). A project of this nature requires a comprehensive scaling-up of concepts and design models that may not be suitable for developing countries such as India. A reliance on western planning models has seen developing countries struggle to cope with the expansion of their cities. The proposed highscale models would be a struggle for most cities to implement. For example in a mid-sized city Figure 3. Digital Matatus – a new transit map, Nairobi, Kenya; Source: https://dusp.mit.edu/cdd/ of Bilaspur - population 453,946 project/digital‐matatus in 2011 (National Census, Govt. ‘perfect city’, but has consistently failed to provide of India, 2011), the smart city project calls for a even the basic services to the poorest of its citizens. city-wide digital operating system, which will have electricity, water, healthcare, birth-death, credit card data, traffic licensing, penalties, etc. embed3.2 The small-scale model ded in one system. This requires a large investment The over-reliance on these models of development from technological companies, which has drawn has already resulted in the failure to manage the growth criticism from the locals (The Guardian, 2016). of cities in low and middle income countries, which The majority of the criticism stems from distrust are now combatting unplanned informal expansion. in the actual realisation of the project in a system, However, there are several examples of projects that which has failed to provide basic services of runoffer a combination of innovation and ingenuity, ning water, electricity etc., to a large section of while keeping in mind the backdrop and context. the population (World Bank Group, 2016). This Projects such as the ‘destratifying cable cars’ of Caleads to disbelief in a system which promises a racas - which successfully illustrated that a communi-

Figure 4. Lavasa city, India – made as different as possible from typical Indian city; Source: http://www.trulyyoursroma.com/

ty-aimed, bottom up approach can go a long way in unifying the favelas with the city (Urban Think-Tank, 2015) and Nairobi’s ‘digital matatus’- using mobile routing applications to create a new transit map to help the citizens navigate the informal public transport sector (Digital Matatus, 2015) prove that developing countries are now responsible for a long list of both technical and social processes that rival anything the developed world has to offer for ingenuity and practical utility (Fig. 2 & 3). Although, the planning processes of these projects were not simple to execute and had their share of challenges, the successful and inclusive nature of their result is undeniable.

3.3 The current approach

But, this is not the face of urban innovation that India wants to share with the world – as it could be possible that small-scale projects or the simple methods of the poor simply are not grand enough to convey the magnitude of increasing national ambition. We hear, instead, of schemes like Palava City, a futuristic vision of digital technology intertwined into everyday urban life (The Lodha Group, 2016) and Lavasa City - embodying an image of the European city (Lavasa Corporation, 2014). The overwhelming evidence is that this ‘aped urban policy’ has failed to secure social, or spatial, justice. Cities such as Lavasa (India’s first city built from scratch by a private

enterprise with state support) have become ghost towns, with very few people choosing to settle there. Invoking the imagery of a classical Italian Riviera interspersed with the odd American diner, it is clear that the planners are trying to create Lavasa as far as possible from the current model of Indian Cities. The marketing tagline for such cities could easily be ‘Escape India’ (The Guardian, 2015). Lavasa has been widely reported as an unsuccessful venture, mainly because the planners failed to incorporate the aspirations of their clientele, i.e., the local population (Fig. 4).

3.4 The required approach

On the other hand, India boasts of a unique ingenuity and an impressive informal economy (Fig. 5). Its self-grown cities are uniquely culturally diverse which forms the base of several successful ventures, rising from adapting and embracing informality. Informal markets (Fig. 5), informal industries amongst others often form the base for growth and development of large section of the society. Scholars such has De Soto (1990) often laud the need for informality in developing nations from Latin America to Asia, as they form a crucial part of the country’s economy (De Soto, H. 1990). Instead of India turning its back it, the smart city program should be a tool to incorporate this informality into its future, bringing it out from the fringes. Currently being formed in the mould of cities like Lavasa and Palava, which have proven to be unsuccessful in India, the new smart city program instead provides a platform to embrace the socio-cultural diversity of the country in a more integrated manner. Perhaps instead of the ambitious scheme of complete transformation, smaller and locally oriented projects (Illustrated by the success in Caracas and Nairobi) should form the base of the smart city program. Including local informality in the smaller schemes would ensure the participation of the poorest section of the society, ensuring a more resilient and inclusive urban transformation.

Figure 5. Informality in a typical Indian city: an essential part of urban areas, now excluded in the new vision; Source: http://www.eco-business.com/ if-food-security-answer-it-time-change-question/

4. THE EXCLUSIVE NATURE OF THE PROJECT A very important point which needs to be addressed is the impact of such a massive project on the social structure of both existing as well as new towns. As per the official mission statement: The smart city project aims to improve the ‘quality of life’ of the people by enabling local area development and harnessing technology, especially technology that leads to smart outcomes (Ministry of Urban Development, Government of India, 2015). It also talks about improving the liveability of the whole city and creating inclusive living areas. This ambitious project, does have its intensions in the right place. It does strive for a better future for its citizens by providing them infrastructure, better homes, etc. However, it largely ignores the social behaviour of the biggest component of these cities: the people. It instead focuses on technology to improve the quality of life. It is important to note that technology can only improve upon the ‘standard of life’, whereas improving the ‘quality of life’ cannot be achieved through technological innovations only. For India’s true progress, both the ‘standard

of life’ and ‘quality of life’ should be given equal importance. Only improving the ‘standard of life’ will be a hollow version of the success that India desires, excluding the people who cannot afford a share in this new technologically dependant world. The project describes a world where all the city’s residents, from the homeless to the slum residents to the occupants of penthouses, could use services online – where service connections such as water and electric power were easy to get, and all kinds of payments could be made by a smart phone or tablet (The Guardian, 2016). A world of blissful information technology, starkly devoid of human involvement. The smart city program is, therefore, nudging India towards information technology, instead of furthering local government and utilizing the power of its over 1 billion people. To most, the project does sound like the answer to most of the problems that India is facing. However, the country’s problems run deeper, and would not be solved by a superficial at-tempt. Proposals for developing city wide technological grids (ISGF, 2016), controlled by a digital operating system should not be implemented in in a country where 300 million people live without electricity and almost double without access to toilets. These new proposed cities

are relying heavily on automated systems like intelligent traffic management, automated garbage disposal systems and transport connected to smartphones (The Guardian, 2015), to keep them running. This would surely turn the cities into isolated islands for the privileged people. This emphasis on high-end infrastructure and superlative quality of life in this project hints at a discomfiting answer to the question: who the intended inhabitants of smart cities are likely to be? The harsh truthful answer to this question is that it would only serve the upper-middle class and the wealthy, turning a blind eye to a majority of the population. Cities built on this model, like Lavasa (Fig. 4) are clearly gated communities, serving to a privileged few. Such an intricate system of infrastructure would require a huge investment to maintain and run smoothly. In sequence, these spaces can only be occupied with people able to afford them. Therefore, these spaces would mostly use prohibitive prices and harsh policing, to stop people from using the privilege of such infrastructure, so as not to override the government’s ability to maintain them. This is not in line with the government’s ambition of an inclusive city. A total separation between the

different strata of society in terms of money is inevitable in these smart cities. These will become cities highlighting borders and divisions, instead of the blurring them. In a country where a large portion of the population still struggles to receive basic necessities, providing such an elaborate establishment to a chosen few can only remind the rest of what they can’t have. Although, there is a large disparity already existing in Indian cities, this new program would only encourage it, rather than reduce it. This new form of increased division is fragile and cannot last forever, leading one to wonder when the inevitable collapse would occur. For a truly inclusive smart city, the focus needs to move away from implementing high-end technology which would alienate a large section of the society. Instead, it needs to focus on an approach which can make basic services available to the majority of the population. Unless this gap in the ‘quality of life’ between different sections of society is bridged, any implementation of high maintenance ICT will only serve to increase this gap. The program in its current form would work best, if all sections of the population were at a median level of development. However, this basic prerequisite is not met in India and the

Figure 6. Migrating farmers at Jhansi, India as a part of circulatory urbanism; Source: http://www.patrika.com/news/lucknow/peoples-are-migrating-for-economic-reasons-1327874/

architects of the program needs to therefore need to take it into consideration. A headstrong approach of matching developed nations as soon as possible should be therefore, re-paced.

5. IGNORING CIRCULAR URBANISM As mentioned earlier, the smart city program in part a response the rapid urbanisation of Indian cities. This is based on the need to upgrade existing cities to accommodate the increasing pressure of people migrating from the hinterlands. This phenomenon is not exclusive to India, however, India’s model of urbanisation and migration is different from other developing economies, which needs a different response than just simply upgrading cities. The western model of planning is radically different from India’s with its strong focus of urbanization, as almost 85% of EU’s GDP is generated in cities, and they are central to delivering on key challenges for Europe’s society and economy (European Commission, 2015). India’s base is in the hinterlands, with 70% of the population living outside the cities and agriculture being a large source of its GDP (IBEF, 2016). The current government feels that it is time for India to take a bigger role in the world’s economy. Therefore a long-standing argument is being presented in India that no economy can grow on the basis of agriculture, and so it is inevitable that people would move to cities. This further extends to the belief that innovations with new technology emerge and belong only in cities. This leads to a lopsided development concentrated only in high-density clusters (already be-coming apparent in China), which can become detrimental. In their present form, several smart cities can essentially be relabelled as Special Economic Zones (SEZs). They are characterized as neo-liberal business-friendly zones, which receive big tax ex-emptions, with lax labour laws. They are also influenced by ‘privatized governance’, which renders local provincial government powerless against the larger corporations. The cracks have already begun to show. China is now struggling to cope with its overloaded cities, especially in the metropolitan region of Beijing, with cities such as Tianjin, Tangshan and Suzhou expanding beyond their origins as ‘Special Economic Zones’. Till now China has been able to strictly regulate its workers between district boundaries so that migration to cities is kept in check (Migration

Policy Institute, 2015). India, on the other hand, has a more fluid network and connection between urban and rural area, with workers regularly going back seasonally to till their farmlands. India’s process of “circular urbanism” differs from the standard model of dominating megacities and an empty hinterland. Its networked lifestyles are not quite suburban or simple rural either, as dual households remain profitable and socially important (Gidwani, V. & Sivaramakrishnan, K., 2003). One worker keeps shifting from being a farmer to a security guard, grocery shop owner to labourer, blurring boundaries between cities and their surrounding area (Fig. 6). Even then, cities remain key nodes in ever expanding economy of India. Neglecting either will not work. Therefore there is a pressing need to define the level of connectivity between these rural and urban areas and celebrate the existing contrast. The smart city program current focusses solely on the development of urban areas, neglecting the crucial hinterland, without which the unique circular economy system collapses. In fact, it would make better sense for policies to forsake the rural and urban lines of directing investment, and recognize that India’s potential lies with the network of connections between these polarized areas. India is more networked than we care to acknowledge. A shift in perspective will help evolve a set of categories and suitable projects that do greater justice to the emerging urban landscape in India.

6. CONCLUSION India now stands at a crucial junction, where its actions would determine its future for the next century. The ‘100 Smart Cities’ program may work well on paper and propaganda, but the country’s harsh realities should not be swept under a rug. India’s complex and layered society should be perceived as a strength and not be discarded if it does not fit into a preconceived program. Sacrificing social stability for the utopian vision of development, can only lead to fragmented future in India’s path to development. As illustrated, the exclusive nature of the smart city program, neglects the crucial social element at several levels. It offers hope of a developed India, but only to a select fraction of its population. The project, in its current form and serving a limited clientele cannot serve the aspirations of the people as a whole, which means that it should be overhauled to ‘include’ rather than ‘exclude’ the people of India. What is required is a balance of social equity, economic opportunities

and environmental resilience to ensure the base of a very ambitious and desired project in order to implement a more inclusive project.

NOTE:

This paper was presented at the conference “SUSTAINABLE HOUSING 2016 - International Conference on Sustainable Housing Planning, Maintenance and Usability” on November 16, 2016 at Porto, Portugal. In case of further queries about the author’s research, please send an email to 1989.kritika@gmail.com. Other articles by the author can be found on her blogpage https://kritikasha.wordpress.com/

8. REFERENCES

De Soto, H., 1990. The Other Path: The invisible revolution in the third world, New York. Digital Matatus, 2015. The Digital Matatus Project. [Online] Available at: <http://www.digitalmatatus.com/ about.html> [Accessed 22 July 2016] European Commission, 2015. Urban Development Policy. [Online] Available at: <http://ec.europa.eu/regional_policy/en/policy/themes/urban-development/ > [Accessed 23 July 2016] Gidwani, V. and Sivaramakrishnan, K., 2003. Circular migration and rural cosmopolitanism in India. Contributions to Indian Sociology, 37(1-2), pp.339-367. IBEF, 2016. Indian Agriculture Industry – An Overview. [Online] Available at: <http://www.ibef.org/industry/agriculture-india.aspx> [Accessed 14 August 2016] ISGF, 2016. Smart City Gyan. [Online] Available at: <http://www.indiasmartgrid.org/smartgridgyan.php> [Accessed 23 July 2016] Lavasa Corporation, 2014. The Lavasa Life. [Online] Available at: <http://www.lavasa.com/> [Accessed 20 August 2016] Make in India, 2015. Smart Cities. [Online] Available at: <http://www.makeinindia.com/article/-/v/internet-of-things> [Accessed 20 August 2016] Migration Policy Institute, 2015. Destination China – The country adjusts to its new migration reality. [Online] Available at: <http://www.migrationpolicy.org/article/destination-china-country-adjusts-its-new-migration-reality> [Accessed 14 August 2016] Ministry of Urban Development, Government of India, 2015. Smart Cities, Mission Statement and Guidelines. [pdf] Available at: < http://smartcities.gov.in/writereaddata/smartcityguidelines.pdf> [Accessed 21 August 2016] National Census, Govt. of India, 2011. Bilaspur City Census Data. [Online] Available at: < http://www.census2011.co.in/census/city/276-bilaspur.html> [Accessed 19 August 2016] The Deccan Herald, 2011. Kolkata will be London, Darjeeling another Switzerland: says Mamta. [Online] Available at: <http://www.deccanherald.com/content/170759/kolkata-london-darjeeling-another-switzerland.html> [Accessed 21 August 2016] The Guardian, 2015. Inside Lavasa, India’s first entirely private city built from scratch. Available at: < http:// www.palava.in/overview/visionofpalava> [Accessed 05 August 2016]. The Guardian, 2016. We don’t need IT here – the inside story of India’s smart city gold rush. Available at: <https://www.theguardian.com/cities/2016/jan/22/inside-story-india-smart-city-gold-rush-it> [Ac-cessed 10 July 2016]. The Lodha Group, 2016. Pallava City – Overview. Available at: <http://www.palava.in/overview/visionofpalava> [Accessed 29 July 2016]. United Nations 2014. World’s population increasingly urban with more than half living in urban areas [online] Available at: <http://www.un.org/en/development/desa/news/population/world-urbanization-prospects-2014.html> [Accessed 21 August 2016]. Urban Think-tank, 2015. Fabrica de Cultura BAQ. [Online] Available at: <http://u-tt.com/project/fabrica-de-cultura-barranquilla/> [Accessed 22 July 2016]. World Bank Group, 2016. Inadequate Sanitation Costs India the Equivalent of 6.4 Percent of GDP. [Online] Available at: <http://water.worldbank.org/news/inadequate-sanitation-costs-india-equivalent-64-percent-gdp> [Accessed 26 August 2016]

George Robin Paget Ferguson is a British politician, former architect, entrepreneur, and was the first elected Mayor of Bristol. Urban renewal and environmental sustainability were central elements of Ferguson’s approach to design, exemplified by developments such as the Tobacco Factory. In 1978, Ferguson co-founded Ferguson Mann Architects and the practice won many awards for design. In 1986, Ferguson founded Acanthus, a network of independent practices committed to design and conservation. During his career, Ferguson has written and presented articles, broadcasts and lectures on planning and architectural matters and sustainability. Ferguson is noted for his leading role in the regeneration of the Bedminster area of South Bristol. In 1994, he bought the last remaining major building of the old Imperial Tobacco Raleigh Road estate for £200,000 to save it from demolition and regenerate it. The Tobacco Factory is now a mixed-use project, that includes the Tobacco Factory Theatre, bar, creative industry workspace and other activities that have helped kick start the regeneration of North Street. In 2003, Ferguson bought the defunct Ashton Gate Brewery. Renamed The Bristol Beer Factory, it resumed beer brewing in 2005 and has won national awards. The IIA-CREDAI Bengal organized Architectural Convention, “Connecting Histories”, at the J .W. Marriot Hotel on 3rd and 4th of March gave us the opportunity to be up close and personal with George Ferguson and talk to him about his ideas and inspirations, as well as his perception of Kolkata.

IMAGE SOURCE : GOOGLE IMAGES

AN INTER-VIEW WITH GEORGE FERGUSON

Q : When did you decide that you wanted to be an

architect?

Ferguson : I did love drawing from an early age,

and spent a lot of my time in the art school. My father was in the military, so we had to travel a lot. I used to love travelling to different places and looking at buildings there. We had a joinery workshop, and my father was always making furniture. I was brought up in the culture of making things, so I think it was natural that I chose the path of an architect. My father wanted me to go into the military because he wanted me to follow in his footsteps, but I told him that I wanted to be an architect. He was rather amused by that because he had himself wanted to be an architect, but my grandfather made him go into the military! Q : What is your perception of architecture? Ferguson : It is very important to remember that architecture is for the people. We architects tend to forget about that, and we think it is about the images in the magazines, but it isnâ&#x20AC;&#x2122;t. Proper architecture is about making better places and better lives for the people. That has always been my view of architecture- how to improve the lives of people and shaping the society. Architects have a very important role in doing that. Q : Is that your design philosophy- to create a structure for the people? Ferguson : Well, it is not just a structure for the people; it is also about the contribution of the building in a larger context as well. Buildings should never be thought of in isolation or as an object. The artist has the luxury of viewing his creation as a sole entity, but architecture is far more than that. It is also a social science. A good architect should always think about how his project, be it a solitary building or a group of buildings, can contribute to creating a better place and a better world. Q : Which architects have inspired you with their works or philosophy? Ferguson : Funnily enough, I feel far more inspired by other thinkers or campaigners. When I was a student, I was greatly inspired by Frank Lloyd Wright, because he was someone who worked with natural materials, and he also had a great sense of space. His buildings can be said to hover in space and they were beautifully crafted. But I think people who have had a greater influence on me are people like Jane Jacobs, who fought the planners in Manhattan, and campaigned for the families and life in the city. A friend

who has greatly inspired me is Jan Gehl, an architect who never built a single building. What he did was study about what attracts people to a street, or to spend time in a place. He influenced much of the change in Copenhagen, in order to make it a city for pedestrians or cyclists. The streets in Copenhagen attract people to stay, rather than rush through them. Jan Gehl has been a great influence on my architecture and way of thinking, and has become a great friend. Q : What, according to you, is the greatest challenge in achieving sustainability in architecture? Ferguson : I think the greatest challenge is the client! Our clients generally have an eye on the bottom line, and all they mind about is the profit of their development. That is not necessarily a bad thing, but it is damaging in the long run if you throw out all the environmental and social benefits. So the biggest challenge that architects have is to convince their client. Architecture is not about just building, it is about talking, persuading, influencing people. As architects, we have to convince our clients to understand that the greater client is society, and the children who follow us. We must design for them as much as we design for those who are paying us. That, in itself, takes courage, but we have to do that to get a better world. Q : What is your goal when it comes to your work? What would you want to be remembered for? Ferguson : I would like to be proud of what Iâ&#x20AC;&#x2122;ve done; I think that is something everyone wants. If you have a long architectural career, there will be some things which will make you want to lift your hand and hide your face when you pass them, and think that you could have done them better. I defy any architect to say that they have been 100% pleased with whatever they have done, because that would be a lie. But I feel happy when I see people using buildings in a way they were intended to be used, or when they personalize their buildings. Architecture is not for the magazines, it is for the people, and if people start personalizing their buildings, interacting with them or occupying them in an interesting and somewhat unpredictable way, that is the moment you succeed as an architect. Q : Which one of your works are you proudest of ?

Ferguson: The thing I am proudest of is hardly architecture. It was taking an old industrial building (the Tobacco Factory) and using it to regenerate an area. I did it because I am an architect, and I could

see its potential. However, what I was using was a 100 year old building, which had been built very beautifully but had been neglected, had broken windows and signs of vandalism. I had to bring it back to life in a very simple way, and with my own money, so I had to do it very slowly. I went to live there, so I could be the caretaker of the building, and change things as they went along, in order to react to what was happening. The outcome was that an area that was highly depressed changed into one that was very desirable to be in. What Iâ&#x20AC;&#x2122;m proud of is that it has a very strong social mix, with a theatre, a cafĂŠ, a restaurant, a fitness centre, conservation studios, creative industry workplaces, along with places to live, street markets, a bakery and a brewery down the road. It has created what I call regeneration, because architecture is not regeneration in itself. The people who occupy the place are responsible for it. This is not great architecture, just good place-making. Q: What are your feelings about the architecture of Kolkata? Ferguson: Kolkata has a wonderful history, and its historic buildings are its very soul. I do not just mean grand colonial buildings, of which you have some wonderful ones. There are also some of the simpler buildings, some street architecture, some of the houses, which create really great places and streets which people will want to occupy. Future Kolkata needs to respect its history in terms of the physical condition, restoration and conservation of the buildings, but it also needs to look and learn in terms of culture. It does not mean that you have to copy it. What is being done now is being done without proper planning. Great cities have great streets. What is being done now is not create great streets, it is the creation of blocks, upon blocks of land, that happen to have different ownerships, and it is very haphazard. We are turning our cities over to the car, when actually it should belong to the people, and that is the worst thing. We have to reclaim

our roads and streets for the public rather than the cars. We are preventing people from cycling and restricting the way they walk. So what I wish to see in another 20 or 30 years, when you are practicing, is a city whose streets have been reclaimed for the people, much more than that at the moment. Kolkata is in real danger of being choked by the car. I do not own a car anymore, as I find it convenient to cycle around. European cities may be easier to cycle around, but Kolkata needs to provide that. I sincerely hope that the day of the private car will be over in another twenty years. Q: Would you suggest a diversification of road network to the waterways, in order to combat the problems of influx of people from outskirts? Ferguson: Absolutely, I think the waterfront development can be good as long as it does not affect the ecology and it can contribute to water transport. In Mumbai and Kolkata, there is huge potential for water transport. There is no silver bullet, no single answer to these problems. One needs trains and trams, buses and cycle lanes, pedestrian streets and water transport- all of them, in a mega city like Kolkata. Q: What is your advice to the students of architecture? Ferguson: I would like to tell the students to be brave, and to make sure of not being shy about expressing your opinions. The hope for the future of Kolkata and the future of India, and the world as well, is the fact that young architects are driven by ethics and their desire for a better world. I would like to encourage young architects to do projects that are real, and try and inspire the current developers to do things in a more interesting way. What I see happening in Kolkata and cities all over the world, is some very selfish planning. It is all about planning for profit without thinking of the greater good. You can make yourself rich in terms of money, but you will never be rich in terms of real life. Young architects need not be afraid of being more idealistic. If you are too driven to pragmatism, you will fail.

Source : Shutterstock

MUSIC

AND

ARCHITECTURE

PROMIT CHATTERJEE 3RD YEAR

Some say art is just a collection of strokes and expressions all in a spontaneous eruption sparked by emotion. That art is an articulation of all things abstract and particularly unrelated is not true all the time. Wilson Mizner said "Art is science made clear"; perhaps somewhere in the bargain, we have done away with the line of thought that relates logic to expression. That being said, one must do well to understand that even art, a form of expression has a certain amount of training involved, vocationally or otherwise. Where does that put forms of art such as Music and Architecture? The answer is simple, both these forms derive their articulation from inspiration. In order to express this inspiration, one needs information (that comes in the form of staff notations for music and construction detail, material expression, etc.). There is a process and procedure to everything, even disorder. Following this train of thought, one might find solace in the fact that even the phenomenon of entropy has its beauty. Taking cue from a ballpark figure of people who can relate to the nuances of Music better than those of Architecture, one might say that images portrayed by architecture are bluntly "just abstract". If you ask me, I have a different point of view of how both are equally tangible to my perception. It all comes down to one characteristic for both. Flow. A flow is forever. Whatever emanates from a sequence of designs or portions of the design, emanates from a flow. Music has a flow synchronized with it. Ther is no going for 0 to 100 mph in 4 seconds for music, and even if there is, there is a setback adjacent to the idea of doing so. Drawing an analogy between the two, one might find that this flow in architecture comes from the circulation of people into and through the design. Perhaps, creating areas of large volumes, cutting it short at places, pushing adjacent corners- all these nuances are projections of music on architecture. Every bend and definition of notes accumulates to become what we call a symphony, just like an intervention becomes a design (say, in the form of a site plan). Somewhere in the bargain, one might feel that the form of expression is much more solid and tangible when it comes to music, and far less so in case of architecture. Somehow the balance between form and function does not hold, function imposing on form and rarely the other way. I feel that music is a shapeless art, where all expressions are interchangeable in format and other expressions also. In architecture however, the blend of experience with other parameters is not always guaranteed, sometimes even to the extent of oil on water. Achieving spontaneous expression is not a one-day-two-man job, keeping architecture in mind. It comes with having an open mind, but to the extent that stays true to the essence of the task at hand. I feel it is necessary to nurture the projections of the subconscious as a matter of practice, in order to bridge the gap between conscious and subconscious deliverance into a form, idea (in other words, intervention). The faculties must contribute, each to their own extent, their emotions on to the canvas, just like every line on the drawing of a design carries intent to the final result. Graphics : SULAGNA MUKHERJEE

PROFESSION AND THE P E O P L E :

SHUBHAYAN MODAK 5TH YEAR

BRIDGING GAPS It was out of mere curiosity that I opted for the architectural aptitude exam as I had a perception that architects did things ‘out of the box’. Having done my homework, I was convinced to place architecture at the second position; a back-up plan just in case. Months of skeptical anticipation later, I ended up being an architecture student in one of the oldest institutions of the country; and I have not regretted it a single day since. I never saw myself as an architect in my younger years, but the last four years have reformed me in unimaginable ways. As much as this training has empowered me, it has also exposed me to issues that are occluding the profession from taking the pace it should, to make some difference to the Indian context. Lack of awareness amongst the population and the indifference caused therein remains at the forefront. On receiving an opportunity to interpret the state of the profession of architecture from the student’s outlook, what occurred to me is the inevitable link between the practice of architecture and the teaching of it. One blends into the other and the state of one, ascends another; what is learnt is applied in the practice of architecture, and those practising it are teaching us. As such, factors that influence the state of architecture affect education and the profession in ways that extrapolate each other. It is heartening to know that architects, in today’s times have been able to curve their exclusive place in the professional class of this nation. We have steadily created a strong foothold in the face of the country and made a distinct identity for ourselves. However, what remains one of the major concerns of the profession is the paucity of architectural understanding and awareness. Almost every Indian in his/her youth has gone through the phase where they were told to take up

conventional career options for monetary security. There are kids wanting to be doctors, engineers, artists or lawyers, or dreaming to fly as a pilot; but there are only a few who aspire to become an architect! It indicates that the general population has very limited or no knowledge about architecture as a profession. A considerable many of those who claim to know what architecture is, often confuse it with civil engineering. While growing up, we have seen a doctor doing his job, or an abundance of engineers; an architect is however rare to find. The blame rests on nobody. Being one of the relatively younger professions in India, the country has a small number of practising architects compared to other fields of work. The numbers have grown significantly in the last few years, and more people seem to be aware about our existence, but there is a visible lack of faith vested upon us! ARCHITECTURAL AWARENESS IN THE NATION When it comes to the profession, I feel deeply about the apathy of the common people towards the built culture of our country. We certainly do justice to our profession as much as we can, but there are other factors contributing to the built environment; and in a country where anything sells, changing the scenario may not be very easy task. As an example, the (surreal) hyper-realistic rendered images of the real estate projects we see surely leave a mark on the minds of an individual. In times when words like ‘green’, ‘smart’ or ‘sustainable’ have become vendible commodities, it is safe to assume that conditions are pretty messy! Lack of architectural awareness is a crisis that our profession is facing. If an individual places the same amount of faith on an architect that he/she places on a physician, the situation would be very different. Clients approach us with a perception of how they want their projects to be, and it becomes a tough job

at times convincing them of any better. I can not agree more to the words of Ar. Frank Gehry, “I don’t know why people hire architects, and then tell them what to do”. As professionals dealing with habitable spaces, we would be able to provide efficient designs that are aesthetically pleasing without fail. Educating our clients as we go along certainly is taking place, but we need to connect to a wider audience on the subject of architecture to be able to bring about a perceptible change. The architecture community needs to actively indulge in spreading awareness- a real turn of events can only take place if the necessity of good design is understood. A major issue, which sets this gap, is the perception of the population that architects serve the elite! It is high time we realize that architecture, as a profession is no more elitist; an architect can design a luxurious bungalow for a person; and will also be able to make low cost dwellings for people from the lower economic strata. We are trained to build efficiently and within the budget of the client! Another reason for this distance is the tendency of architects to over-complicate matters; we speak in terms not so easy for commoners to perceive, our illustrations, concepts, and keywords confuse them. The obvious result is that they tend to isolate themselves. We should try to communicate in a straightforward vocabulary, a dialect that will be easy for people to understand, and by which, we will be able to express our ideas transparently. At times, I feel that people fear architects; the fear of exorbitant rates, and ideas beyond budget and this stops the surge! We as architects will fail to bring a change if we do not allow the community to participate! It’s time we pay attention to educating the masses about our built environment and architecture as a profession. Apart from achieving a perfectly contextual built culture for our country, it will also create a healthy and holistic work environment for us. Being individuals with in-depth knowledge about the society, it’s time to stimulate the common people to take initiatives in helping us fulfilling the dream of a better country! Producing good designs are no longer the only responsibility of the architect; he/she needs to go out and lead the community in building a future- sustainable and green! The most powerful tool for bringing architecture closer to people is media! Incorporating architecture in mainstream consumer magazines is an easy way to reach a broader audience. There are newspapers

and journals in the western world where architects and critics regularly contribute on the state of the profession; it’s time we start the same in India. It’s time that architects start contributing daily to local and national newspapers and magazines; architectural journalism should take a leap to close the gaps between the architectural community and the common people. Programs regarding health and politics are aired on national television; similar initiatives involving live interactive sessions regarding the built environment will prove beneficial. We should actively mentor student-counselling programs to make young minds and their parents aware of the stream; architecture needn’t be a back-up option for anyone. We must realize the power of media, and use the tool wisely. Architectural journalism, a subject that has been ignored for long in the country can very effectively bridge the gap that restricts the developmental potential of the profession. It is sad that architects (being sensitive on receiving criticism) are not necessarily receptive to critical analysis; students are ignorant of the needs of critical architectural literature, and architectural writing isn’t present in the curriculum as of today, an aspect that urgently needs attention from the Council of Architecture. DREAMS FOR THE FUTURE I dream of the times when architects will be able to work freely, without the influence of politics and factors providing resistance; the day when the common populace will have the knowledge to empower the efforts of the architectural fraternity in reforming standards. After a decade, architects would move out of the studios and work with the grassroots. Realizing the need of the people’s participation, we would design spaces that are interactive, that would develop further with the help of these interactions. Architects would be seen taking pivotal roles in social activities and awareness campaigns! As a person wanting to communicate actively with the community, I would want the Institute to actively provide opportunities for architects to interact. It should serve as the catalyst to active participation of common people in raising a sustainable future. In my belief, promoting architects to actively express themselves and come in touch with the mass media should be a pivotal role for the Institute. Waiting for the people to be aware on their own could prove to be a loss of time, and given the external situations remain constant, it is the ethical responsibility of the architect towards the society to take the leading

step and bring out the colony into active participation. Every small step will result in raising awareness and curiosity amongst the users of the built environment. The consciousness will produce individuals who are concerned about the space they use, and the concern will yield the faith on those that design the space for them. In the future, I aspire to see architects becoming aware of their own social responsibility and cater whole-heartedly to the same. Apart from delivering our professional roles, our actions would uphold the statement of integrity that day. The educational framework would undergo a restructuring for the better; the training of young architects would expectantly include hands-on practical experience of the architectural market along with the in-house studio assignments. I hope we realize that we have separated our studios from the handson experience in the field of architecture; being a student, it is my hope that the professional arena accepts us from an early stage and help us master the art of designing by controlled and balanced exposure to both the intellectual job of designing, and the physical responsibility of producing architecture on site. The council would play a stricter role in controlling the standards of education, and would ensure quality of work rather than quantity! I foresee a country where architects will be able to efficiently find solutions within the box rather than wanting to opt out of the same; a juncture where the community will place their faith on us and our efforts. Acknowledging that the situations at present arenâ&#x20AC;&#x2122;t perfect, we should not lose our faith. Opinions are formed quickly, but every imperfection is not worthy of our mental agitation. It is essential to disengage at times, effective solutions come only from individuals at harmony with themselves. PEOPLE & ARCHITECTURE Source : Google Images

ARCHITECTURE AND SOCIETY : DESIGNING INTERACTIONS SHUBHAYAN MODAK 5TH YEAR

Buildings in the recent years have adapted their purpose from just being a habitation unit to an important part of the social fibre. No longer does a building stand disconnected from its surroundings but is designed to amalgamate into it, creating spaces assisting in social interaction, and metaphorically interacting with its users. Architecture is one of those sciences that considers the needs of the social realm, and as such is interactive in its nascent nature. This interaction occurs at multiple levels and the nature and depth of exchange varies in each of them. Communication maybe intrapersonal (within thyself), interpersonal (between two or more individuals) and lastly mass (between a human or agency and the target audience). Mental monologues of an architect while he designs can be termed intrapersonal, his conversations with his design team or his clients are interpersonal, and the architect addressing the people on issues diverse in nature can be termed as mass communication. The first kind occurs in abundance, while the interpersonal exchange between the architect and his client gets limited to a hazy and unclear discussion at times. The third form which is most essential for raising public awareness is sadly almost absent in our country. Architects and urban designers being party to customer driven service industries are commissioned by clients and are answerable to them at all points of time. We are expected to design what we are paid for, and initiating a deep discussion often seems farfetched. Client meetings always involve discussing the final proposal(s) and changes to be incorporated therein; hardly any emphasis is given to take the discussion to a deeper level. Establishing an in-depth connection with the client is an essential part of the trade without which the design suffers from injustice.

The client being the representative to the customer base needs to be given more information about the design. And architects being the protagonist in this tale, he should shoulder the responsibility of the spokesperson, and stand up to engage his client into details of the design which transcends the limitations of constraining factors like brief and budget. The training architects receive make them the best suited party to initiate conversations with the multitude. The Indian perception is that you donâ&#x20AC;&#x2122;t need an architect to build. Most of us reside in homes that our forefathers built by themselves, the master mason acting as the architect himself. Labours are mostly uneducated and seek jobs in construction as the easiest option. Profit oriented developers having no aesthetic awareness strides to extract the extra profit. This paints a wrong picture that you donâ&#x20AC;&#x2122;t need any training for being able to build a house. And in this country where anything sells, a change is tough to bring. Communicating about architecture is hard because the industry nourishes the interests of a diverse range of stakeholders, many of whom doesnâ&#x20AC;&#x2122;t have the technical background. This diversity results in a communication gap. Eradicating this gap completely is an idealistic stance impossible to achieve from the socio-economic standpoint. The only ways to reduce this gap are education, and increased interaction. Education will slowly cultivate awareness, and initiating active and engaging interactions will empower this awareness. The architect actively communicates with himself; this communication should extrapolate to his clients as well. And clients being point representatives of the community, these dis-

cussions will automatically involve the entire community once our clients feel deeply involved.

Communication that is not clear can result in unsatisfactory design results for the client. Ayodele Elijah Olusegun, 2008 A one-to-one connection between the designer and his client can be achieved by bringing the patron into the design procedure and discussing the problem in details. His opinions are to be considered. Acknowledging that these views won’t always fit, we have to explain why it should be suitably modified into a working resolution. In an attempt to raise awareness, we have to involve people in the process rather than the end product. We need to smartly discuss the options and enlighten them on the problems that we overcame to arrive at the final resolve. Acknowledging the fact that we as architects too face challenges makes us more human, and every time we discuss how we tackle the challenges with our clients makes us more of an architect, socially responsible and willing to share. Only if our client has travelled the entire path and taken every ups and downs with us will he completely put his faith on the destination. The final design shouldn’t be a surprise, it should gradually unfold itself to the client. This involvement is elemental in bridging the gap; only if our patron feels respected and involved will he be able to trust our designs completely. Our clients being individuals from the broader community, it will be easier for us to initiate dialogues with the wider audience if enlightened beings are present amongst them. Medium emerges to be the prominent challenge in such instances. Electronic and print media is undoubtedly the most powerful channel for mass communications, but such exchanges often take the form of a discourse with limited possibility of interaction. Without any exchange of thoughts, opinions and sentences, interactions tend to stagnate and becomes futile. One method to prevent such situations is to design special shows or sections interactive in nature, which are specially aimed to create active conversations between the designer and the clientele base. Talk shows crafted specifically to host building and construction related discussions in the presence of interested audience will reduce this interactive crisis to an extent. Designers can be invited to share the design procedure in details, the media and public

should demand for the same. Only if these discussions can be introduced to the public realm will there be a possibility for a more comprehensive debate. Questions from the audience can be entertained by the guest speaker, clearing confusions. Audience can pick any existing example, and the design and underlying philosophies can be discussed in details. The most important part is to actively involve the audience into an engaging and meaningful dialogue. And it is the responsibility of the architect to initiate this dialogue. Visits to any site with the architect playing host to a group of guests, explaining the necessity of the design adopted and the show being aired on national television will also promote interaction, and create awareness. Print media like magazines and newspapers need to be used as tools in spreading awareness. Design journals will fail to bring about any perceivable change because the reach is negligible beyond the architectural fraternity. Magazines catering to a wider audience viz. lifestyle and general magazines can be instrumental in spreading awareness. Architects writing about the necessity of good design in such magazines will educate the common people, empowering them to take wiser decisions in future. Designers authoring columns in the leading dailies will also be a regular move as a huge chunk of the population has access to newspapers and read it. There are newspapers and journals in the western world where architects and critics regularly contribute on the state of the profession; it’s time we start the same in India.1 Interactive sections like “Ask the Architect” wherein queries will be answered by an architect should be introduced. An efficient and well planned collaborative propaganda involving both digital and print media will be phenomenal in reducing the communication gap. The language of communication is perhaps the toughest hurdle. Architects tend to complicate matters, and people think they won’t understand what architects say. However, a little effort from both ends can solve this situation. A new language isn’t the need of the hour if we utilise the existing one properly. Architects should communicate in a simpler fashion, and people need to be more willing to grasp. Architects need to express themselves in a manner and language that people understand. Almost always, there are colloquial terms for technical terminologies; these colloquial vocabulary has to be adopted. Complex drawings can be replaced with line diagrams and

instant sketches that people will absorb easily. Local language must be widely accepted and adopted. This warmth of expression is extremely important. People doesn’t enjoy what they don’t understand, and making them understand is our responsibility. A simple portrayal in the local language using colloquial expressions will do the job. Education is the primary factor in raising awareness, and hence is required at all levels. There are kids wanting to be doctors, engineers, lawyers, or dreaming to fly as a pilot; but there are only a few who aspire to become an architect! It indicates that the general population has very limited or no knowledge about architecture as a profession. We should actively mentor student-counselling programs to make young minds and their parents aware of the role of architects and the prospects of the same. 1 Children are taught to visit a doctor when ill; they should similarly be taught to consult an architect before they build! Only if the child is taught from the start will he grow up to be a conscious individual. The importance of efficient communication must be stressed upon in architecture school, and measures introduced for the correct training and practice of it. Architectural journalism, a subject that has been ignored for long in the country can very effectively bridge the gap that restricts the developmental potential of the profession. Students are ignorant of the needs of critical architectural literature, and architectural writing isn’t present in the curriculum as of today, an aspect that urgently needs attention from the Council of Architecture. 1

A communication activity is an activity where the end user participates in the development of the product Hartwick & Barki, 2001 Architects with time have to advance rapidly into the social realm to engage end users into the process, and arrive at the final product with them. Pursuing alternative activities as a valid layoff is essential. Our training empowers us to be a lot more than just architects and we should start doing that. Architects can be great writers, and we should have lot more of that. An architect who is also a photojournalist will communicate with the public through vivid pictures of life! There should be more architects in administrative positions, influencing people through well formulated awareness policies and regulations. Leonardo the Vinci was a great architect, a sculptor, a

writer, a mathematician and much more. The world remembers him as an inspiring personality as he continues to dominate the intellectual class with his progressive mentality. Architects need to evolve into inspiring figures to whom people will look up to and draw courage. Producing good designs are no longer the only responsibility of the architect; he/she needs to go out and lead the community in building a future- sustainable and green! 1 There are innumerable ways to connect, and this article enumerates a bare few. The next decade should witness architects coming out of studios and participating hands on with the common populace in forwarding a general cause. In a recent public debate on the challenges and opportunities of communicating architecture to common people (hosted by OpenHaus and the city of Melbourne), statements like “architecture is addictive” and “next time, we use an architect” were materialized. 2 It is high time we talk people into realizing that architecture as a profession is no more elitist, and we can serve all the economic sections with equal efficiency. Merging the economic gap is a major task in bringing the people close. At present, architects should bring forth their personal mental monologues to the public and give people a taste of their minds. In the near future, I aspire to see architects becoming aware of their own social responsibility and cater whole-heartedly to the same. Apart from delivering our professional roles, our actions would uphold the statement of integrity that day. Reference: 1. Profession and the people: Bridging gaps (Shubhayan Modak, 2016); Centenary Journal, IIA. https://lettersinred1993.wordpress. com/2016/10/13/profession-and-the-peoplebridging-gaps/ 2. Salon Conversations: Communicating Architecture. http://openhaus.org/media/ArchitecturalReview_ adsarc.pdf

WANDERLUST - IMPACT AND IMPORTANCE... Upon every single creation of an artist lingers the question “Why this style? Why Modern? Why Contemporary? Why Deconstructivist?” SAISHA MATTOO SRINJOY HAZRA

5TH YEAR The answer to this question lies in the understanding of the intangible values absorbed by the artist through his travels, experiences and exposure to the world. It is a result of his careful and selective acceptance of facts and details of what he has seen and felt; and thus by extension, what he chooses to portray to the world. It is only a responsible critic who would look into the answer of that question, as it deserves to be; a critic with a broad mind and the required knowledge, a critic who has travelled the world and has experienced life at a global level. That being said, the answer in context, however remains to be his, as he sees it which might or might not be acceptable to others. “The world is a book, and those who do not travel read only one page.” S t. Augustine Travel helps an artist develop his own style and on the other hand, be a responsible critic too. When one is exposed to different cultures, traditions, food, clothing styles, living patterns, settlement patterns, developing technology and digs deep into the reasoning of the same, there is a realization of how different one place is from another, how every place has evolved in its own way, due to its past, is being changed by its present to culminate into a yet unknown future. This process adds perspective to an individual’s mind, helping him grow, develop and gather more knowledge and experience. For example, a journey in India itself would take a traveller from the tranquility of IndoIslamic architecture, to the way the British invaded India to create dominant colonial architecture, to the quaint structures the Portuguese, the Dutch and the French introduced here and finally to the transition of the Modern and Post Modernist era. Each of these styles speak of an era and holds within its architecture, the collective memory of a people. We find here, simultaneous existence of new and old, the past and the present, with its own flavours, thus marking its uniqueness on a global scale. Thus there is a need for aspiring artists and architects to travel, not only in India but the world as a whole; to draw inspiration from nature and history. One’s individuality depends on his exposure and his understanding of the same. The quintessential need for this exposure and experience has been reiterated by revered artists and architects and its contributions to their creations have shown how deep an impact these experiences can have and how far it goes to mould one’s individual style which, personally, is of unparalleled IMAGE CREDITS : SOUMIK DAS importance.

Photo courtesy : HIRAN BISWAS

Photo courtesy : SOURAV SUMAN

ARCHIVE EXCERPTS From the

Journal of SSAT 81-82

TOUR SECRETARY’S REPORT

Enankashekhar Roy

We, the students of Architecture, can never dream of a session without tour. Undoubtedly, the educational part of it is most significant for us. But, it is undeniable that the “TOUR” also helps increasing our sense of responsibility and unity amongst them ourselves. The department was stirred up once again, just like the previous years. We, the enthusiasts of the “SSAT” took the challenge boldly. I call it a challenge, because, we were to control a record number of students. As it happens every-year, we had several meetings amongst ourselves and also with the teachers. Finally, we decided to cover the central part of India. Getting tickets & reservation was no problem for us and we came to the final stage of the pre-tour period more or less easily. We accepted the challenge and tried our utmost to win. Nalanda was our first spot, In course of 17 days-tour, we covered the hill-girt town of Rajgirh, Varanasi-which has from time immemorial possessed a great group of monuments at Mandu the dreamland and the most spectacular capital of the Mughals – the Fatehpur Sikri. Our party also enjoyed the elegance of the Taj in full moon. We had more than fifteen places in all. ‘Measured drawing’ was done at Khajuraho. At Mandu the grand feast was really grand. Our managing committee was highly efficient. Honestly speaking, the Tour Secretary had nothing to do. The food

departments, who had to handle the hardest job, with their incredibly large “JILIPIS” and “BANANAS” performed very well. The train-secretary, a smart and energetic guy was very very efficient. The accommodation secretary, who is very much conversant in Hindi, naturally bargained over the hotel authorities easily. We always got luxury buses during the tour and I, could never find out how the transport-secretary managed those buses. And the luggage-secretary ?? – We always found him counting our luggage with great concentration – unfortunately enough, his own luggage was lost once or twice. The medicine-secretary – an experienced lady, (handled two tours successively), performed extremely well with practically only a bagful of “DISPRIN” tablets. The treasurer, an extraordinarily energetic fellow was able to manage the little treasury incredibly well. We were very happy to get Mr. Niren Deb amongst us particularly for his humorous character and ‘helping hands’. I should mention the name of our respected head of the department, Prof. Joydeb Sarkar due to whose presence, we had a perfect educational tour this time. Lastly, I should thank our participant-friends without whose co-operation and help, we really could not have managed the Tour.

বি.ই.SMRITI

জ�োসেফ অ্যালেন স্টেইন - ক্ষনিকের আলাপ সিদ্ধার্থ গুপ্ত স্নাতক : ১৯৯৬

বি ই কলেজের আর্কিটেকচার ডিপার্টমেন্টে প্রথম যেদিন ক্লাস করতে যাই বিষয়টি সম্বন্ধে গভীর ধারনা ছিল না। ডিপার্টমেন্টে ঢুকতেই করিড�োরের দু ধারে বিশ্বের বহু সন্মানীয় আর্কিটেকট ও প্ল্যানারদের ছবি টাঙান�ো ছিল। পেপার এর ওপর ইংক পেন এর ডট দিয়ে আঁকা - পরে শুনেছিলাম আমাদের মাস্টার মশাই গ�োবিন্দবাবুর আঁকা। প্রথম দিন ছবি গুল�ো দেখে কাউকেই চিনতে পারিনি। ফিফ্থ্ ইয়ার এ আমাদের ফাইনাল প্রেসেন্টেশন ওই ছবিগুল�োর পাশের হল এ হয়েছিল। পাঁচ বছরে এঁদের কাজের বহু ছবি দেখে, বই এ ওঁদের কাজ নিয়ে পড়াশুনা করে এবং পরীক্ষায় তা নিয়ে প্রশ্ন উত্তর দিয়ে ওই নামগুলি আমার কাছে রবীন্দ্রনাথ, বিবেকানন্দ, আইনস্টাইন বা লিংকন এর পর্যায় চলে গেছিল। এঁদের মধ্যে ছিলেন Corbusier, Wright, Neutra, Geddes ইত্যাদি। এঁদের কেউই প্রায় সে সময় জীবিত ছিলেন না - তাই এঁদের কারুর সাথেই আর এ

জীবনে দেখা হবে না তা জানা ছিল। ইচ্ছে ছিল এঁদের স্থাপত্যের সেরা রত্নগুলি একবার অন্তত দেখা। ‘ফলিং ওয়াটার’ দেখতে গেলে পেন্সিলভেনিয়া যেতে হবে, ‘গুগ্গেইনহেইম মিউজিয়াম’ নিউ ইয়র্ক এর সেন্ট্রাল পার্কের উল্টো দিকে বিখ্যাত ফিফ্থ এভেন্যুইয়ের ওপর, ‘সিডনি অপেরা হাউস’ অস্ট্রেলিয়ার সিডনি শহরের হারবার থেকে সারা পৃথিবী কে আকর্ষণ করে। ছাত্র জীবনে এসব দেখা সম্ভব না - তাই স্বপ্ন, স্বপ্নই থেকে গেল। একটি ছবির সামনে আমি বারে বারেই দাঁড়িয়ে পড়তাম - সেটি জ�োসেফ অ্যালেন স্টেইন এর। প্রফেসর স্টেইন তখন�ো জীবিত ছিলেন, দিল্লীতে থাকতেন এবং প্র্যাকটিস করতেন। প্রোফেসর স্টেইন-এর কাজের ওপর স্টিফেন হ�োইট এর লেখা "Building in the Garden" বইটি আমি আমার নিত্য সঙ্গী বানিয়ে ফেলেছিলাম। যতদূ র মনে পড়ে থার্ড ইয়ার থেকে ফিফ্থ ইয়ার এর বেশিরভাগ সময়ই বইটি লাইব্রেরিতে ফেরত দিইনি। বইটি থেকে বিনা দ্বিধায় ওনার মত�ো বিল্ডিং এর ফ্যাসাড, জালি এবং ল্যান্ডস্ক্পে আমার কাজে বসিয়ে দিয়েছি। কখনও ক�োন�ো ভুল করছি বলে মনে হয়নি। এমন কি ওনার স্কেচ এর স্টাইল এবং আঁকা গাছের রেন্ডারিং এঁকে এঁকে নিজের সেশনালগুল�োই একঘেয়ে করে তুলেছিলাম।

একদিন জানতে পারলাম প্রফেসর স্টেইন কলকাতা আসছেন। আমেরিকান সেন্টারে ওনার কাজের একটি প্রদর্শনী হবে। একই সাথে জানা গেল উনি আমাদের কলেজেও আসবেন এবং ছাত্রদের সাথে কথা বলবেন। অধীর আগ্রহে অপেক্ষা করছিলাম - কখন আমাদের সিনিয়ররা প্রফেসর স্টেইনকে কলেেজ নিয়ে আসবেন। আমাদের ডিপার্টমেন্ট এর সেমিনার রুম এ প্রবেশ করলেন ফর্সা হাসিখুশি যে মানু ষটি, আজ পর্যন্ত আমি শুধু বইয়ের পাতায় তাঁর ছবিই দেখে এসেছিলাম। উনি ছিলেন একাধারে একাডেমিশিয়ান ও প্র্যাক্টিশনার, তাই ছাত্র শিক্ষক সবাই উদগ্রীব ওনার কথা শ�োনার জন্য। আর্কিটেকচার শিক্ষা এবং সৃ ষ্টি নিয়ে যে কয়েক মিনিট কথা বললেন সে সময়টুকু আমরা সবাই এক মনে শুনলাম। একটি কথা আজ ও প্রায় ই মনে পড়ে যায় "When you study

engineering or any other sciences in college you finish your learning and leave the campus to practice it. In Architecture when you leave the campus you start learning and keep learning all your life." আমেরিকান নাগরিক স্টেইন নিজের দেশে ক্যালিফ�োর্নিয়ায় অসামান্য কাজ করেছেন। Richard Neutra র সাথে কাজ

করেছেন। নিজের দেশ এবং সেখানকার পেশা সব ফেলে ১৯৫০ সালে বি ই কলেজে আর্কিটেকচার ডিপার্টমেেন্ট প্রফেসর হয়ে কেন এসেছিলেন সেটা জিজ্ঞেস করার খুব ইচ্ছে ছিল। কিন্তূ ওনার সাথে এত প্রফেসর ও সিনিয়ররা ছিলেন যে আমি জুনিয়র ছাত্র হয়ে সাহস করে জিজ্ঞেস করতে পারিনি। সন্ধে বেলায় আমরা দল বেঁধে আমেরিকান সেন্টারে ওনার কাজের প্রদর্শনী দেখতে গিয়েছিলাম। বি ই কলেজ থেকে পাস করে দিল্লীতে এম টেক করতে যাই। একদিন প্রজেেক্টর এর কাজে TERI এর অফিস এ গিয়েছিলাম ইন্ডিয়া হ্যাবিট্যাট সেন্টারে। আমরা সবাই জানি ইন্ডিয়ান হ্যাবিট্যাট সেন্টার, ভারতে প্রফেসর স্টেইনের অন্যতম শ্রেষ্ট কাজ। কাজ শেষ করে নিচে কফিশপ এ কফি খেতে যাচ্ছি - হঠাৎ লক্ষ্য করলাম সেই ফর্সা রং ধবধবে সাদা প�োশাক কফিশপের ঠিক পাশে দাঁড়িয়ে আছেন ইন্ডিয়া হ্যাবিট্যাট সেন্টােরর অৰ্কিটেক্ট, বি.ই. কলেজের প্রথম আর্কিটেকচােরর হেড অফ দি ডিপার্টমেন্ট, পদ্মাশ্রী এবং ডিপার্টমেন্টের করিড�োরে টাঙান�ো পেন আর ইনক দিয়ে আঁকা সেই হাসি ভরা মুখটি – জ�োসেফ অ্যালেন স্টেইন। ইন্ডিয়া হ্যাবিট্যাট সেন্টারের ওপরের ট্রােসর দিকে একদৃ ষ্টিতে চেয়ে আছেন। আমার কাছে যেন এ এক স্বপ্ন পুরণ - মনে সাহস সঞ্চয় করে এগিয়ে গেলাম। নিজের পরিচয় দিলাম বি.ই. কলেজের ছাত্র হিসেবে। প্রফেসর স্টেইন বললেন অনেক দিন আগে শিবপুরে গিয়েছিলাম। অনেকক্ষণ কথা হল। ইন্ডিয়া হ্যাবিট্যাট সেন্টাের কি করছেন জিজ্ঞেস করাতে বললেন আর্কিটেক্টদের উচিৎ নিজের কাজ বারেবারে ফিরে দেখা - যে ভাবে ভেবেছি সেভাবে ব্যবহার হচ্ছে কিনা - অনেক কিছু শেখা যায়। কিছু ভুল হয়ে থাকলে পরের বার শুধরে নেওয়া যায়। মনে পড়ে গেল সেই কথা “…you start learning and keep learning all your life” । ২০০১ সালে অফিেসর কাজে আমেরিকায় যাই। একদিন অফিস থেকে ফিরছি হটাৎ দেখি মেট্রো এর পাশের সিটে কে যেন নিউ ইয়র্ক টাইমস এর একটা পুর�োন�ো কপি ফেলে গেছে। ১৮ই অক্টোবেরর কাগজ। ভেতরের পাতায় চ�োখ পড়ে মনটা খারাপ হয়ে গেল। ৬ই অক্টোবর প্রফেসর স্টেইন তাঁর নিজের শহর রয়্যালে, নর্থক্যার�োলিনা তে মারা গেছেন। ওইদিন তাঁর ওর্বিচুয়ারি প্রকাশিত হয়েছে । আমেরিকান হয়েও স্টেইন সে সময় টেগ�োরে, গাঁন্ধী ও নেহেরুর চিন্তা ধারায় অনু প্রানিত হন এবং এ দেশে আসেন। এসেই আধু নিক ভারতবর্ষ সৃ ষ্টির কাজে লেগে পড়েন। দু র্গাপুর শহর এর প্ল্যানিং ওনার প্রথম দিকের কাজ। টাইমস ভারতে যে পৃথিবী খ্যাত স্থপতিরা কাজ করেছেন Corbusier, Kahn ও স্টেইন এর কথা একসাথে ওনার ওর্বিচুয়ারিতে লিখেছে। এঁরা সবাই স্বাধীন ভারতের স্তাপত্য কে এক অন্য মাত্রা দেন। পরাধীনতার জ্বালা থেকে উন্মুক্ত এক নতুন জাতিকে গর্ব করার মত�ো স্থাপত্য দিয়ে সারা দেশটিকে সাজিয়ে ত�োলেন। এঁদের মধ্যে প্রফেসর স্টেইন সব থেকে আলাদা কারণ নিজের দেশ ছেড়ে এসে ভারতবর্ষকেই নিজের কর্মভূ মি করে নিজের জীবনের শেষপর্যন্ত ভারতে কাজ করেছেন একমাত্র তিনি।

দুটি ছবিই ডিপার্টমেন্টের আর্কাইভ থেকে

NASAâ&#x20AC;&#x2122;17

ANNUAL

NASA

DESIGN

COMPETITION

A LITERARY PROJECTION ON COLLEGE STREET College Street is a ~1.5 km long street in central Kolkata in the Indian state of West Bengal. It stretches (approximately) from Ganesh Chandra Avenue Crossing in Bowbazar area to Mahatma Gandhi Road crossing. Its name derives from the presence of many colleges, housing many centres of intellectual activity especially the Indian Coffee House, a café that has attracted the city’s intelligentsia for decades

GRIHA TROPHY :

MILESTONE EXPERION CENTRE, GURGAON

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In the End ... Within a few days the reigns of S.S.A.T. will pass on to the next batch of students. At this moment it gives me great pleasure recollecting the activities that have taken place in the bracket of the year gone by. The experiences has been varying - from pleasurable in our Educational Tour 2016 in the rugged beauty of places in and around the state of Madhya Pradesh, including the gigantic Jhansi fortress and bold sculptures of Khajuraho to the competitive atmosphere in the Zonal NASA and the Annual Nasa Convention. The Workshop in â&#x20AC;&#x153;Computation in Designâ&#x20AC;? was organised and the printing facility implemented, keeping in mind, the increasing need for dexterity in software computation for design today. More than anything else, there remained the brotherhood and the bonding between the students of different years which we hold very dear. Being a part of all these activities and achievements drives me to inspire the batch that will succeed the current S.S.A.T. Committee, and wish them good luck in their endeavours and aspirations. Lastly, I would like to express my gratitude to the professors and students, who never left our side, through thick and thin, because none of this would have been possible without them.

Sankhadeep Ghosh General Secretary, SSAT.