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F
or about the last three de-
cades, there has been a spe-
cial focus in various Gov-
ernments policies on the
development and improvement of our
cities across India. In 1988, the National
Commission on Urbanization under the
chairmanship of Charles Correa, made
detailed recommendations in the areas
of land, housing, water and sanitation,
transport, urban poverty, urban form
and urban governance. In 1992, the 74th
Amendment to the Constitution was
broadcast which sought to decentral-
ize decision making in cities and towns
through creation of elected urban local
bodies as institutions of democratic self
governance. Then in 2005, came Jawaha-
rlal Nehru National Urban Renewal Mission
(JNNURM), a countrywide programme
which provided assistance to state
governments and urban local bodies
in selected cities for development and
improvement.
THIS PAGE: India Gate areaand its water fountainsare one of the most vibrant open public spaces in the city of New Delhi. Photo credit: Jitendra Pawgi
COVER PAGE: A part of the city of Hyderabad, Circa-1772. Sketch Credit: 4-Seminars, Design Magazine, April-June 1982
With the present Governments strategy
of maintaining the focus of development
on our cities, urban issues and concerns
dominate governmental action and
discourse within the public domain and
FLUFOHVRILQWHOOLJHQWVLD,QWKHSUHVHQW-
nancial year budget, the government has
allocated around seven thousand crores
for two central schemes Atal Mission
for Rejuvenation and Urban Transforma-
tion (AMRUT) and Smart Cities Mission.
The democratization of decision making
process in spatial planning and design,
conservation of urban environment and
natural resources, sensitive approach
towards history, strengthening role of
municipal bodies, inclusive public spaces
with utmost respect for pedestrians,
HQYLURQPHQWIULHQGO\DQGHIFLHQWWUDQV-
port policies are some of the broad steps
forward that are crucial in the context of
urbanization.
47
E D I T O R I A L
While there is a need to forge ahead on
a pace to re-infuse vibrant urban life in
our crowded and polluted cities, at the
same time, it is also important to take in
account the aspirations of the population
across the economic spectrum - those
living in closed enclaves and gated
communities, but also those living in
resettlement colonies, low cost housings
and slums, and everyone in between. Our
cities need to be safe and secure across
all ages as well - for our children and
senior citizens and at the same time, be
models of dynamism and vibrancy for our
younger generation.
According to a report prepared by
the Sustainable Development Solutions
Network (SDSN) and Earth Institute at
Columbia University this year, When
countries single mindedly pursue individual
objectives, such as economic development
to the neglect of social and environmental
objectives, the results can be highly adverse
for human wellbeing, even dangerous for
survival. Many countries in recent years
have achieved economic growth at the
cost of sharply rising inequality, entrenched
social exclusion, and grave damage to the
natural environment.
We are sure with the ingrained character
of respect for nature and democracy in
RXUFRXQWU\ZHZLOOVRRQEHDEOHWRQG
our right answers, on our way to further
development, for this unprecedented
phase of urbanization.
EDITORS | contact: lajournalindia@gmail.com
 R

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 contents
47 2 0 1 6

6 feedback | announcements
50 INDIAN URBANISM: HERE AND NOW
IN CONVERSATION WITH
10 reports | K T RAVINDRAN & MOHAN RAO

THE ESSENCE OF TRADITION

22 IN MODERN ARCHITECTURE
CYRUS JHABVALA MEMORIAL LECTURE 2016
60
MAPPING NEW DELHIS FUTURE
THE MANY FACADES OF LUTYENS BUNGALOW ZONE
Nupur Prothi Khanna and Nidhi Madan
Iftikhar-Mulk Chishti
Raj Rewal view from within |

tribute | 66 CONSERVING & ENGAGING WITH NATURE

Geeta Wahi Dua

30 KHIRAJ-E-AQEEDAT
AN EXPRESSION OF TRIBUTE
SAYED SAEED-USH SHAFI
landscape design |

Jamal Ansari 70 CONSCIOUS KEEPER

TEMPLE OF CONSCIOUSNESS, ALIYAR, TAMIL NADU

remembrance |

33 ADIEU TO A GENERATION
Om Prakash Mathur
77 GREEN RETREAT IN THE CITY
AAREY BHASKAR PARK, PUNE

seeing the unseen |

36 MY JOURNEY
JOGINDER KHURANA | NARENDRA JUNEJA 82 EXPERIENCING SOUNDSCAPE
SHABDO A FILM BY KAUSHIK GANGULY
Joginder J Khurana Anjan Mitra

cities | book review |

42 SMART CITIES
90 THE WORLD AS PICTURE
VISUAL HOMES, IMAGE WORLDS

45 TENDER SURE
SPECIFICATIONS FOR URBAN ROADS EXECUTION
IN CONVERSATION WITH SWATHI RAMANATHAN
ESSAYS FROM TASVEER GHAR
THE HOUSE OF PICTURES
Review by Trisha Gupta
Jana Urban Space Foundation, Bangalore

EDITORS Brijender S Dua Architect | New Delhi

Geeta Wahi Dua Landscape Architect | New Delhi

ADVISORY EDITOR Adit Pal Landscape Architect | USA

ADVISORY BOARD Savita Punde Landscape Architect | Delhi NCR

Rohit Marol Landscape Architect | Bangalore

PANEL Urmila Rajadhyaksha Landscape Architect | Mumbai

Sriganesh Rajendran Landscape Architect | Bangalore
Nishant Lall Urban Designer | New Delhi
Shivram Somasundaram Landscape Architect | Pune
INDUSTRY COORDINATOR Jitendra Pawgi Landscape Architect | Pune
DESIGN TEAM 06KDK$ODP0RKDPPDG-DYHGJUDQLWL
ADMINISTRATION Avdhesh Kumar
PRINTING ADVISOR Atul Naahar Paramount Printographics

REGISTRATION NUMBER: DELENG/2000/2943 | PRINT DURATION: Quarterly, 4 issues per year A CONTEMPORARY INVENTORY
EDITORIAL AND SUBSCRIPTION OFFICE: C-589, Vikas Puri, New Delhi 110 018 INDIA

TEL: +91-11-25527652, 41584375 | E-MAIL: lajournalindia@gmail.com

94 BAOLIS OF BUNDI: THE ANCIENT STEPWELLS
Review by Kiran Kalamdani
WEBSITE: www.lajournal.in | ISSN 0975-0177

OWNED, PRINTED & PUBLISHED BY Brijender S. Dua, C-589, Vikas Puri, New Delhi 110 018 INDIA 97 BOOKS
2016.04 | PRINTED AT Kaveri Printers, 4634/19-A, Daryaganj, Delhi 110 002 INDIA
98 AUTHORS-CONTRIBUTORS

know your plants |

While every effort is made to trace copyright holders and obtain permission where required, it has not been possible in all the cases.
$Q\FODULFDWLRQLQWKLVUHJDUGZRXOGEHUHPHGLHGLQIXWXUHLVVXHV9LHZVH[SUHVVHGLQWKHMRXUQDODUHWKDWRIWKHDXWKRUVDQGGR
QRWQHFHVVDULO\UHHFWWKRVHRIWKH(GLWRURUWKH3XEOLVKHU7KH(GLWRUVGRWKHLUXWPRVWWRYHULI\LQIRUPDWLRQSXEOLVKHGEXWWKH\
99 MILLETTIA PEGUENSIS
Monhnein rosewood
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102 GREEN CIRCUS

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feedback | announcements
$QLOOXVWULRXVSUROLFDQGH[FHSWLRQDOOLIHHQGV
Mohammad Shaheers multi dimensional contri-
butions to education, thoughts and practice of
landscape architecture go much far and beyond,
for generations to come. A fittingly beautiful
cover with his sketch on your last issue.
R Kumra, Ambattur
With a general lack of thorough research in the
GHVLJQDQGODQGVFDSHHOGVE\PRVWSUDFWLFLQJ
professionals in India, Anuradha Mathur and
Dilip da Cunhas studies and processes assume
LQYDOXDEOHVLJQLFDQFHDVLQWHOOHFWXDOSURYRFD-
teurs, knowledge resource banks and direction
pointers to the ways forward for interventions
and design, and for society at large. Hope we are
able to look beyond just projects.
B S Draboo, Puducherry
6 landscape
47 | 2016
|
53RD INTERNATIONAL IFLA CONGRESS
TASTING THE LANDSCAPE
TURIN, ITALY | APRIL 20-22, 2016
Tasting the Landscape, the theme for the 53rd International IFLA (International
Federation of Landscape Architects) Congress, calls for the interpretation
of the landscape project as an expression of a greater consciousness of the
transformation processes and as an opportunity to improve the places where
populations carry out their life.
The expression Tasting, according to its meaning of savoring, experiencing,
trying applied to the landscape, implies an attention given to the sensorial
dimension of a place, a consideration of slowness as a value: it urges us to not
forget the emotional and perceptive aspects as creative agents for the project.
Furthermore, it refers to the experience of discovery, to an inventive attitude
that leads to in depth investigating, seeking to understand, to evaluating and re-
elaborating images, practices, and signs that can orient the inevitable change of
regions and landscapes according to a shared and communal feeling.
Thus, Tasting the Landscape intends to emphasize the landscape project as
an instrument that produces quality, wellness, resources, the common good,
as well as the central role of the landscape professional in the processes of
UHJHQHUDWLRQDQGUHFRQJXUDWLRQRISODFHVDQGUHJLRQV
Starting from this platform of general direction, the IFLA Congress is structured
DFFRUGLQJWRIRXUVSHFLFOLQHVRIWKHPDWLFLQYHVWLJDWLRQLGHQWLHGZLWK
the objective of investigating some emerging questions in the practice of
Landscape architecture Sharing Landscapes, Connected Landscapes,
Layered Landscapes and Inspiring Landscapes.
Details on:
www.ifla2016.com
PHOTO CREDIT
The photograph of VS Gaitonde
featured in the article Gaitonde: The
Spirit of his Painting by Narendra
Dengle in LA-44 (Quarter-2, 2015) is
credited to SHALINI SAREEN.
Editors
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report |
Report by Shiny Varghese
THE STATE OF ARCHITECTURE
PRACTICES & PROCESSES IN INDIA
NATIONAL GALLERY OF MODERN ART, MUMBAI
06 JANUARY - 20 MARCH, 2016
he State of Architecture (SOA) exhi-
T bition could not have happened in
any other city but Mumbai. A city that did
not fear critique, looked development in
its eye and showed how it could be done
better for the masses, swayed to fox
trot and did the tango, and gave birth to
the angry young man. Be it through the
Journal of the Indian Institute of the Ar-
chitects, the inclusive housing schemes
of the 1920s, or the 1980 Saeed Akhtar
0LU]D OP Albert Pinto Ko Gussa Kyon
Aata Hai? there is only one reason why
Mumbai is reverentially called Bombay
by purists; it wears its heart on its sleeve.
$QG 62$ GLG WKDW ULQJ RQ DOO DUFKLWHF-
tural cylinders.
10 landscape
47 | 2016
Curated by architect Rahul Mehrotra,
Domus Editor Kaiwan Mehta and art
theorist and author Ranjit Hoskote, the
75-day exhibition was largely divided
into sections The State of the Pro-
fession, Nation-Building experiments
and Charted Vectors. Mehrotra wasnt
wrong when he said, The intent is to
compensate the silence around archi-
tecture, show the states role as a patron,
and contemplate the role of an architect
in contemporary society. In Mustansir
Dalvis interview in Domus with the cu-
rators, Mehta candidly says its about
understanding the living chaos of the
present.
CURATED BY
Rahul Mehrotra, Ranjit Hoskote, Kaiwan Mehta
The National Gallery of Modern Art, the
venue for SOA, was possibly hosting such
a large compendium on architecture for
WKH UVW WLPH LQ LWV QHDUO\ WZRGHFDGH
history. For that matter, any museum
in India is yet to see such a generous
spread. It was an architects jamboree,
ZLWKOPVERRNODXQFKHVWDONVDQGH[-
hibitions, across various venues in the
city, involving colleges and cultural in-
stitutions, and annual art events like the
Kala Ghoda Festival. Democratic in its
reach, for nearly three months, Mumbai
witnessed a roll call of the whos who
of architecture (both domestic and in-
ternational), who gave keynote lectures,
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report |
celebrated legacies, and placed build-
ings in the context of history. And for the
UVW WLPH WKH LQWHUQDWLRQDO &XUU\ 6WRQH
Design Prize was announced in India,
won by Sheela Patel of the Society for
the Promotion of Area Resource Centre
(SPARC), for their work in legitimising
slum communities across India. Inside
NGMA, for many non-professionals (non
architects), the exhibition gave an insight
into buildings they never knew existed.
What makes SOA count is its foundation,
quite literally, Level One of the museum
floor. Here a visitor could bite into well-
toasted statistics on the state of archi-
tecture from number of colleges to
architects salaries; government-driven
planning projects to privately funded
large-scale projects; women in architec-
ture; number of colleges to those profes-
12 landscape
47 | 2016
sionals registered with the Council of
Architects through well-mapped info-
graphics. Never before has there been
such data on a single floor that points
its arrow head at the state of affairs. For
instance, it is a mystery why when nearly
58 per cent schools have launched in the
ODVWYH\HDUVWKHUHLVEDUHO\SHUFHQW
students pursuing doctoral research?
Why the boom in real estate luxury boom
is loud on the streets but its almost a
graveyard silence when it comes to actu-
al housing? If architectural competitions
raise the level of experimentation and
qualitative public spaces, India cannot
boast beyond its three notable compe-
titions in the last 10 years, compared to
47 in China, followed by the US with 34.
Coupled with the idea of the magazine
as forumWKHUVWIORRUVKRZHGZKDWLV
in store the levels above.
Nation building cannot be divorced from
the contribution of Indian architects
such as Charles Correa, B V Doshi, Ach-
yut Kanvinde, Raj Rewal, Habib Rahman,
I M Kadri, and international names such
as Le Corbusier, Joseph Allen Stein, Otto
Koenigsberger, and Louis Kahn. There
were houses to be built, institutes to be
developed and factories to be oiled. Po-
litical will and fervour to fashion the fu-
ture of an independent nation took the
form of panels and wall-to-wall photo-
graphs by these well-known names. The
love for Wiki-like timelines across two
floors and repetitive information may
have killed the purpose of showing the
idea of India, but it ironically stated the
obvious we had stagnated somewhere
in our search for a modern language.
report |
Soon there would be assembly line
structures, and a mad scramble to show
how we have arrived. Steel and glass like
cocktail gowns worn for any occasion
arrived on the ramp, baring its cleavage
at anybody who would buy into it. There-
fore, Charting Vectors happened with
the only optimism the exhibition could
afford classify projects under head-
ers such as Counter Modernism, where
many religious buildings were mapped
because they moved away from ancient
traditions; Local Assertions were pre-
sented as being conscious of the land on
which they were built; Alternative Prac-
tises, where anything solar and energy-
HIFLHQWZHUHJLYHQIXOOPDUNVDQGTrav-
elling Images comprised airports and
shiny towers.
14 landscape
47 | 2016
A lack of critical selection made one won-
der why certain buildings were clubbed
under these headers. Did the curators
buy into the image of architecture after
all? It was further accentuated by the cu-
rated projects on the top-most floor, with
a wall installation that reinforced how
gimmicky Indian architecture had be-
come. Sometimes selection is also about
rejection. The question is what did they
reject? What it should have also done is
given room for new ideas that are yet to
be executed, allowing praxis supremacy
over the end product.
SOA aspired to be an observatory,
turning its lens toward what is wrong
with the profession. It lifted the mirror
to every practicing architect, making it
uncomfortable for many to stay in the
same room and not be affected.
,Q WKH QDOH FRQIHUHQFH RQ FRQWHPSR-
rary architecture in South Asia, Sunil
Khilnanis questions can quite sum up
the exhibition: How does architecture
respond to history and the concerns of
society? What does a project say to the
region and the world? Does architecture
help question? Can architecture create
an environment that makes it more dis-
sent ridden?
SOA did all of this in through its many
expressions, and in that lies its success.
Photographs courtesy
Urban Design Research Institute UDRI
report |
Report by Maithily G Velangi
WATER AND SOCIETY
EXPANDING THE BLUE REVOLUTION
11TH ISOLA ANNUAL CONFERENCE
BANGALORE | 2223 JANUARY, 2016
he 11th edition of
T the Indian Society
Of Landscape Architects
(ISOLA) Conference
2016 was conceived to
be more than a mandatory annual event
for the profession. It was built on a pro-
cess of curating a culture for the land-
scape discipline within its professional
and academic limits; aligned to allied
disciplines and its relevance with the
city as an institution at large. Such an
outlook resulted in orienting the notion
of the conference to three focus areas
Institutional collaboration, City level ex-
posure, and Delegate participation all
contributing towards a profession in the
making.
Hosted in the city of Bangalore, the two-
day conference was more a culmination
of events, termed as habbas (festivals
in Kannada), that were conducted by the
ISOLA Bangalore Chapter over the pre-
16 landscape
47 | 2016
ceding six months in collaboration with
DFDGHPLFLQVWLWXWLRQVLQWKHFLW\7KHUVW
habba, in collaboration with the Indian
Institute of Human Settlements, Bangalore
was Thesis Open DayDUVWRILWVNLQG
platform for recently graduated land-
scape architecture students, to present
and deliberate on their thesis projects in
a public forum. This was followed by the
Professional Speak, hosted by the BMSCE,
Bangalore where eminent landscape
professionals and academicians from
the city Rohit Marol, Mohan Rao and
Mahalakshmi Karnad reconstructed the
landscape profession for undergraduate
architecture students. Next, it was the turn
of landscape professionals to be the audi-
ence at the Experts Perspective. Invited
speakers Dr T V Ramachandra and Hita
Unnikrishnan dissected the notion of eco-
system services from diverse perspectives
from pure sciences to social sciences,
GHQLQJDODUJHURSHUDWLRQDOHOGIRUWKH
landscape profession to work within.
 Habba Presentations at the Thesis Open Day and the Student Interface
Conference Workshop sessions and the Blue Rhymes exhibition
The theme of the conference Water
and Society, Expanding the Blue Revolu-
tion was purposefully left open ended.
It was meant to engage with the critical
resource through varied lenses ecologi-
cal, social, and political to help address
contemporary development challenges. It
was meant to question the professions
understanding, role and response to cru-
cial development issues. The very idea
of water allowed for a far more interdis-
ciplinary approach, learnings from which
WKHSURIHVVLRQFRXOGEHQHWIURP7RKHOS
structure the debate, the theme was cat-
egorized as Water as Natural Resource,
Water as a Socio Cultural Attribute, and
Water and Design. Each sub-theme al-
lowing for focused deliberations, but open
ended enough for creative interpretations.
As a parallel activity to the habbas, the
Bangalore Chapter introduced online
engagements directly related to the
conference theme. These were open to
18 landscape
47 | 2016
ISOLA members as well as the interested
public, with the intention to eventually
produce a substantial body of research.
One such was the Call for Papers an
open, national and international invitation
to professionals and students to submit
papers addressing any of the sub-themes.
Evaluated through a peer review process,
eighteen papers were selected that dis-
cuss, question and opine on the relation
of water and society. Panorama a visual
perspective based engagement that
has been part of ISOLA conferences over
the last few years, was initiated online
with the same thematic background,
but its domain was expanded to include
artistic impressions, poetry, photography,
caricatures as well as videography. The
habbas, thus, succeeded in initiating the
discussion on the theme in a productive
manner and served well as a forerunner to
the conference both in terms of engage-
ment and enthusiasm.
In the main conference, the invited speak-
ers were not from within the landscape
profession fraternity, but were whose
engagement with the profession and aca-
demia intersects closely with the domain
of landscape based on the relevance of
their work in the global south. This en-
sured the presentations and discussions
remained rooted and relevant to the Indian
context. As the convenor, Mohan Rao
introduced the conference presenting the
critical nature of the theme in contempo-
rary society and positioned the confer-
ence as a framework for learning. Aromar
Revi, Director, Indian Institute of Human
Settlements, delivering the keynote, ex-
tended this introduction and the argument
of water being the most critical element
of biosphere, dominating our planet; his
provocation being that our planet should
have been called Water and not Earth. He
constructed his talk on an overview on
associations between livelihood, culture
and resource through various cases of
 THIS & FACING PAGE, LEFT TO RIGHT |
Mohan Rao, Aromar Revi, Dilip da Cunha, Anthony Acciavatti, Tency Baetens, Dr Harini Nagendra, Dr Fabio Masi and Alejandro Eccheverri
cities; on the manner in which land and
waterscapes have moulded cultures;
and concluding with the need to design
for environment and conservation rather
than design for living.
Dilip da Cunha, Adjunct Professor, School
of Design (Penn Design), University of
Pennsylvania, and Anthony Acciavatti,
Principal, Somatic Collaborative, New
<RUN SUHVHQWHG WKH UVW WHFKQLFDO VHV-
sion. They discussed and argued from
their own perspectives on the associa-
tions and understanding of water from
its regional perspective. Dilip extended
his current research and opened up a
different perspective on looking at our
land on whether is it a river terrain or a
rain terrain. Anthony Acciavatti discussed
in detail his decade-long association
with the river Ganges and the differential
atlas required to map and understand the
temporality of shifting landscapes. This
sessions highlights were some engaging
cartographical illustrations on the repre-
VHQWDWLRQDQGLGHQWLFDWLRQRIZDWHUDQG
20 landscape
47 | 2016
subsequently shifted the focus on more
intangible association of water and the
community.
In the second technical session, Tency-
Baetens explained in depth the science
behind treatment and management of
waste water and idea of the vortex De-
wats treatment. The much larger debate
he addressed was the idea of water secu-
rity towards a sustainable habitat. Extend-
ing this argument, Dr Harini Nagendra,
Professor of Sustainability at Azim Premji
University, Bangalore, oriented her discus-
sion on the socio-cultural association of
water within the landscape of Bangalore
and the very notion of understanding
lakes as urban commons.
The second day of the conference was
driven by the more tangible imprints of
ZDWHUDVDUHVXOWRIVSHFLFLQWHUYHQWLRQV
Alejandro Eccheverri, director of URBAM,
0HGHOOLQ DUWLFXODWHG KLV WDON VSHFLF WR
the Medellin geography and discussed
at length experiments within neighbour-
hoods. The objective of creating sustain-
able models of performance from a social
and physical environmental perspective
brought forth ways of direct engagement
with the political landscape. Dr Fabio
Masi, Technical Director, R&D Manager,
IRIDRA concluded the speaker sessions
with a crafted and a highly detailed pres-
entation on sustainable urban drainage
systems that provided the audience with
probably the most tangible output for
professional engagement.
The interactive workshops in the confer-
ence allowed delegates to engage with
speakers as well as invited moderators.
Each workshop session witnessed intense
discussions and deliberations, that lasted
cumulatively for an entire day of the two-
day event. Though the workshops had
SUHGHQHGSURYRFDWLRQVWKH\HYHQWXDOO\
resulted in very varied outcomes, not al-
ways critical but certainly engaging and
entertaining. From groups discussing the
profession at large, to deliberating on the
idea of water, the workshop presentations
had it all, even an impromptu dance and
a wonderfully scripted satire on the chal-
lenges of the profession.
This year also witnessed a curated exhibi-
tion based on the theme of the conference
Blue Rhymes whose content was re-
searched by LA, Journal of Landscape Ar-
chitecture and designed and produced by
the Srishti School of Art, Design and Tech-
nology. The exhibition was a collection of
narratives reflecting the prodigious body
of work from across the subcontinent,
engaging with one of the most challeng-
ing issues of contemporary urbanization
water. The exhibition brought together
both built and unbuilt contexts, narratives
from the past and present, works from
practice, academia as well as traditional
practices. The stories highlighted diverse
thinking and values in maintaining an
evolved and symbiotic relationship with
water across varied geographies. The ex-
hibition was an attempt to bring together
varied perspectives of looking at idea of
water in the realm of nature and culture.
The ISOLA Bangalore Chapter also hosted
a public exhibition at the Rangoli Metro Art
Center. This was a collection of students
works and their perspectives on Water and
Society, Expanding the Blue Revolution.
The exhibition displayed an eclectic mix
of ideas, strategies, visions, narratives,
as well as analysis of the notion of water
and its correlation and interface with the
urban. The perspectives displayed in the
exhibition were an outcome of a rigor-
ous engagement and introduction of the
architectural student fraternity to the
landscape profession. The engagement
was conceived as a platform to generate
a productive dialogue with public agen-
cies of the city to address development
initiatives imperative to current trends of
urbanization. The exhibition was meant
to bring together diverse perspectives,
experiences and skills that connect wa-
ter and the landscape profession and to
critically examine the multiple facets of
water as the determinant for interventions
at all scales.
,QDGGLWLRQKHULWDJHZDONVZHUHVSHFL-
cally curated on the theme of Water and
Society that allowed delegates to explore
the natural, cultural and social history of
Bangalore.
The conference was also an opportunity
accorded to each one of the delegates to
explore ideas, experiences, thoughts and
perspectives. The process allowed the
profession to engage in productive activi-
ties for the past few months across many
forums, institutes, public agencies and
within the professional body. If ISOLA as
an organisation aspires to be the preemi-
nent forum working for the profession
and its role in the public realm, it should
continue to curate a culture for inter-
disciplinary learning and engagement.
Photographs courtesy
Rahul Paul, ISOLA Bangalore Chapter
landscape 21
47 | 2016
 memorial lecture |

THE ESSENCE OF
TRADITION IN
MODERN
ARCHITECTURE
Photo courtesy: Renana Jhabvala

yrus Jhabvala, a Fellow of the Royal Institute of British Architects

C taught at the Department of Architecture at the Delhi Polytechnic

in 1949 for almost a decade. Later, under his aegis as the Head of
the Department of Architecture in the mid-sixties, the institute had many
eminent professionals as teaching faculty. A legendary teacher who taught
generations of architects in the city including Raj Rewal, Ram Sharma, Kuldip
Singh and late Satish Dawar amongst others, his contributions to architectural
education in India, especially in the initial years of a young independent nation,
are widely acknowledged by his students and contemporaries. His practice,
spanning over three decades covered more than 400 projects of varied scale
and nature including layout plans of many parts of Delhi, institutional buildings,
cultural centres, housing societies and pavilions at National and International
exhibitions. In his later life, he sketched many parts of the cities of Delhi and of
New York, which have been published as books including Delhi: Stones and Streets
(Ravi Dayal Publishers, 1990), Old DelhiNew York: Personal Views (Lustre Press,
2008) and Delhi: Phoenix City (Ravi Dayal and Penguin Studio, 2012).
From this year, an annual lecture series in his memory has been started by
the Jhabvala family supported by School Planning and Architecture, New Delhi.
the theme of The Essence Of Tradition In Modern Architecture was delivered by
Raj Rewal on 20th February 2016 at India International Centre IIC, New Delhi.
An exhibition of professional works of AAJ (Anand Aptey and Jhabvala) was also
conceived and curated by I M Chisti for the occasion.

22 landscape
47 | 2016

Iftikhar-Mulk Chishti
he story of Ustad Cyrus Jhab-
T vala an unusual and a multi-
faceted man, as a professional
architect is synonymous with that of
AAJ Anand, Aptay and Jhabvala a
Delhi based irm of which he was a
partner along with R G Anand and
Aptay an absentee partner. Taking
over from expatriate British architects
like Walter George and Bloomield
brothers who continued to practice
in Delhi ater Indias independence,
AAJ belonged to the irst generation of
post-independence Indian architects
of Delhi along with Bhawa/Bhatia,
Chaudhury/Gulzar Singh, Kanvinde/
Rai, Stien/Bhalla in private sector and
Habib Rehman and Mansinh M Rana
in the public sector. Along with them,
AAJ were the irst modern architects,
bridging the colonial legacy and the
imperatives and exigencies of a new
democratic state.
It may come as a surprise to most of us,
in this time of instant communication,
that the irm through thirty ive years
of its existence never tried to archive or
publicize their work and it was general-
ly believed that they had let no records
behind. herefore, ater Ustad Cyrus
Jhabvalas demise year and a half back
when original tracing paper rolls came
almost tumbling out of cabinets, they
revealed an astonishing number and
range of projects that they had handled
cuting across domains and scales to
include urbanism, architecture, interior
and exhibition design.
An exercise of listing and categoriza-
tion was undertaken followed by pho-
Godrej Pavilion, New Delhi and Yashwant Place, Chanakyapuri, New Delhi, 1965-72
Architects: Anand, Aptay and Jhabvala AAJ | Photos courtesy: Renana Jhabvala
tographic documentation of the se-
lected projects. With the information
gathered from the very few surviving
members of the AAJ team, an idea be-
gan to emerge about the kind of work
AAJ had been involved with. he rev-
elation wasnt surprising on account of
the quantity but the quality of the body
of their work as well, which when seen
collectively turned out to be coher-
ent, competent and conident. Despite
some odd bits here and there, their
buildings were true to their purpose
and need, sensitive to cost and context,
conscious of climate and local tradi-
tions. hey were characterised by ex-
posed frame construction, exposed pat-
terned brickwork, rubble masonry and
jaali inill made out of locally available
materials. Interestingly the architectur-
al vocabularies and idioms employed
by AAJ were quite similar to those of
their contemporaries the early mod-
erns of Delhi.
However, AAJ stood out from other
contemporary practices for three rea-
sons:
1. As urbanism consultants to Delhi
Leasing Financing (now famousor
infamousDLF) in the early years
of their practice, their contribution in
shaping up the urban-scape of good
part of planned urban neighbourhoods
memorial lecture |
of Delhi that include Model Town,
Rajouri Garden, Panjabi Bagh, Adarsh
Nagar, Sundar Nagar. South Exten-
sion, Hauz Khas, Kailash, Greater
Kailash etc.
2. heir sensitivity and lair for inte-
rior and exhibition design exempliied
by the original warm and inviting Cot-
tage Industries Emporium on Janpath
and the narrative based scenography
of their exhibition pavilions at the
trade shows at Pragati Maidan and
overseas.
3. he coincidence that both the part-
ners had interests that went beyond
architecture and were serious parallel
activities for them. Sketching /paint-
ing for Ustad Cyrus Jhabvala and thea-
tre in case of R G Anand, glimpses of
which are there in the exhibition.
It is hoped that this small retrospec-
tive exhibition of AAJs works will
help in reminding us that there is an
urgent need to make a special efort
in archiving and making available to
the world the work of early post in-
dependence architectural practices of
Delhi and elsewhere, like that of AAJ.
Hope this is only a curtain raiser.
landscape 23
47 | 2016
memorial lecture |
Raj Rewal
P
rofessor Jhabvala was a much
loved teacher who helped shape
thinking and atitudes of a gen-
eration of architects who came to study
at the SPA located in Kashmere Gate
during the mid-ities.
He had a lively personality and an origi-
nal way of bonding with students. For
me, the most memorable interaction
with Jhabvala was in Fatehpur Sikri
where we had travelled with him for
three days. He structured the study of
Fatehpur Sikri such that the irst day
was devoted for construction tech-
niques, second day for spaces between
the buildings and third day for the
complexs functional and expressive
concerns.
During the day, we were encouraged
to wander about, sketch and observe,
but it was during the night, ater din-
ner, that real discussions took place.
We were allthirty studentslodged
in the outhouse of Fatehpur Sikri, all in
one room, with Jhabvala in the middle.
I remember it was winter and quite cold
and we were all tucked in blankets and
rajais. Jhabvala would initiate discus-
sions and encourage us to think and
remunerate how simple elements like
stone brackets to support sun shades
were built, how the stone was carried to
the site and how the notches were cut
in the stone. he structures of the vari-
ety of domes were discussed. We were
made to think as if we were the mistris
& masons and imagined the whole
process of building. Jhabvala was him-
24 landscape
47 | 2016
self conjecturing and introspecting the
whole process of building along with
us. Some of us stayed up with him dis-
cussing the intricacies of building and
design right up to the midnight. hese
were lively and joyful conversations
where we were made to think for our-
selves. he idea of spaces between the
buildings was discussed at length, and
he provoked us to consider if the build-
ing spoke to us in any manner.
So, I suppose if some of us still carry
the passion for architecture and design,
the seeds were really sown by Jhabvala
at an early stage when we were around
seventeen and he himself around thirty
years of age.
Besides provoking us into thinking
fresh ideas and values, Jhabvala had
another prominent quality. He was
against any kind of humbug or hypoc-
risy. I remember that for a design for a
house located in Daryaganj, one of the
students had copied a Richard Neutras
design, complete with Californian foli-
age. Jhabvalas criticism was to amplify
the design with shading devices and
confront the situation of surrounding
garbage and roaming bulls in Dary-
aganj. With this, he had pointed out an
important lesson of facing Indias harsh
realities of heat and dirt.
Is it possible to create modern archi-
tecture which has links to tradition in
terms of culture and climate and solve
our problems of exploding population
and development requirements?
While curating the Indian exhibition
on traditional Indian Architecture in
Paris in 1986 with Ram Sharma, we had
studied several examples of our herit-
age to discover the common thread in
which the fabric of Indian architecture
has been woven in the past and its sig-
niicance for our time.
During the course of my work, I have
tried to ind an architectural language
which amalgamates the essence of tra-
ditional wisdom with technology of
our times to create a humane, ethical
and sustainable architecture. Passive
energy saving systems learned through
traditional methods can go hand in
hand with smart buildings based on
state-of-the-art technology. In this con-
text, I would like to present some works
which try to solve problems of rapid ur-
banization for a society where paterns
of living are in the process of evolution.
I am, of course, aware of global currents
but I feel we have to ind our own solu-
tions.
he irst and foremost lesson from past
is that we can fuse architecture, urban-
ism and landscape in our larger pro-
jects for low-cost housing, universities,
public and cultural institutions. We can
achieve all the functional requirements
of today without losing sense of poetry
and underlying rasa.

&,'&2/RZFRVW+RXVLQJ
NAVI MUMBAI | 1988-1993
L arge scale migration of rural populations to urban areas
has brought to the fore the issue of mass housing in the
metropolitan centres of India. Building the lowest level of
housing is a challenge that is not usually posed to the pro-
fessional architect, the argument being that not much can be
done for one or two-room dwelling units.
Building for large numbers is like writing a long novel. War
and Peace can be read through from beginning to end with its
diferent chapters and sub-plots sustaining interest. Similarly,
the Mahabharata is a string of stories woven into the fabric
of one major composition. he challenge of mass housing,
likewise, can be either approached like one long story or as
a series of interconnected episodes. Instead of building large
monolithic parallel blocks of grim dimensions, we opted for
a diferent kind of setlement patern. he design for the large
number of dwelling units is fragmented into smaller aggrega-
tions enclosing a variety of spaces which can be cohesively
arranged on the sloping site of a hillock and strung together
with pedestrian pathways. Our atempt was to provide har-
monious development while modulating and changing clus-
ter formations based on space standards for diferent dwell-
ing units: like changing episodes in a long narrative.
memorial lecture |
he sloping site of the hill posed speciic problems of location
and site planning. Small villages in Afghanistan and Ladakh
where dwelling units merge unobtrusively with the surround-
ings served as precedents. It was important to anchor the build-
ing blocks on the gradient of the site to save costs and to fuse the
physical form of the construction with the slope of the hill. It is
not possible to increase the space standard for social housing in
terms of the built form due to cost considerations. Nevertheless
a design vocabulary can be framed to provide for outdoor living
spaces which can be private or for the community. Cities of Raj-
asthan and Mediterranean villages have important lessons in this
context for high density developments.
he internal spaces within the scheme are free from traic and
their coniguration is generated by the surrounding housing
units or blocks which are three to four storeys high. he pro-
gramme of loor areas for dwelling units or apartments var-
ies from 20 sq.meters to 100 sq.meters, promoting diversity of
block types. he combination of blocks forms a patern of de-
velopment which has an element of repetition as well as change,
resulting in outdoor linked enclosures.
landscape 25
47 | 2016
memorial lecture |

1DWLRQDO,QVWLWXWHRI,PPXQRORJ\
1(:'(/+, | 1983-2000

R esearch and educational complexes are part of the develop-

ment process of any city. Located in New Delhi, the NII
project allowed us to experiment with the idea of building a
research institute with clusters based on courtyards varying in
scale and function to accommodate the government norms for
professors, lecturers and research scholars.
Each of the clusters retains its identity as its architectural forms
and internal spaces are diferent. However, the overall unity of
the complex is maintained as all the buildings are interlinked
with paved pathways and the spaces between them are carefully
organized. he framed views from one cluster to another create
a visual link along the pathways. Perhaps the most important ele-
ment of urban design is the surprising discovery of almost hid-
den interior courts along the central and diagonal axis. A circular
peripheral road connects various buildings along the landscaped
contours at the base of the undulating terrain.
deine the structural beams and echo the colors of the rocks
lying around the site. he complex of buildings is designed
to merge with the surrounding landscape and to create an
ambience in harmony between nature and scientiic re-
search. It closely follows the typology of the site. he aim of
the building is to be part of the natural environment, and act
of coexistence rather than confrontation.
In the second phase of the housing, we tried to mix diferent
types of units into one uniied ensemble. he hierarchy of
norms is modiied so that students, professors and lab assis-
tants can live together within interlocking courtyards. he
sequence of courtyards and their varying scale on an undu-
lating site is an important element of design. he morphol-
ogy of spaces is based on the traditional Rajasthan cities.
he intimate scale of the courtyards is successful in difusing
harsh sun light and providing community space.

Externally the buildings are clad with sandstone grit applied

insitu in panels. he colors of the sandstonered and beige

26 landscape
47 | 2016

6WDWH8QLYHUVLW\RI3HUIRUPLQJ 9LVXDO$UWV
52+7$. | 2008-2014
T he project ofered us a unique opportunity to deine a
new urban complex in terms of traditional values and
at the same time allowed us to take a quantum leap of fus-
ing photovoltaic panels as an integral part of its design. he
aim was to generate nearly 15% of power requirements by
renewable energy. his campus design draws upon the prec-
edents of Nalanda archeological ruins as well as Oxford Uni-
versity in England and Bologna University in Italy.
he concept is based on a series of four distinct quadrangles
which give identity to the disciplines of ine arts, architec-
ture, fashion and ilms & television. An external peripheral
road gives way to the entrance of each component and all
the four courtyards are grouped around a series of central
interlinked pedestrian enclosures. hese spaces are deined
on two ends by common activity hubs. One of these houses
an auditorium on ground loor, a conference centre on the
irst loor and a central library on the topmost loor. his
circular building with its ascending staircases forms one of
the anchors of the urban complex. he roof of the library at
memorial lecture |
topmost level is covered with a solar disc with photovoltaic pan-
els at a slope to generate maximum solar energy. he ascending
staircase around the common activity cylinder has echoes of the
Sanchi Stupa encircling parikrama which relates to the Buddhist
scriptures. he idea of ascending steps has also been followed in
the monasteries of Began in Burma and the famous monument
of Borbodour in Indonesia.
he other anchor of the central enclosure is an amphitheater
covered with a glass and steel roof. he structure is reminiscent
of basket weaves and cane works. he glass roof is lited above
the columns that allows fresh air to ventilate the theatre.
Here in this project, we chose to draw upon Indian typological
precedents and historic symbolic concerns but at the same time
address the concern of global warming and sustainability.
landscape 27
47 | 2016
memorial lecture |
/LVERQ,VPDLOL&HQWUH
PORTUGAL | 1995-2000
A rchitects in the past had a clear understanding that besides
fulilling the functional and structural requirements their
buildings were to be imbued with the rasa or spirit of religious
fervor, royal power or colonial imperialism. For the Lisbon Is-
maili Centre, based on an international competition, our con-
cept was to draw upon Islamic philosophy and vocabulary and
assimilate Iberian Peninsulas building traditions. At the same
time, we searched for an expression based on innovative con-
struction technology.
he design is inluenced by morphology of traditional spatial ar-
rangements as observed in Alhambra in Spain based on the ide-
als of paradise garden. he faade of the buildings reinterprets
the Islamic paterns in a bold structural system. Stone has been
used as a basic structural element in conjunction with steel for
supporting the roof. he garden of paradise occupies a central
place in Islamic culture, providing pleasure enhanced by plants
and running water which are endowed with spiritual and eco-
logical connotations. Our design for the Centre is based on three
interconnected enclosed gardens fulilling distinct functions.
he entrance courtyard is designed to welcome the visitor and
is derived on the principle of char bagh with lowering plants
and running water to transform the mood of the visitor from the
28 landscape
47 | 2016
external stress to internal calm. he community courtyard
functions as an enclosure between the social hall and the
multipurpose hall. It is also an extension space for cultural
and community activities. he jamatkhana courtyard is an
extension of the prayer hall surrounded by a cloister with
an ambience of serenity. It is at the head of the complex but
isolated from it by change in level and a gateway.
he doctrine of cosmic unity where one is a part of the
whole is central to the Islamic philosophy and spiritual
concerns. Islamic art is essentially a way of depicting and
discovering this unity through geometrical paterns. he
supporting walls and roof of the prayer hall of the Centre
are designed as a jaali (latice) in prefabricated natural stone
elements which are joined together and braced with stain-
less steel members.
he faade design of all the halls is based on modern stone
fabrication and construction techniques combined with the
analytical power of contemporary computer sotware. he
decision to use stonefundamentally strong in compres-
sionin conjunction with steel which is strong in tension,
results in a logical structural patern, evocative of the Islamic
values and ideal being one is part of the whole.

/LEUDU\IRUWKH,QGLDQ3DUOLDPHQW
1(:'(/+, | 1989-2003
T he design for the Parliament Library posed the diicult
problem of building in harmony with the existing com-
plex of Lutyens and Baker which exudes imperial power and
at the same time expressing the democratic values of con-
temporary India. It is probably the most challenging project
as we had to reconcile two conlicting values.
he central function of the complex is a librarya house
of knowledge and symbolically a place of enlightenment.
he design concept relects a speciic preference for serene
spatial enclosures, modulated with light, rather than forms
of grandeur. Based on the context of the site, functional re-
quirements, appropriate structural systems, technical con-
siderations and democratic values of modern India, the de-
sign atempts to seek an architectural expression in harmony
with the existing buildings designed during the British pe-
riod. Externally, the same materials of red and beige sand-
stone from Agra and Dholpur have been used to conceive
a formal structure in tune with classical symmetry of New
Delhis planning criteria.
he exterior structure is designed to compliment the Par-
liament building with smaller circles strewn together in the
form of a mandala or a cosmograph. Internally, the building
is imbued with a diferent spirit signifying sagacity rather
memorial lecture |
than competing with the power of the Parliament. he analogy of
a relationship between a guru and the king may not be far fetched
while comparing the new library with the existing Parliament. Vi-
sually and symbolically, the central hall of the existing Parliament
denoting peoples power, consensus and democracy is linked to
the central core of the complex, symbolizing knowledge.
he roof of the library building has a series of low-proile bubble
domes siting on a steel structure to complement the existing
surrounding domes of masonry on the Rashtrapati Bhawan. he
main entrance is directly linked to one of the gates of the Parlia-
ment. It leads to an atrium covered with a circular roof allowing
muted light. Its roof structure is designed as a latice of stainless
steel members of octagonal forms with glazed inill squares. he
primary structure of steel is roofed with ibre reinforced cement
concrete bubbles and its ribs support acoustic tiles. he glazed
panels allow difused light to dance around the hall.
he focal centre of the complex is built with sun relecting, state-
of-the-art, structural glass and stainless steel. It is composed of
four petals. hese petals are tied together with delicate
tension rods. he upper part of the glass dome has
a symbol of circle representing the Ashok Chakra.
Photographs courtesy Raj Rewal Associates
landscape 29
47 | 2016
tribute |
Jamal Ansari
KHIRAJ-E-AQEEDAT
AN EXPRESSION OF TRIBUTE
SAYED SAEED-USH SHAFI
1 9 3 0 2 0 1 5
t is hard to believe that Professor S. S.
I Shai whom I and many of his close
acquaintances knew as Shai Bhai is
no more. It was not mere coincidence
that he who was so used to travelling
abroad and staying there for long peri-
ods to be with his daughter Afshan and
granddaughter Alia in Rome and son Na-
dim and his family in USA up to his last
days came back to his ancestral Nawab
House in Old Delhi his birth place to
depart to his eternal resting place. More
so, perhaps it was his intense love and
admiration for his wife that drove him to
Delhi just two days before his death so
as to be buried besides his wifes grave in
Delhi Gate Qabarastan a wish that God
helped him to fulil as a reward for all of
his good deeds. He passed away peace-
fully in the morning of 22nd December
2015 and laid to rest next morning.
I irst met Professor Shai way back in
the year 1963 when I was working as
30 landscape
47 | 2016
a temporary lecturer at my alma mater
Aligarh Muslim University ater graduat-
ing in Civil Engineering. I was teaching
Town Planning and since I was new and
barely had any experience, Professor
Shai was invited by the university as an
external faculty to extend his expertise.
I met him then and immediately got
mesmerised by his magnanimous per-
sonality. This impression was further
reinforced when he started delivering
lectures. His aristocratic presence, very
articulate expression, simple and luent
speaking mannerism, sophistication in
choice of words and suave mannerism
of interacting with the students were the
qualities that I still remember and adore.
His teaching was backed by his academic
credentials and professional experience
that he had already accumulated at the
then young age of less than thirty ive
years. A masters degree in planning
from the famed MIT in USA (1955),
experience of working in the Detroit
Metropolitan Development Authority
(1955-56), study of Urban Planning and
City Renewal Projects in France aided
by the award of French Government
Scholarship (1960) were the major
learning experiences abroad.
His work experience in India had begun
in as early as 1956. Barely nine years ater
India gaining Independence when Town
Planning profession was in shambles, he
joined the group of young Indian Town
Planners on whose shoulders lay the
responsibility of uplifting the profes-
sion, consolidating planning institutions
and contributing to the task of nation
building. His irst job as Associate Plan-
ner was in erstwhile Town Planning
Organisation (TPO), presently Town
and Country Planning Organisation
(TCPO), which was the irst post in-
dependence premier organisation of
Planning in India and he joined it in its
founding year. Right away, along with a

team of Regional and City Planners that
the Government of India had recruited
from foreign universities and the group
of Ford Foundation experts he got
involved in the exciting task of prepar-
ing an innovative Master Plan for Delhi
the irst of its kind. Earlier, during his
studies at MIT he had writen a Masters
level thesis on A Planning Framework for
National Capital Region (NCR) wherein
he had elaborated the concept that large
cities cannot exist in isolation, they have
influence over the immediate region
around it and vice versa and hence the
two entities need to be planned in an
integrated manner. Professor Shai used
the concept of NCR in proposing a new
approach of city planning process that
involved delineating the metro-region
around Delhi and also developing the
applicability of the concept of ring
towns and counter magnets for the
planning of the National Capital and its
development in a regional context.
his was Professor Shai I met at Aligarh
at a time when the irst Master Plan for
Delhi of which he was one of the makers
had begun its implementation phase just
a year ago in 1962 and the concept NCR
of which he was the author had become
a reality. His lectures to the students
which I had the opportunity to atend
were marked by eloquent explanation
of the methodology and elements of
the Delhi Master Plan and the concept
of NCR let a lasting impression on me.
Listening to his lectures, I developed an
interest in Town Planning. Whenever, he
came to Aligarh for his lectures, I used
to borrow his writings, study them over
night, make my own notes (there were
no Xerox machines then), and return it
to him next morning. Seeing my interest,
he suggested to me to take regular educa-
tion in planning by geting into Delhis
School of Planning and Architecture
(SPA). I, who was till then interested in
pursuing graduate studies in Structural
Engineering, got immediately turned
on to the suggestion by him and joined
SPA next year.
he early few months at SPA were quite
tumultuous for me. I, whose education
was initiated in madarsa and later in
non-descript small town Hindi medium
schools of Eastern Utar Pradesh, found
myself in the midst of a serious problem
of almost total inability to write and
speak in English. My professors used to
reject my reports for wrong construc-
tion of sentences and bad grammar. I
used to run to Professor Shai who was
working in the TCPO located just across
the road from SPA. He would console
me, motivate me and even sometimes
correct my reports. He had become my
saviour, mentor and godfather and as I
progressed in my professional life also
my role model since I was eager to be
like him in all forms of communication.
It was due to his blessings that I not
only completed my studies at SPA with
tribute |
distinction but was also ater gradua-
tion taken in as a permanent faculty to
progress gradually and retire as Director
achievements that I dedicate entirely
to Professor Shai.
In 1966, soon after I graduated from
SPA, Professor Shafi was selected to
work on the United Nations Develop-
ment Programme (UNDP) to help assist
Iraq in appraising and evaluating the
master plans being prepared by a team
of Polish Planners for Baghdad and later
for other cities. While there, he was also
engaged in other works such as establish-
ing Planning Department within the
College of Architecture at the University
of Baghdad; a full- ledged City Planning
Department in Baghdads Municipal
Authority; and a center for Urban and
Regional Development.
In 1978, he rose to the position of Chief
Town Planner in TCPO and from this
position, Professor Shai took voluntary
retirement in January 1983 to join the
Makkah Planning Team in Saudi Arabia
as Planning Coordinator of an eleven-
nation team to develop a Perspective
Plan for the Holy City of Makkah and
the Haj Region. It was surely a unique
honour for any Indian to be associated
in such a key role.
Ater his return from Makkah, I had the
opportunity to work with him. He and
I had common alma mater the Aligarh
landscape 31
47 | 2016
tribute |

Muslim University. During visits to the
university, he found that its campus
was developing in a haphazard manner.
He convinced the then Vice chancellor
Sri Hamid Ansari, who is now Indias
Honourable Vice President, that it was
necessary to prepare a master plan to
ensure planned development of the
campus. Professor Shai was invited to
prepare the plan. He took me along and
suggested that we being alumni of the
university should treat the opportunity
of contributing our litle bit for our alma
mater. I readily agreed. He did not stop
there. Whatever money was saved from
the expenditure fund provided to us, he
donated that too to the main mosque on
Aligarh University campus for its upkeep
and maintenance.
Professor Shais contribution to plan-
ning profession and planning education
is so wide ranging that it is not possible
to recount all in a couple of pages. A
series of anecdotes can be cited about
his outspokenness, even during the
emergency era; his bold stands in de-
fence of interests of planning profession
without bothering about which power-
ful authoritys feathers he may rule; one
against a proposal to demolish Canopy
at New Delhis India Gate under which
once stood a Statue of King George V
are just a few.
In the end, it can be justly said that Pro-
fessor Shai was a great communicator,
a powerful motivator, a perfectionist to
the extent that only times I saw him loos-
ing temper were when he would notice
an act of extreme incompetence, uncivi-
lised or rude behaviour on someones
part. He himself never used a unkind
language even for those he did not like;
a widely read, sophisticated person and
a great visionary.
To end this tributary note for Professor
Shai, I cannot resist quoting a couplet
from Allama Iqbal...

I had an opportunity to pay back my

gratitude towards him in a small way
during early 1990s. As Head of the
Department of Physical Planning, I
requested him to accept the position
of Visiting Professor and help raise the
academic standards in the Department
which was newly created. He readily
agreed and made lasting contribution
to the development of the Department. For a thousand years the narcissus has been lamenting its blindness,

With great diiculty the one with true vision is born in the garden.
Allama Iqbal

The Author would like to acknowledge ITP publication Know Your President series for referring a large part of factual
information about late Sayed Shafi.

32 landscape
47 | 2016
 remembrance |

Om Prakash Mathur

ADIEU TO
AGENERATION

LEFT TO RIGHT |&XMNXM'TXJ0(8N[FWFRFPWNXMSFS23'ZHM(MFWQJX(TWWJFFSI8F^JI88MF

eaths of Ashish Bose (April 2014), K C Sivaramakrishnan

D (May 2015), M N Buch (June 2015), Charles Correa (June

2015DQG6D\HG66KDDecember 2015) has taken away
from Indias space, the like of an entire generation of urban giants who
spent much of their lives studying the phenomenon of urbanization,
writing about its myriad facets, and contributing to the urban thought
processes. There is a void, a strange kind of void, with individuals like
me who belong to the same generation, plus-minus a couple of years,
unable to think who to go to for a reminisce of an event that took place
in 1960s or the 1970s or to decide if their deaths should be mourned or
celebrated for the intellectual legacy that they leave behind.
remembrance |
Ashish Bose, my senior in the Delhi
School of Economics, was an urban
demographer who worked with popu-
lation census numbers like no one
else, wrote his Ph.d dissertation on
Indias urbanization with Bert Hoselitz
(University of Chicago) as his mentor,
guide, and examiner, and produced on
his 80th birthday, a book under the title
Headcount, with a sub-title, Memoirs of
a Demographer, adding to the Preface
his is not an autobiography but a col-
lection of random pieces of my writing
on several episodes in my life. Fond of
coining acronyms, he shocked the then
establishment by calling Bihar, Madhya
Pradesh, Rajasthan, and Utar Pradesh
as BIMARU States and subsequently
came up with other acronyms such as
GEMs (Generators of Economic Mo-
mentum) in the context of the report of
the National Commission on Urbanisa-
tion.
K C Sivaramakrishnan, a West Ben-
gal cadre IAS, developed interest in is-
sues of urbanisation early in his career
at the Calcuta Metropolitan Planning
Organisation (CMPO). Tutored at the
CMPO in looking at a metropolitan
city, the complexities of managing mul-
tiple cities that formed a metropolis
like Calcuta fascinated him. Indeed, it
was his obsession which saw its culmi-
nation in a book, the last one that he
34 landscape
47 | 2016
wrote, Governance of Megacities: Frac-
tured hinking and Fragmented Setup.
KCs interest in urban issues strength-
ened over the years, notwithstand-
ing his posting to the Department of
Supplies where as he once said, he was
asked to give his considered decision
on whether the Department should
purchase round-holed mosquito nets
or the square-holed ones! He was the
principal architect of the Constitution
(65th Amendment) Bill which got de-
feated in the Rajya Sabha by three votes
KCS documented the entire journey
to the Bill in his Power to the People.
One of the events in his career which
he called as the most extraordinary was
his transfer from the Ministry of Urban
Development to the Ministry of Sports
a Ministry where he openly admited
to several of us, he would have found it
diicult to distinguish between hockey
from cricket! He took leave and spent,
at my special request (and to the cha-
grin of the Ministrys oicials), the in-
terregnum at the National Institute of
Urban Afairs. His spirited moment was
he Enduring Babu: Memoirs of a Civil
Servant which, in his own words was
not the memoirs of a civil servant in the
conventional sense. here is no intention
whatsoever of burdening the readers with
account of what the government or I, did
or did not do. here is no post-mortem of
any government action. here is no advice
or exhortation to anyone in the govern-
ment on maters relating to administra-
tion. Several other civil servants of repute
have endeavoured to do this through their
autobiographies, books and critical essays.
If their eforts have not had the desired ef-
fect, it is unlikely, mine will.
Like KC, Mahesh Buch was an IAS
oicer of the Madhya Pradesh cadre.
He belonged to a family of administra-
tors and he believed, unlinchingly, in
the primacy of his class and in its astute
decision-making capacities. A contem-
porary of Dr Manmohan Singh at Cam-
bridge, he came to the urban forefront
initially in Bhopal with his undivided
atention to urban environment and de-
velopment of lakes and forests and sub-
sequently at the Delhi Development
Authority (DDA). He laid the founda-
tions of the National Institute of Urban
Afairs (NIUA) the tenure of the irst
Director was not long enough to give
it a status that it deserved. He was out-
spoken; soon ater the 2002 Gujarat
riots, he wrote to Narendra Modi, then
the Chief Minister of Gujarat, to re-
mind him that the Prime Minister of
Pakistan had undertaken to reconstruct
the Hindu temples in Karachi which
had been destroyed and urged him to
do the same in Gujarat to assuage the
wounds that had been inlicted on its
Muslims.

Charles Correa, a product of Michi-
gan and MIT and globally recognized
as an architect with a diference, earned
his fame as much with the design of
Bharat Bhawan in Bhopal as with the
National Commission on Urbanisation
which he chaired. Charles Correa with
Mahesh Buch as his deputy, and Ashish
Bose as a key team member produced a
seven-volume report which set out, for
the irst time, what needed to be done
to address issues of urbanization, urban
planning, urban land, urban poverty,
urban inance and management, urban
form, urban housing, urban conserva-
tion, urban transport, water and sanita-
tion, energy, legal framework, peoples
participation and information system.
It is a magnum opus which guide the
young scholars and would serve even
today as one for those who currently
hold responsibility for urban sector ini-
tiatives.
6D\HG 6 6KD a student of Lloyd
Rodwin at MIT, who passed away
in December, 2015 joined the Town
and Country Planning Organisation
(TCPO) upon its establishment in
1956 and rose to become its Chief Plan-
ner. His seminal work at the TCPO (to-
gether with a team of planners) was the
A condensed version of the article titled The Smart Men for the Smart Cities by the Author was published
in The Indian Express, 15 February 2016
in whatever way this generation may be
looked at and appraised, there is,
for all of us, a phenomenal storehouse of
knowledge and fearless expression
preparation of the irst Master Plan of
Delhi (1962-82). He came to be known
in public life for his evidence before the
Justice Shah Commission which had
been set up to investigate the excesses
during the Emergency. Shai, a suave
and urbane and an original resident
of old Delhi his ancestral house was
the Nawab House close to Jama Masjid,
prided himself in being a part of the
team that prepared a plan for Makkah,
the holiest of the cities for Muslims. His
contribution where he put his heart and
soul was the preparation of a volume
on Jawaharlal Nehrus writings on art,
architecture, heritage, cities and city
planning to mark Nehrus Centenary.
Planned as an anthology, the selections
over which Shai and myself poured
our heads for close to six months, were
in the form of an arabesque, a con-
struct of several habitat related issues
Nehru was personally involved with
the planning of Chandigarh. Nehrus
enthusiasm and the egocentricity of
Le Corbusier, as we noticed from the
literature meshed well. In Nehrus own
words, Chandigarh was to be symbolic
of a new India, unfetered by the tradi-
tions of the past an expression of the
nations faith in the future. To Nehru, as
recounted in the volume, Delhi was like
no other city in India, epitome of Indias
remembrance |
history with its succession of glory and dis-
aster, and with its great capacity to absorb
many cultures and yet remain itself A
city where even the stones whisper in our
ears of long ago and the air we breathe is
full of the dust and ragrance of the past, as
also of the resh and piercing winds of the
present. We face the good and bad of In-
dia in Delhi city which has been the grave
of many empires and the nursery of a new
republic. An avid listener and ever eager
to know of new things, Shai records,
Nehru wanted to know how the age-
sex ratio is relevant to the planning of
cities? What is meant by day-time and
night-time population? What is height-
zoning? And what is that planners call
origin-destination survey. Shais last
picture postcard to me (September
2014) from Rome was in anguish but he
remained commited to being an Indian
to the core.
In whatever way this generation may
be looked at and appraised, there is,
for all of us, a phenomenal storehouse
of knowledge and fearless expression
be it the theoretical underpinnings
of GEMs, be it a model for governing a
metropolitan area with multiple munic-
ipalities or a simple exhortation expe-
diency should not govern urban design of
such an important area (Jama Masjid).
landscape 35
47 | 2016
J
remembrance

JOURNEY
|

MY
Joginder J Khurana

JOGINDER KHURANA | NARENDRA JUNEJA

Joginder J Khurana and Narendra Juneja Original photos courtesy: Ravindra Bhan

andscape architect, late Narendra Juneja, worked for more than a decade with Ian McHarg, and

L his name appears next to Lewis Mumford in the dedication note in McHargs seminal book Design
with Nature. Each year, a Gold Medal in his name is conferred to the best student at the Department
of Landscape Architecture at School of Planning and Architecture, New Delhi, while University of
Pennsylvania, USA awards a Narendra Juneja Medal and a Narendra Juneja Scholarship. Juneja passed
away in 1984, and hardly any information is available about him and he remains a bit of an enigma. We
had conversations about him with Ram Sharma, Ravindra Bhan, who both were his colleagues as fellow
VWXGHQWVDWWKHWKHQ'HOKL3RO\WHFKQLF%KDQDOVRZRUNHGZLWKKLPDW0F+DUJVRIFHLQ8QLYHUVLW\RI
Pennsylvania in 1960s. Recently, we interviewed Joginder Judge Khurana, Junejas friend who also
knew him from their Polytechnic days. Sadly, Khurana passed away in February this year. We feature here
our conversation with him remembering his life journey along with a bit of Junejas...

36 landscape
47 | 2016

Early 50s and
knowing Narendra Juneja
My association with Narendra goes back
to the early ities from our college days
at the Delhi Polytechnic, Kashmiri Gate,
School of Architecture (now SPA). We
were close friends. We used to bicycle
together to the college at Kashmiri Gate.
His father had a job in the Northern
Railways. In 1952, our close batch mates,
to name a few from a class of twenty ive,
were Ajoy Choudhary, Ranjit Sabikhi,
Ram Sharma, Shiban Ganjoo, Sewa
Barmi, Raj Rewal, Ramesh Khosla,
Shubroto Bose, Krishan Ahilawadi, Mo-
hinder Kalra and irst time ever admited
in Delhi Polytechnic, were the three girl
students Manju Chakraverty, Krishna
Sen and Urmila Arora. We had CSH
Jhabvala teaching us design studio and
construction and Elizabeth Ghuman,
a British origin lady settled in Delhi,
as the Head of the Department. M M
Rana had joined only recently in 1953,
a young and fresh fellow returning
ater graduating from the Frank Lloyd
Wright Foundation, Wisconsin in the
US to teach us design. From a diploma
course earlier, we now were to graduate
with a degree Bachelor in Architecture
(B.Arch) under Delhi University.
TPO years and then seeking
higher education abroad
Narendra got his B. Arch in 1957. Ater
graduating, he worked for the newly
created Town Planning Organization
(TPO), which was setup by Pandit
Nehru for conceptualizing the Master
Plan of the City of Delhi (irst time in
Independent India). Ater graduating in
1958, I had also joined the same organi-
zation ater a three short summer stints
at Stein and Polk Architects. he heads
of various departments in the TPO were
all young Indians having returned ater
their higher studies in the US and the
UK. he irst Master Plan as prepared
at that time was idealistic as it seemed,
also quite realistic in many ways for
improving and expanding urban Delhi.
Narendra must have worked there for
more than a year and then let for the
UK for work experience, while ater a
year of work at the TPO in 1959, I had
got admission at Harvard in its two-
year Masters program in Landscape
Architecture. Ram Sharma, ater hav-
ing had worked in the TPO also, had
gone to Harvard for an earlier one-year
program in Landscape Architecture.
Ater its completion, Ram went for his
Masters in Architecture at Prat Institute
in New York.
he MLA graduate program at Harvard
was under the chairmanship of Hideo
Sasaki, a great academician (a Japanese-
American), also having an interdiscipli-
nary practice (Sasaki & Associates) and
Charles Harris as Professor. Sasaki was
the irst one to start a two-year MLA
program that concentrated much of the
design studio on tackling Urban Land-
scape and Environmental Design issues,
a departure from the earlier syllabus in
Gardening and Topiary Design.
remembrance |
In 1961, I graduated and received my
MLA degree with distinction and was
awarded the coveted Jacob Wiedenman
Award for best bridging landscape and
architecture design during our studio
projects. he monetary award helped me
to buy a used VW Beetle, learn driving
and take of on a grand tour across the
US along with an architect colleague
and friend from Denmark to experience
great American National Parks, archi-
tecture of Mies van der Rohe, Frank
Lloyd Wright, Saarinen, Richardson
et al and residential gardens across the
breadth of US (almost 3,500 miles) oten
camping where ever possible. I had also
saved funds for joining later the newly
started one year Urban Design program
at Harvard.
Winds of change
the 50s and 60s
In 1960, I was in the second year of
MLA program at Harvard Graduate
School of Design (GSD), when Profes-
sor Charles Harris took us students on
a ield trip within New England Region
of the Eastern US to show us various
signiicant urban parks, urban squares
and residential gardens. We also visited
Philadelphia among a few other cities.
Philadelphia Urban Center was then
going through planning and urban
redevelopment process under Edmund
Bacon as the head of the Philadelphia
Redevelopment Agency and had pro-
duced great urban design ideas. Boston
and Baltimore too were similarly going
through urban renewal and redevelop-
landscape 37
47 | 2016
remembrance |
Ian McHarg.
Photo source: www.andywightman.com
Cover of Design with Nature
ment planning processes and were each
headed by strong planning, design and
management professionals tapping on
the research on planning and urban
design being produced at Harvard and
MIT.
Juneja had not yet joined as a graduate
student there as he was still in the UK
and may have been in the process of ap-
plying to come to the US. Urban Rede-
velopment movements were taking place
during that time. Charles Centre in Bal-
timore was already under construction
and its master plan was a breakthrough
in terms of inancing, land acquisition,
38 landscape
47 | 2016
master planning and urban design and its
eventual implementation processes. We
had visited the University of Pennsylva-
nia (UPenn) and saw the construction
of the iconic towers of Medical Sciences
designed by Louis Kahn.
One day there, we visited the Landscape
Department which was under the chair-
manship of Ian McHarg. I remember
that evening very vividly. During that
same evening, we students from Harvard
had a joint session with the UPenn LA
students with McHarg speaking on his
research and theories regarding ecology
and environment as the new force for the
profession of landscape architecture as it
spearheads towards regional landscape
and planning issues. He explained why it
was necessary to preserve and conserve
natural environment starting from a
regional level down to the city and local
level for a healthy and wholesome future
for mankind. He also tried to explain
how the world could be a beter place
and how even the moon could be tamed
through such an approach. We were kind
of dumb-struck because we had never
heard that kind of talk before. We, at
Harvard, were mainly concerned with
the design of urban landscapes and the
role various hard and sot landscape ele-
ments could play in the shaping of urban
spaces, parks and gardens, institutions
and residential landscapes.
We were witnessing large scale urban
redevelopment of various American
cities such as Boston, Philadelphia and
Baltimore, and in terms of new cities,
several developing countries were in
the process of building new capital cit-
ies Chandigarh in India; Islamabad
in Pakistan and Brasilia in Brazil; New
Town of Milton Keynes in the UK. I
remember visiting Chandigarh during
my years at the School of Architecture
in early ities. Le Corbusier, the great
French architect was its Master Plan-
ner and our visionary Pundit Nehru,
on behalf of an Independent India, his
patron and client. During the same
period Bhakhra Nangal Dam was also
being built to generate hydro power
for the existing towns with burgeoning
population and new urban habitats being
built in North India. Nehru aptly termed
projects of such magnitude as the New
Temples of a Modern India.
Through our Dean at the Harvard
GSD, Jose Louis Sert, himself a great
architect and urban designer (originally
from Spain) was a keen admirer of Le
Corbusier and had inluenced the Uni-
versity, in bringing Corbusier to design
the Visual Arts Center building related
to the GSD. It is now an iconic building
form over a campus priding itself in its
three hundred year old history where
most of its buildings are mainly in brick
much covered with Boston Ivy. Several
buildings had been designed by well-
known architects like Eliel Saarinen early
1900s. Corbusier, never a traditional-
ist, designed the building in concrete
and glass and as a sculptural form
landmarka departure from anything
traditional on the campus. During one
of his visits to our GSD, a reception was
held for him to interact with the faculty
and the students in Robinson Hall, our
GSD building then. I remember meeting
him and shaking hands with him without
realizing that the man, posthumously,
was to be declared Architect of the 20th
century within a few decades.

Over in Philadelphia, Ian McHarg was in
the process of his research and theories
on enlarging the scope of the landscape
architecture profession through analyz-
ing and planning regional landscapes,
their environmental and ecological
considerations to enable sustainable
urban development over large areas.
hus, the landscape profession was in
a process of progressing from design of
gardens and topiary back in the 1800s to
a one of landscape architecture through
the eforts and works of Frederick Law
Olmsted during early 1900s, to now
with infusions from McHarg to a scope
in regional landscape planning with the
publication of Design with Nature in
1969 authored by him with major inputs
from Narendra Juneja as McHargs right
hand man. It was a groundbreaking
publication.
Harvard was the first University in
the world that started a Department
of Landscape Architecture (1900s)
through the inspiration and effort of
Frederick Law Olmsted (creator of the
famous Central Park in Manhattan,
New York) and Boston Common; irst
to start a Department of Urban & Re-
gional Planning (1930s); and the irst
to start a Department of Urban Design
(1961). Department of Architecture
had already existed and was functioning
since 1800s. Urban Design was started
through the efforts of the dean Jose
Luis Sert, Walter Gropius, the retiring
Dean and Jacqueline Tyrwhitt who
was the right hand person of the great
planner Dr C A Doxiadis for the Ekistics
Magazine (devoted to planning of cities
and design) published from Athens,
Greece. Doxiadis was a contemporary
of Corbusier. He was the Master Plan-
India pavilion at the Montreal Expo 67 by Mansinh M Rana. Photo courtesy: Mansinh M Rana
ner for Islamabad, the New Capital for
the newly created and independent
Pakistan. Like Landscape Architecture
program, starting of the Urban Design
program in 1961 was also a irst.
The 60s..
Narendra had joined UPenn in early
60s, for his graduation in Landscape
Architecture under the great
environmentalist Ian McHarg, then the
Departments Chairman. He must have
graduated in 1964 or 1965 and had
joined McHargs oice.
In 1963, I had joined Harvard again for
a one-year Masters program in Urban
Design and soon ater graduation in
1964, I migrated to Canada having
been sponsored for immigration by
Macklin Hancock, President of a well-
known and a large interdisciplinary
irm Project Planning Associates Ltd.
(PPAL) in Toronto to work as an
urban designerlandscape architect.
My irst assignment through the irm
remembrance |
was the Montreal World Expo 67, a
huge undertaking by the Canadian
Government to celebrate Canadas two
hundred years of becoming a dominion
having its own government.
Montreal Expo 67 was to be a
mammoth project to open in June, 1967.
At that time Narendra and Ravindra
Bhan were both in Philadelphia. I was
irst based in Toronto and later moved
to Montreal to be Project Designer
on behalf of PPAL to carry out
assignments related to the planning and
design of most public and semi-public
areas of the exhibition grounds and
the coordination of external site work
for various pavilions from participant
countries and their architects. It was
then that I met M M Rana in Montreal
when he was designing the India
Pavilion for the Expo.
hereater, I was involved as an urban
designer and landscape architect on
various large scale projects in Canada
such as the Urban Renewal of East
landscape 39
47 | 2016
remembrance |
Calgary, Alberta; Meadovale New
Town in Mississauga, Ontario; Glen
Abbey New Community Planning and
Design in town of Oakville, Ontario;
and Neighbourhood Improvement
Programs (NIP) for various
municipalities in Ontario.
Narendra and Ravi (Ravindra Bhan)
by now were both working at McHargs
oice. Oten, we would keep in touch
with each other socially. During the
late sixties, Narendra and Ravi from
Philadelhia, Sewa from Detriot and
Mohinder from New York would all
come to Montreal to visit us, myself
and Romesh Khosla and our families
in Montreal. At other times we would
all visit Philadelphia (Narendra and
Ravi) or New York (Mohinder) and
sometimes assemble in Birmingham
near Detroit, Michigan (Sewa Barmi).
We would have picnics, sometimes
preparing food, pitching in, Narendras
appetizers used to stand out as they
were prepared with such inesse.
By the late sixties (1969), Ravi had
returned to India. Narendra had to go
through a heart bypass surgery. Ater a
few months, he was up and running and
playing his usual lead role on projects
and studies at McHargs oice along
with occasional teaching of landscape
studio at UPenn. Narendra never
married.
In 1977-78, McHargs oice in
Philadelphia had got a project in
Toronto for its large island in the
Lake Ontario connected by a road-
40 landscape
47 | 2016
pedestrian bridge across the waterway
to the Eastern part of the City of
Toronto. he irm was entrusted with
the responsibility of doing an extensive
ecological and environmental study
of the island. Narendra, who was
working with McHarg as an associate
partner was entrusted with job as a
Project Leader. I was based in Toronto
then having my own newly started
practice under UDEP Ltd. (Urban
Development and Enviro Planning).
So we would meet very regularly.
Even ater his heart bypass surgery,
Narendra had remained quite intense
in his work. He used to oten travel to
the project sites, collating scientiic
data on climate, geology and soils,
geography, sub-surface and ground
water, vegetation, natural heritage and
existing social and physical conditions
and features etc. from various sources
including specialist consultants
engaged on the projects. He produced
an excellent report on the Island Project
for the Metro Toronto. I last met him in
beginning 1979 in Toronto.
Late 70s
I was in the process of moving to Saudi
Arabia as I was on a short assignment
to work in Cambridge, MA with a local
architect consultant on site planning
and landscape design of the irst
neighbourhood of a New Industrial
City of Jubail on the eastern coast in
Saudi Arabia on the Arabian Gulf. he
overall Master Plan was prepared by
Walter Gropius irm he Architects
Collaborative, Cambridge, MA (TAC)
and overall project and construction
management was under the Bechtel
Corporation from California, USA.
Local Saudi ArchitectsConsultants
were to be the project managers
(planning and design) on a Gulf
Marina project (with a program for 900
boats of a mix of sizes, Marina Club and
all ancillary buildings and land/water
related facilities) located adjunct to the
irst neighbourhood of Jubail.
Narendra in Tehran and back
Mid 1979, Narendra, on behalf of
McHargs oice was in Iran for a Master
Plan of a large Zoo Project which was
to involve a thorough ecological and
environmental study of a much larger
area in and around the site. It was the
time of Iranian revolution. here was a
huge turmoil and bloodshed and anger
against not only against the Shah of
Iran, but also his supporter, the USA.
hrough this violent revolution, Shahs
regime was overthrown, and most
Westerners, particularly the Americans
bore the brunt. All Americans in
the country were being air-lited in
emergency. Narendra, too had to
abandon the zoo project.
Ater that, he most likely would have
worked on assignments from McHargs
oice as well as teaching occasionally at
UPenn. I was back in Toronto in 1981
ater a year and half in Jeddah, Saudi
Arabia. We inished the Gulf Marina
project from its schematic design,
detailed design to working drawings
and contract documents.

In June, 1981, while in Toronto, I was
asked to be part of a design team as a
Senior Urban Designer member of
the Toronto based CCCL (Campus
Consortium Consultants Ltd.) for
preparing a Master Plan for the King
Abdulaziz University (KAU, 650 Ha.)
in Jeddah. Having spent a year with
the team, composed of the three well-
known Canadian Architects- Zarafa,
Erickson and Hancock, I joined the
University in Jeddah in the Landscape
and Urban Design Department, School
of Environmental Design (SED), King
Abdul Aziz University. From 1982
onwards till 1996, I remained at the
University teaching and having a few
consultancy jobs within the then under
construction KAU Campus.
During this period, I was able to carry
out a 200-page applied research on
Central Urban Spaces Downtown
Jeddah; won a National competition on
artworks project involving sculptural
arches in a landscape seting within
a kilometer long and 30 meter wide
median strip of the main access road to
the newly built King Fahd International
Airport (KFIA) in Dhahran, Eastern
Saudi Arabia; and, Planning and design
of a new community of OBhor near
the OBhor Creek, West of Jeddah
along the Red Sea Coast.
1984
Narendra has passed away
In 1984, I was in my second year of
teaching at the KAU that I heard the
sad news from McHargs oice that
A gold medal in Narendra Junejas name is conferred to the best student at the Department of
Landscape Architecture at School of Planning and Architecture, New Delhi each year.
Photo courtesy: Manjusha Ukidve Anand, Gold Medalist, 1996
Narendra had passed away. He had
sufered another massive heart atack.
At such a young age (below 50), I had
lost my friend and batch mate who had
contributed so much to the profession
of Landscape Architecture through
his unwavering stamina and capability
in understanding the uncharted
dimensions of the natural and physical
environment and bring forth his
indings and recommendations as
guide for any new large or small urban
development.
Back to India
Ater fourteen years of teaching at
the KAU, I inally made a move back
to my own country India and setled
down in Chandigarh. I taught at
Chandigarh College of Architecture
for seven years. I was also involved in
planning and landscape design of a
much widened corridor in Anandpur
Sahib. he design scope consisted of
designing the central area connecting
the two historical gurudwaras and the
remembrance |
access from the main road at a T-Point
up a steep slope on 300 meters length
to the entrance gate of the Gurdwara
Keshgarh Sahib. With an average
width of the corridor being about
30 meters, it provided a challenging
design opportunity to accommodate
the clients requirements and create
visually interesting walk between
the two gurudwaras by thousands of
pilgrims who were expected during
the tercentenary celebrations on the
baisakhi day in 1999 on the occasion
of the birth of Khalsa panth by Guru
Govind Singh at that location.
I moved to Gurgaon in 2004 and
started teaching as a visiting faculty
at the Sushant School of Art and
Architecture, under Ram Sharma as the
newly appointed Director with MM
Rana as an Emeritus Dean still active
and visiting twice a week for design
studio. Finally, I called it quits about
two years back.
landscape 41
47 | 2016
 cities |
CITIES
he steady pace of global popula-
T tion growth is corresponding to
migration towards urban areas,
leading experts to predict that the worlds
urban population will double by 2050. In
India, the urban population is currently
31 per cent of the total global popula-
tion and contributes over 60 per cent to
the GDP of the country. he cities are
referred to as the drivers of economic
growth. It is expected that three-fourths
of Indians will live in cities by 2030.
With its urban population set to rise by
more than 400 million to 814 million by
2050, India faces the kind of mass urban-
ization witnessed in China. Many of its
cities are already bursting at the seams.
he new Government has initiated an
urban development programme of trans-
forming existing Indian cities into 100
Smart Cities by 2022 to accommodate
rapid urbanization in which cities must
be equipped with a coping mechanism
to manage inlux from rural areas, in-
42 landscape
47 | 2016
crease productivity and eiciency, re-
duce strain on resources and improve
the quality of life. In short, cities must
become smart. Technology has a
major role to play in this new endeav-
our of the present Government. It is
proposed to help maximize utilization
of resources by leveraging data col-
lected from sensors, controls and real
time data analytics, so to be used to
improve key segments like buildings,
utilities, healthcare, governance, trans-
portation and education.
According to the Smart Cities website
of the Ministry of Urban Develop-
ment, Government of India the Smart
Cities should be able to provide good
inrastructure such as water, Sanitation,
reliable utility services, health care; at-
tract investments; transparent processes
that make it easy to run commercial ac-
tivities; simple and online processes for
obtaining approvals.
Smart Cities Council India that has
been formed to promote development
of Smart Cities in the country, is part of
the US-based Smart Cities Council, a
consortium of smart city practitioners
and experts, with over a hundred mem-
bers and advisor organizations operat-
ing in over 140 countries. he mission
of building one hundred Smart Cities
intends to promote adoption of smart
solutions for eicient use of available
resources and infrastructure with the
objective of enhancing the quality of
urban life and providing a clean and
sustainable environment.
he Union Government plans to spend
a staggering `48,000 crore on creating
these Smart Cities over the next ive
years. For now, Gujarat International
Finance Tec-City (GIFT), is being
launched as the irst such model city.
 cities |

Benchmarks for Smart Cities

Transport
Maximum travel time of 30 minutes
in small and medium size cities and
45 minutes in metropolitan areas.
Dedicated bicycle tracks with a width of
2 meters or more, one in each direction,
should be provided on all streets with
carriageway larger than 10 meters (not
ORW).
High quality and high frequency
mass transport within 800 meters
(10-15minute walking distance) of all
residences in areas over 175 persons /
ha of built area.
Access to para-transit within 300,
walking distance.
Electricity
100% households have electricity connection.
24x7 supply of electricity.
100% metering of electricity supply.
100% recovery of cost.
Tarif slabs that work towards minimizing waste.
Health Care Facilities
Availability of telemedicine facilities to 100% residents.
30 minutes emergency response time.
1 dispensary for every 15,000 residents.
Nursing homes, Child, Welfare and Maternity centre
25 to 30 beds per lack population.
Intermediate Hospital (Category B)
80 beds per lakh population.
Intermediate Hospital (Category A)
200 beds per lakh population.
Multi-Speciality Hospital 200 beds per lakh population.
General Hospital 500 beds per lakh population.

Greater Mumbai, Thane, Kalyan-Dombivali, Navi Mumbai, Nashik, Amravati, Solapur, Nagpur, Pune, Aurangabad, New Town
Kolkata, Bidhannagar, Durgapur, Haldia, Gandhinagar, Ahmedabad, Surat, Vadodara, Rajkot, Dahod, Bhopal, Indore, Gwalior,
Jabalpur, Satna, Ujjain, Sagar, Madurai, Tiruchirapalli, Chennai, Tiruppur, Coimbatore, Vellore, Salem, Erode, Thanjavur, Tirunelveli,
Dindigul, Thoothukudi, Belgaum, Shimoga, Hubli-Dharwad, Tumkur, Davangere, Kochi, Greater Hyderabad, Greater Warangal,
Vishakhapatnam, Tirupati, Kakinada, Belagavi, Moradabad, Aligarh, Saharanpur, Bareilly, Jhansi, Kanpur, Allahabad, Lucknow,
Varanasi, Ghaziabad, Agra, Jaipur, Udaipur, Kota, Ajmer, Ludhiana, Jalandhar, Amritsar, Muzaffarpur, Bhagalpur, Biharsharif, Karnal,
Faridabad, Guwahati, Bhubaneshwar, Rourkela, Dharamshala, Dehradun, Ranchi, Namchi, Imphal, Port Blair, Pasighat, Chandigarh,
Raipur, Bilaspur, Silvassa, Diu, Delhi (NDMC), Panaji, Kavarrati, Shillong, Aizawl, Kohima, Oulgaret, Agartala

Names in red denote cities designated under phase-1 of the Smart Cities Mission.
 cities |
Spatial Planning
95% of residences should have daily
needs such as retail, parks, primary
schools and recreational areas accessible
within 400m walking distance.
95% residences should have access
to employment and public and
institutional services by public transport
or bicycle or walk.
Pre Primary to
Secondary Education
Pre Primary/Nursery School for every
2,500 residents.
Primary School (class to V) for every
5,000 residents.
Senior Secondary School (Class VI to
XII) per lakh of population.
Higher Education
College per 1.25 lakh population.
Technical education centre per 10 lakh
population.
Engineering college per 10 lakh
population.
Medical college per 10 lakh population.
Other professional college per 10 lakh
population.
Paramedical institute per 10 lakh
population.
The feature is based on information referred from the article Transforming Cities, Transforming India in
Indian Perspectives, July-August, 2015, a Ministry of External Affairs publication.
44 landscape
47 | 2016
Water Supply 100% eiciency in the collection and
treatment of waste water.
24x7 supply of water.
100% eiciency in the collection of
100% household with direct water
sewerage network.
supply connections.
135 Liters of per capita supply of water.
100% metering of water connections. Telephone Connections
100% households have a telephone
Storm Water Drainage connection including mobiles.
100% coverage of road network with
storm water drainage network. Wi-Fi Connectivity
Aggregate number of incidents of
100% wi-i connectivity.
water logging reported in a year = zero.
100 Mbps internet speed.
100% rainwater harvesting.
Fire Fighting
Solid Waste Management
1 ire station per 2 lakh population /
100% households are covered by daily
5-7 km radium.
doorstep collection system.
1 sub-ire station with 3-4 km radius.
100 % collection of municipal solid
waste.
100% recycling of solid waste. Others
Use of renewable energy in all sectors.
Sewerage and Sanitation Rootop solar panels on all public,
institutional and commercial buildings
100% households should have access
as well as multistoreyed residential
to toilets.
housing.
100% schools should have separate
Adherence to green building norms.
toilets for girls.
100% households should be connected
to waste water network.
 cities |

TENDER

SURE
SPECIFICATIONS FOR URBAN ROADS EXECUTION
I N C O N V E R S AT I O N W I T H S WAT H I R A M A N AT H A N
JA N A U R B A N S PA C E F O U N D AT I O N , B A N G A LO R E

Swati Ramanathan is the co-founder of Jana Group and

chairperson of Jana Urban Space (Jana USP), a professional services
social enterprise, delivering transformational work on the spatial
dimension of cities. Jana Urban SpaceLVDQRWIRUSURWHQWLW\DSDUW
of a clutch of purpose-driven organizations under the umbrella of Jana
Group. Jana USP has four inter-disciplinary studios Urban Planning
Studio; Urban Design Studio; Spatial Mapping and Analytics Studio;
and Architecture and Design Studio. Its Policy Division engages with
policy reforms across studios with a view towards scale and replication
of proof of concepts on the ground.

landscape 45
47 | 2016
cities |
look back in history of Indias
A urban settlements shows that
traditional paterns of road net-
works responded to the use of that time-
roads and lanes were used as networks
for localized movement, community
interaction, and thriving markets. hese
patterns created compact city forms
and mixed-use neighbourhoods where
work and home were closely located.
With the advent of automobiles and
the far-lung growth of the major cit-
ies, these paterns have been replaced
with an equally far-lung and haphazard
road network. Walking and cycling as a
means of mobility, have been sidelined
at an alarming rate. Aspirations of an
economically-empowered middle class
and the failure to provide public trans-
port alternatives have further worsened
the situation.
Our city roads are not planned in a clear,
networked hierarchy of connectivity.
hey are not planned to integrate public
transport networks: local buses, city
buses, rail, and mass rapid transit. hese
do not provide a continuous network of
pedestrian and cycling pathways, thereby
ignoring the mobility needs of above 30%
of the population. heses are constantly
under assault by multiple agencies with
no planning or coordination between
each other. Network utilities beneath
and above the roads drains, telecom
lines, power lines, sewage, water, electric
poles, transformers are haphazardly
laid, resulting in a sense of chaos and
unusability of much of the road and
footpaths. hese have a poor life cycle,
with inadequate quality assurance on
execution, and maintenance.
Secondly, the manuals for roads cur-
rently referred to in India mainly per-
tain to highways and rural roads. he
MoRTH standardized the procedure
and process for building a road and
published the Speciications for Road
and Bridge Works in 1973 that were
revised thrice. he latest edition is in
the year 2001. his is based on a system
of road classification, building and
maintenance, from a time when India
was predominantly rural in nature. he
Indian Road Congress (IRC) has pub-
lished a set of guidelines for roads, but
these too do not adequately address the
requirements for building and managing
the urban road network. he reality is
that urban roads have been neglected
thus far. No speciic standards have been
devised for building, space allocation, or
a hierarchical classiication. In contrast
 cities |

to rural areas, urban areas have a higher Set of Manuals for Tender S.U.R.E works
;TQZRJ7JKJWJSHJKTWIJXNLSXYFSIFWIXFSIXUJHNHFYNTSX
density of population and street and Volume II Template of a typical Contractor Agreement
highway networks and visitors. he ex-
isting guidelines and road speciication
primarily focus on national and state
highways, major district roads and vil-
lage roads. Field-planners, engineers and
contractors adopt these standards while
implementing urban road projects, but
interpret them subjectively with great
variation and inconsistency.

How India copes with urbanization will

ultimately be about the details. So, there
is a dire need to look at urban roads
with a fresh perspective of making them
eicient, and functional, aesthetically
pleasant and live urban elements. Roads
are also the stage where the tableau of
urban society can share space equitably
pedestrians, cyclists, hawkers, buses,
motorists.

Tender S.U.R.E. (Speciication for Urban

Road Execution) is a set of standards for
road design that not only provides for a
more equitable allocation of the right
of way and an orderly system of path-
ways for laying underground services,
but also lays out guidelines for proper
maintenance and upkeep so that any
improvements undertaken would have
a lasting impact on citizens quality of
life. It intends to streamline the road
elements with its working to provide a
smooth low for pedestrians and cyclists,
while enhancing the experience of the
streets with landscaping, kerb drops,
allocations for street vending, paving,
etc. Under the endeavour, we are looking
at urban roads of Bangalore with fresh
eyes with technical expertise to conceive
proposals to redesign them, integrating
them with the existing conditions and
addressing the present needs of the
urban neighbourhood areas.

landscape 47
47 | 2016
 cities |
Core design team
he design of the roads, especially in
an urban realm is a complex process.
You have a multiple set of underground
services and overground elements like
surface drainage, sewer lines, telecom-
munication lines, outdoor lighting,
street furniture, that also located in a
live city with existing running roads,
which makes the situation more critical.
You need a multidisciplinary team of
consultants to address these problems.
I myself hold a Masters degree from
Prat Institute of Design, New York ater
working for many years in architecture
and design in US and UK. We have
architects, urban designers and urban
planners in our team. Initially, we took
the help of horticulturist and people
with knowledge of plants but later on we
did planting of the roads on our own as
it was fairly simple and for small areas.
We would like to state here that we are
not reinventing the wheel after all,
world-over governments are managing
to build good roads in their cities. We
have studied all the documents we could
lay our hands on, visited road engineer-
ing and transport departments of other
countries and adapted these to our local
context and needs, with deliberate intent
to use our own existing templates and
standards where possible.
Design and getting started
The two elements in planning road
networks for new extension are mobil-
ity and access. A clear network of roads
that provides easy access between places
must accompany a clear hierarchy of
48 landscape
47 | 2016
roads for mobility. Such a network re-
duces the distances to travel and gives
incentive to walking and cycling in
neighbourhoods over motor vehicles.
The third element that impacts both
existing and new parts of the city, is the
standardized specifications for urban
roads in the network. Urban roads
across the city are rendered ineicient
due to uneven right-of ways, frequent
intersections on major thorough-fares,
unchecked parking, encroachment, etc.
causing traic botle-necks and delays.
Hence standardization of speciications
for road design is the third critical ele-
ment. herefore, we have developed a
detailed document Volume I is a refer-
ence for design standards and speciica-
tions and Volume II is a template of a
typical Contractor Agreement. I would
like to state that the Contractors Agree-
ment is a unique document in the sense
that it is a uniied single contract docu-
ment which means that all sub contracts
Telecommunication cables, electricity
lines, water supply lines, civil works and
others are being headed by a single
contractor. So he is the main person who
is accountable to the authorities.
In determining planning standards and
execution speciications, the irst step
is to deine the hierarchy of the road
network that will determine its required
usage. he hierarchy used is based on
principles of planning and efficient
land-use for creating an optimal con-
nectivity. his can be modiied based
on the carrying capacity appropriate
for the density of the city. he result-
ing network of streets integrates public
transport, non-motorized transport
and private transport. Urban roads are
broadly organized into ive categories
Arterial, Sub-arterial, Collector, Local
and Sub-local. Once the hierarchy and
use is deined, planning and designing
for the range of R-o-Ws (right-of ways)
becomes much more eicient and easy.
he collector road is central for both
mobility and access, linking individual
neighbourhoods to the larger network of
mobility in the city, while providing the
access to the lower order roads that pro-
vide access within the neighbourhood.
The six key design priorities are pe-
destrians; cyclists; public transport;
parking; and traic calming measures.
For example, pedestrian and cyclists
are prioritized on the higher order
roads namely arterial, sub-arterial, and
collector. Parking is restricted on higher
order roads, but may be provided for on
judiciously on collector and residential
streets within the neighbourhood to
facilitate residents and provide restricted
parking to visitors. While maintain traf-
ic low is essential in the arterial and
sub-arterial networks of the city, traic
calming measures are an essential feature
for safety in neighbourhoods and are
indicated for collector and local streets.
Every streetscape has its own character.
Till now we have restricted our scope of
work and thinking from footpath to foot-
path. But yes, we have tried to respond to
the surrounding buildings like creating
adequate pavements in front of schools
and reducing traic bays there, creating
parking bays near shopping areas, seat-
ing spaces near historical monuments
and all.
Based on our core idea and studies, we
presented a proposal of a road (around

St. Marks Road, Bangalore
Before and after design interventions
800 meters) to the Chairman of Prestige
Group that was leading to one of its
newly developed residential property in
Bangalore. Convinced with the design
ideas, he decided to go ahead with its
implementation. That set the tone for
the entire process. So, inally State Gov-
ernment decided to allocate few roads
to us, all less than 1 kilometer in length.
One can say that its a piece meal work
with few selected roads till now. he St.
Marks Road stretch is among the seven
other roads being improved and upgraded
by the Bruhat Bangalore Mahanagara Pa-
like (BBMP) under the Tender S.U.R.E
project. he St Marks Road and Vital
Mallya Hospital Road, developed under
the Phase 1 of Tender S.U.R.E, were
thrown open to the public in June 2015.
Now, ity roads will be developed under
Tender S.U.R.E in the future.
Landscape pause points and street furniture
It has been very diicult to integrate the
new proposals with existing schemes,
especially underground sections of
drainage etc. here are multiple agencies
involved. One of the main scopes of our
works has been coordinating with all
these agencies and bringing them on a
common table for unanimous decisions
on multiple issues. It requires a lot of
patience and perseverance. But looking
at the success of the already executed
design models for existing roads, it is
increasingly catching up with other ar-
eas. We have been now geting enquiries
from local councillors and politicians to
take up roads in their constituencies as
well. Gradually, it will be part of a larger
system.
Photographs courtesy Tender S.U.R.E. and Deekshitha Kaushik
cities |
Redevelopment of
St. Marks Road, Bangalore
St. Marks Road, named after St. Marks
Cathedral, the oldest Anglican Church in
Bangalore, is a landmark street of the city. The
0.9 km road is part of the urban core, linking
MG Road at Anil Kumble circle in the north and
Residency road at Cash Pharmacy junction in the
South. It was a vehicular travel collector road
of varying widths, discontinuous footpaths and
unorganized parking that has created a chaotic
XNYZFYNTSKTWUJTUQJFSIYWFH9MJWJIJXNLSJI
section proposed a uniform vehicular travel lane
YMFYFQQT\XKTWHTSYNSZTZXYWFHRT[JRJSY
with designated on street parking. The proposal
ensures that there is a 2 meter wide designated
cycle track and footpaths along the entire
stretch of the road, landscaped pause points,
street furniture, a bus bay and strategically
placed ancillary amenities.
landscape 49
47 | 2016
 cities |

INDIAN
URBANISM
HERE
Photo credits: K T Ravindran from http://photodivision.gov.in | Mohan Rao by Rahul Paul
NOW
AND

In conversation with K T Ravindran, urban

designer and Mohan Rao, landscape architect
about present day modes of urbanization in a
democracy and related aspects of environment.

50 landscape
47 | 2016

Q&A
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DVLWLVKDSSHQLQJLQWKLVGHFDGH"
KT: In his irst speech as Prime Minister, Dr Manmohan Singh
on15th August 2004, declared that urbanization will one of
the seven pillars of Indian economy in the years to come. hat
was the irst time when the idea of City really got a thrust in
terms of a signiicant role in Indian economy. Of course, the
basis remained of that of the National Urbanization Commis-
sion report by Charles Correa that came in 1998. Subsequently
came JNNURM, which was a part success. Urban renewals as
intended by the scheme didnt take place due to many reasons.
Despite huge amount of money being pumped in, the capacity
building of local municipalities in terms of technical expertise,
bringing reforms, evolving participatory methods were not
developed. here was no atempt to change the Planning depart-
ments, which are working in their traditional planning mode.
here was no atempt to bring in Urban Design and Landscape
Design disciplines in the development process. here was no
atempt to equip the local governing bodies to tackle these huge
challenges of infrastructure and growth in the implementation
stage. he agencies hired consultants. DPRs were made. he
whole process was too much bureaucratized. So inally, neither
the money was spent nor got the projects implemented. In a city
like Delhi, where one has a very close working relationship with
DDA, it didnt make a diference. Leave aside smaller towns.
cities |
he good things was that JNNURM insisted on 74th Constitu-
tional Amendment where a democratic and participatory mode
of decision making, funding and implementation of all public
development related works is called for. It ensured that a consist-
ent mechanism for planning and decentralization across urban
local governments is in place with active citizens participation
with time bound projects. he municipalities were unable to
work under these conditions. So the conditions were waived.
he projects never took of on the implementation level.
he new government has made some improvements on how the
administrative and delivery structures can be revamped. Herit-
age Cities now is a separate component HRIDAY. he real
challenge will come when the projects get into implementation
stage, when the process starts challenging the local bodies. We
need more structured review of delivery mechanism. Now SPVs
(Special Purpose Vehicles) have replaced 74th Amendment,
which is a corporate mode rather than democratic mode. It lies
outside the democratic frameworks. here is still no up gradation
of local bodies in terms of capacity building.
landscape 51
47 | 2016
 cities |

the unique feature of this stage of urbanization is that we have two

contesting methods of urbanization. one is of large investments
supported by huge bank loans, multinational projects, mega
developments, infrastructure planning, it parks, business corridors,
where the texture of development, hence money, is big. on the another
side, we have grassroots urbanization... reclaiming public space, big
move to fight automobile industry, reclaim roads for pedestrians, larger
concerns of climate change and pollution awareness.
KT

We need to ind answers to the kind of inertia in our own sys-
tems. It has to play itself out in the whole process. It is a big op-
portunity for India to evolve new methods of implementation,
which are rooted in democracy. We need to create deliverable
projects.
he unique feature of this stage of urbanization is that we have
two contesting methods of urbanization. One is of large invest-
ments supported by huge bank loans, multinational projects,
mega developments, infrastructure planning, IT parks, Business
corridors, where the texture of development, hence money, is
big. We have exclusive domains, gated and a kind of public space
which is inaccessible to a larger mass. On the another side, we
have grassroots urbanization of parties like Aam Aadmi, reclaim-
ing public space, big move to ight automobile industry, reclaim
roads for pedestrians, larger concerns of climate change and
pollution awareness. he characteristics of the urbanization will
be deined by how these two major forces negotiate each other.
hey cant do without each other. hey need to work at tandem.
Both are contesting the same public space. Till date, it has not
become the main part of the discourse. Not much research has
been done in this area. here is no knowledge creation, no design
process in which we can convert the knowledge in practice. We
need to recognize this negotiation, analysis it, understand it
and then put it to use. he political force has to negotiate that
contest. It is the most important and unique feature. In recent
times, it has become evident. We all have been writing about
public space, pollution since the 80s, but nobody is confronted
this in discourse or in practice.
So, the economic forces and the democracy need to work in
tandem with each other.
MR: Certainly. We are at a critical stage in the urbanization
process in India. A combination of factors increased social
and economic mobility has meant an unprecedented rate of
urbanization. More Indians are living in urban areas than at
any other point in our history. Studies clearly forecast a drastic
increase in the trend.
he most unique challenge we face amongst several others is
the fact that, unlike most other countries that have dealt with
this challenge in the past, our urbanization is almost exclusively
compounded on existing towns and cities. Many of these have
a rich historical past and are being overlaid with demands they
are simply not equipped to deal with. his holds true not only
from infrastructural and inancial capacities but also from spatial
and ecological point of view.

52 landscape
47 | 2016
 cities |

traditional knowledge systems are neither well documented nor

appreciated as having anything of value to offer. other than a few
exceptional cases, much of traditional systems understanding is limited
to buildings and monuments. to create models of habitation in positive
sympathy with the past, it is essential to first acknowledge such value
systems. the resilience of old towns and cities, conceived and built in
sync with natural systems, needs a careful and nuanced understanding.
MR

In the all rush and speed, can we carry forward traditional values and systems and address the
HPHUJLQJUHVRXUFHDQGFXOWXUDOFKDOOHQJHVWRFUHDWHPRGHOVRILQKDELWDWLRQWKDWKDYHDIQLW\
ZLWKRXUSDVWDQGSUHVHQWDVSLUDWLRQV"+RZ"

KT: his is a very complex question. In practice, you can actually
make this happen. We need to develop that overriding concern
about our present. Everything exists in present - heritage and
cultural networks of cities. he moment you talk about past, it is
viewed as anti development. Past is present in present. We need
to develop the right kind of sensibilities about present. Culture is
not static thing. It is continuously changing. Do we have a inger
on the pulse of the people about how they change? No. So past is
no diferent. At the same time, how can you discount the beauty
of the past? We have been not able to create many beautiful
things in present. So we look at past. We have not been able to
stay honest to our present. he question is how sensitive are we
to our present? How well we understand the actual present? Of
course in the process are embedded many memories and our
potential. We need to negotiate this idea of past, present and
future by our actions. It has nothing to do with time.
MR: his is certainly desirable but far from actualization. Tra-
ditional knowledge systems are neither well documented nor
appreciated as having anything of value to ofer. Other than a few
exceptional cases, much of traditional systems understanding is
limited to buildings and monuments. It is an altogether diferent
challenge to balance aspirational values too.
To create models of habitation in positive sympathy with the
past, it is essential to irst acknowledge such a value system. he
resilience of old towns and cities, conceived and built in sync
with natural systems, needs a careful and nuanced understand-
ing. Present day models of development that value speed and
quantity over quality simply does not allow for such interven-
tions. Each intervention needs to be not only culture speciic
but more importantly respond to the speciicities of the bio-
geo-region they are situated in. Lacking that, any atempt will
merely be seen as window dressing, a tourist version of heritage.

landscape 53
47 | 2016
 cities |

...not so much a contradiction as a paradigm shift in how we define our

environments. while Correas understanding of and the way forward for
our cities is certainly sensitive and appropriate, it was driven by specific
lenses of sufficiency, equity and justice. the same, however, cannot be said
of the emergent idea of smart cites where each is merely an economic
entity, all urban processes reduced to numbers based on efficiency.
MR

In his seminal essay The New Landscape, the late architect Charles Correa described Indias
FLWLHVDVPHFKDQLVPVIRUVRFLDOHQJLQHHULQJ7KHUHFHQW60$57&,7,(6GRFXPHQWGHQHVWKHP
DVHFRQRPLFJHQHUDWRUV"'R\RXVHHDFRQWUDGLFWLRQKHUH"

KT: hese are two completely diferent notions. Social engineer-
ing is what modernism of 40s-50s was all about. It has gone
completely wrong. I dont subscribe to the idea. It is fascist, top
down thinking. Societies change by activities of people, not be
designers. hey cannot change by manipulation tactics. his
notion sought to engineer society. Designers of modernism
believed that they can alter the peoples lifestyles, their thinking,
their habits so the cities.
he cities as economic generators are another problematic no-
tion. In Charles Correa commitee report, cities are referred as
Generators of Economic Momentum GEMs. It is the atitude
of looking at cities from the perspectives of bankers, planners
and investors. I dont think we should look at cities with mecha-
nized views. hey are much more complex and nuanced. hese
all are catch phrases that become bandwagon through which
the bankers, who are obsession with GDP come to play. In this
process, environment is the irst victim. We need a diferent im-
agination to look at our cities. Cities are great places of economic
growth. So are rural areas, which are so fundamental to survival.
So these terminologies need to be seen in a more nuanced way.
Ater modernism, there is a general awareness amongst design-
ers that we are geting devoid and removed from people and
nature. We need new ways to connect with them. So there are
so many writings by them and other experts on new themes
vernacular forms, energy eicient architecture, traditional
practices, community crats and all. here are ways to connect
to the lost world, recapture the lost cities.
Furthermore, the history of growth of landscape architecture
and urban design and conservation points to this direction
more speciically. hese disciplines are fundamentally contrary
to the concept of modernism, which objectiies buildings and
cities. hese disciplines show new ways of looking at a region
land forms, region, people, vegetation and climate. hese
movements have challenged the idea of Modernism. Where
Le Corbusier observed House is a machine for living in, Ian
McHarg, Richard Neutra, Joseph Allen Stein - all questioned
the idea of mechanized world. Now, these professions are being
recognized as qualitative professions, adding value to built form
in many positive ways.
MR: his is not so much a contradiction as a paradigm shit in
how we deine our environments. While Correas understanding
of and the way forward for our cities is certainly sensitive and
appropriate, it was driven by speciic lenses of suiciency, equity
and justice. he same, however, cannot be said of the emergent
idea of Smart Cities where each is merely an economic entity,
all urban processes reduced to numbers based on eiciency.
In the current context, it is actually quite futile to deine a Smart
City, at least I would like to desist from doing so. It is the same
as defining the most antibiotic without understanding the
disease one is ighting. he answer may or may not be right,
depending on ones stand point, but the bigger issue is that the
question itself is wrong. In my opinion, it is a classic case of
fallacious thinking.

54 landscape
47 | 2016
 cities |

there is a bit of village in cities, a bit of city in villages. people value

this association and respect it. if we have more urban agriculture,
gardening on rooftops and other ways of spatial expression of rural
areas in cities, our urbanscapes will be much healthier and happier.
looking at development as purely urban or rural obscures the view of
knowing what is really an indian city or a village.
KT

The word rural is hardly talked about in discourses on Indian urbanization. There is a false
divide in this regard in the minds of Indian intelligentsia. This symbiotic relationship seems to be
totally out of focus and perception in any of our intellectual discourses amongst professionals,
policy makers on urban development.

KT: he idea of urban is deined as not rural. hey are two
mutually inclusive entities. here are many areas in the city
which are inhabitated by villagers. here are many rural related
economic activities which ind their spatial expressions inside
the cities. here is a celebration of urbane and rural happening
simultaneously in the cities. here is a bit of village in cities, a
bit of city in villages. People value this association and respect
it. If we have more urban agriculture, gardening on rootops
and other ways of spatial expression of rural areas in cities,
our urbanscapes will be much healthier and happier. All of the
culture and arts, except for cinema and photography, are being
generated in rural areas. Our music echoes rhymes with sounds
of folklore and songs of rural people. So, looking at development
as purely urban or rural obscures the view of knowing what is
really an Indian city or a village.
MR: I couldnt agree with you more. Citizenshipand the
rights and opportunities it bestows on usis neatly packaged in
neat silos urban, rural, tribal, and so on, efectively destroying
any sense of understanding the intrinsic and symbiotic nature
of the larger organism called society. Even oicial technical
standardssanitation, drinking water, energy, access to health,
educationbelie any sense of equity. Our mainstream pedagogy
continues this divide for every rural development professional,
we probably produce a thousand or more urban professionals.
he clear messages here being that neither are the problems
of the rural serious enough nor do they deserve any atention.
Witness the continuing suicides of desperate farmers for over
two decadesenough to be termed a genocide in any civilized
societyand the atention they are accorded in our institutions
of higher learning.

From the villages a rally at Ramleela Maidan, New Delhi. Photo source: https://commons.wikimedia.org

landscape 55
47 | 2016
 cities |
urbanization is a secondary layer and nature is the primary layer
in any development process. nature and people are two crucial
things. all other things are secondary.
KT
With a holistic view about the growth of Indian democracy in spatial terms, tell us about few
ideas that you would suggest to the Government for trends of urbanization in a developing
country with all their complexities.
KT: First of all, we need to ensure that democracy survives. It
survives as a process of development which is participatory in
terms of planning, connecting the people with the planning and
development process. here will be contesting communities
since we dont have a proper structure. here is a gradual start in
planning circles. Secondly, which is more crucial, is acceptance
of the fact that urbanization is a secondary layer and nature is the
primary layer in any development process. Our perspective will
change drastically. We need to address the way we live. We need
to address the depletion of natural resources as consequences
of our activities, develop more organic way of living. We need
to develop a practical approach of living with nature.
So, nature and people are two crucial things. All other things
are secondary.
MR: he challenges of the urban across the country are as
diverse as our culture is. Each urban setlement has also been
deined by hundreds in some cases thousands of years of
continuous habitation. Rather than a wish list of what to do,
I can easily think of ive points that highlight what not to do.
Do not enforce non-contextual standards / visions across set-
tlements. A combination of economic liberalization, unrealistic
projections and impatient capital has meant random applica-
tion of development visions, aesthetics and performance criteria
with absolutely no regard to the context, needs and challenges
of each city. his is true of both governmental policy as well as
professional design inputs.
Do not atempt to conceive, build and populate cities in
unreasonably short time spans. Cities are built over decades,
56 landscape
47 | 2016
even generations. To fast track the process renders them merely
infrastructural projects, nothing more. A city is not the sum
of its built infrastructure. he process needs to acknowledge
both the diversity as well as the dynamic nature of Indian set-
tlements, without which, we will keep trying to it citizens in
cities rather than the other way round. Failed cities in as diverse
contexts as Spain and China stand in mute testimony to support
this observation.
Do not dissociate cities / setlements from their natural envi-
ronments. he most resilient and liveable cities are a product of
nuanced responses to the larger natural environment. Unless we
recognize the inherent capacities that nature can accommodate,
our cities will become increasingly parasitic and unsustainable.
Do not imagine cities as static entities that can be designed to
function in speciic ways. Technologies of the past three decades
have wrought an immense change in lifestyles, neither acknowl-
edged not captured in our imaginations of future cities. Rather
than second guess these possible changes, it is critical that they
be envisioned to accommodate future opportunities. Our cities
need to be future ready and this needs recasting some very basic
assumptions, which at the moment are considered de facto.
Do not address urban problems as divorced from the re-
gional / rural. Cities as organisms feed on and in turn support
a much larger hinterland. his co-dependence is critical at
social, ecological, economic and cultural levels and as such
needs acknowledgement in the urban visions of urban develop-
ment authorities. Failure to do so will increase the deep divide
between the urban and the rural; it will also render the cities
extremely vulnerable.
 cities |

it is imperative that planning and design professional recognize this

in the very formative parts of the intervention process to create an
effective and beneficial dialogue in the creation of our cities
MR

In the foremost meeting of Progressive Arts Movement in December 1947, just few months
after independence, while discussing its vision, art critic Rashid Hussain declared the necessity
of the artists taking initiative in developing a conscious art patronage among the masses with
deliberate social purpose in their art. What are your views on the suggestion in context of spatial
SURIHVVLRQDOV"

KT: Let us not make any distinction between private and public.
Both can have narrow or broad objectives. he main ques-
tions are Are we generating larger public good? What are we
damaging in the process? If these two questions are answered,
I dont have any moral problem. Designing for the poorest or
richest, is an act of design. Moral problems can be addressed
contextually. hat is for every designer to balance out. I wont
like to preach on that. I feel these mental barriers and contrasts
that we create are not helping us see the real issues. We need
to develop more clarity about ourselves and arrive at a point of
comfort within ourselves.
If one doesnt develop a positive atitude towards design, then
one shouldnt enter it. hat is not a ixed threshold. It is a shit-
ing threshold. Design is for optimists and not for pessimists.
Diferent ways of looking at private and public works is due to
our emotional behaviour, which is embedded in the subjectiv-
ity that we have. I would like to quote an example here. For
the Rajiv Gandhi Memorial project at Sriperumbudur, it was
important for me to be in a positive frame of mind before I start
conceptualizing the design. It was not easy for me to enter it.
Too many toxins were there in the body. It was an important
work which I wanted to do - to deine a nationally signiicant,
symbolically charged project. It took me months. I just read
poetry, philosophy and theoretical physics. he continuous
reading helped me extract the good things about his persona
environmentalist, pilot, a person with a scientiic temper,
photographer, who was trying to cast the nation in a diferent
progressive mode. Some of these things informed the way, our
team developed the programme and set of design principles -
relationship between sky and the monument, conserving natural
ponds, sense of arrival and all.
During my irst visit to the site, there was a natural pond where
there was a beam of sunlight and shimmering water. Suddenly I
saw a frog jumping into it. It created a ripple on the water surface.
And I remembered a Haiku poem writen by Matsuo Basho, a
Japanese writer which ends on the same note. It just covered
the silence of the place and at the same time created a sense of
transparency, which was later very critical to the concept. It is a
very intangible thing. Inspired, I conceptualized the memorial
as an open monument with minimum paved area. I was able to
bring the context of nature to help me deine the order. I had
buried all my buildings but the columns. hey came ater the
idea of light moving in the ripple.
herefore, it is the designer who deines the purpose of the
project. here are many more dimensions to it other than just
physical brief.
MR: Rashid Hussains observation is as relevant today as it
was seventy years ago, if only more critical. Citizens variously
bracketed as users, stakeholders, etc., are critical participants
in the urban process. It is imperative that planning and design
professional recognize this in the very formative parts of the in-
tervention process to create an efective and beneicial dialogue
in the creation of our cities. For too long, users have been seen
as a nuisance who need to be educated in using curated spaces,
rather than designers curating spaces for user needs. his is all
the more relevant in democratic and diverse societies like ours,
where the needs of both, the articulate and the voiceless, need
to be addressed in an equitable manner.

landscape 57
47 | 2016
 cities |

the profession has failed fantastically to engage with social,

economic or environmental processes processes that
literally determine, define and drive the lives of millions. that
they can and they necessarily should contribute is a given. it
is a telling testimony on its failure to engage that the society
too rarely values the professions potential to contribute
positively, and rightly so.
MR

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WUDQVIRUPDWLRQGXULQJWKHVHYHQGHFDGHVVLQFH,QGHSHQGHQFH"

KT: Architects have contributed enormously in the last decade
sometimes in a good way and at other times in bad ways. Our
contemporary cities are clumsy because we missed the point
of nature and landscape architecture in them. In education, we
have enshrined the discipline of landscape architecture in our
irst year studio of Urban Design programme. Students learn
about the relationship of site with the architecture design - to
align roads as per site features, surface drainage, siting build-
ings and all.
In the initial years ater independence, Nehru took active inter-
est in his project of modernity. He had a good relationship with
Habib Rahman, A P Kanvinde, Joseph Allen Stein amongst oth-
ers. He insured a new progressive direction is adopted in a new
country. Architecture and Planning were very fundamental, but
in subsequent years, the idea got diluted. Master Plan became
the only obsessive instrument in creating cities.
On the other hand, the start of Departments of Landscape
Architecture and Urban Design at School of Planning and
Architecture was a milestone. Ian McHarg and Luis Mumford
were both part of the irst seminar on Urban Design held in
1959 in University of Pennsylvania. he deliberations of that
seminar led the way for the next ive decades of the ideology
of the disciplines across the world. he lineage was invested in
the relationship between the built form and the open space. So,
the idea of public space and its relationship with the environ-
ment becomes critical. hese are very signiicant things. hey
have been sidelined by various other factors. hat is a separate
discussion. From 80s onwards, I see a positive change and it will
only intensify. It will become more and more consequential.
MR: I am afraid I must agree with the provocation in quite a
negative light. Barring a handful of practices, the profession has
failed fantastically to engage with social, economic or environ-
mental processes processes that literally determine, deine
and drive the lives of millions. hat they can and they necessarily
should contribute is a given. It is a telling testimony on its fail-
ure to engage that the society too rarely values the professions
potential to contribute positively, and rightly so.

58 landscape
47 | 2016
 cities |

how the bombay plan was rejected is one example in

recent times where architects have played an important
role. we are the only ones through which people can
express what they want from planning. instruments
and frameworks are already there. The question is
whether we are there for the people.
KT

Any advancement of the intellectual discourse about urbanization needs to be balanced out
ZLWKHTXDODQGULJRURXVHIIRUWE\SURIHVVLRQDOVLQWKHGLUHFWLRQRIDSOXUDOLVWLFGLVDJJUHJDWHG
messy, user participation process of engaging with public space. What is the way forward which
LVGRDEOHLQDGHPRFUDWLFVHWXSZLWKDOO6WDWHDQG&HQWUHOHJLVODWLRQV"'R\RXWKLQNVSDWLDOGHVLJQ
professionals, with their limited role in governance and politics, can become effective agents to
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\RXVHHWKHLUUROHLQLPSURYLQJODUJHUOLYLQJVRFLHWLHV"

KT: Yes. It is noble cause. Without that we are irrelevant. We
are closer to all. Many architects are part of NGOs. How the
Bombay plan was rejected is one example in recent times
where architects have played an important role. We are the only
ones through which people can express what they want from
planning. Instruments and frameworks are already there. he
question is whether we are there for the people.
MR: I guess it will take substantial de-education and some
rigorous recasting of our own imagined roles and responsibility
for the profession to engage with these issues efectively. You
have very correctly used the word messy to describe both the
process and the professions perception. It is precisely because it
is messy that it needs our atention so badly. It is akin to a doc-
tor being put of by messy patients! Greater the mess, deeper
should our dedication in solving the mess.
It is not so simple, I guess. It is also a chicken-and-egg situation.
Unless the profession proves its potential worth, neither elected
governments nor political players will take us seriously. And it is
diicult to show ones capability, especially in the public realm,
without tangible opportunities. One possible way would be
start engaging in public discourses in a way that can make the
professions importance more visible. here is litle doubt that
planning and design professional are crucial in the creation and
sustenance of equitable societies. he active role played by our
contemporaries in Latin America in the transformation of their
societies, for example, hold valuable lessons for us in India.

Q&A
landscape 59
47 | 2016
 cities |

Nupur Prothi Khanna and Nidhi Madan

MAPPING
NEW DELHIS
FUTURE
THE MANY FACADES OF LUTYENS BUNGALOW ZONE

ur approach towards Lutyens In the debate on the future of Indian extensions and new loors; and environ-

O Bungalow Zone (LBZ) il-

lustrates a serious concern,
that in urban planning in India today
signiicant issues are addressed in iso-
lation. LBZ, the erstwhile capital city
of British New Delhi is designated as
a Heritage Zone in the Master Plan of
Delhi in recognition of ...(a) signiicant
concentration, linkage or continuity of
buildings, structures, groups or complexes
united historically or aesthetically by plan
or physical development. (MPD 2021)
cities, planning for Lutyens Bungalow
Zone is an opportunity which will be
lost if it is treated as yet another project.
here has been litle atempt towards
aligning aspirations with the unques-
tionable cultural and ecological signii-
cance of the area. Landscape architects
value its visionary planning, immense
wealth of historic trees and unique open
space character; conservationists are
concerned about its disappearing herit-
age; residents demand the rights to build
mentalists ask to preserve the green lung.
he citizen, in the interim, has illed the
gap in this debate by choosing to use this
space, a luxury in a dense, overcrowded
Delhi. he India Gate lawns on a sum-
mer evening or its lanking water features
during chat puja are a reality that has
been kept out of the planning equation
for far too long.

60 landscape
47 | 2016

LBZ has raised questions of identity and
ecology for decades. Housing densities
of 14-15 persons/ acre here contrast dra-
matically with densities of 1100-1600/
acre in parts of Shahjahanabad (PTI).
Associated with the Colonial and then
the upper class urban Indians and civil
servants, the area earned a reputation for
exclusivity. Oten in the eye of the storm
the area has now made it to the national
headlines yet again.
Delhi found itself in a rather bizarre situ-
ation a few months ago when, on one
hand it made headlines as being one of
the most polluted cities globally (Atmos-
pheric Environment, University of Surrey,
2015), and, almost simultaneously (Au-
gust, 2015), the Delhi Urban Art Com-
mission (DUAC) proposed guidelines
for densiication of parts of the LBZ, one
of the few remaining open green zones in
the city of 16.8 million people (Census,
2011). he impetus for the guidelines
was increasing pressure from residents to
remove the reeze on development, and
allow for more property development
beneits. (DUAC, 2015)
FOR DELHI
2021
Chronological evolution
of the LBZ
Planning and design of the British Capi-
tal city of New Delhi was based on the
Garden City principles of the renowned
British thinker, Ebenezer Howard. he
city is recognized as one of the enduring
examples of this concept with a unique
symmetry, order and aesthetic master
planning (DUAC, 2015). Its axial sym-
metry of wide tree-lined avenues, large
plots and bungalows reinforced the
identity of the iconic east-west axis of
Rajpath, a landscape extending from
Rashtrapati Bhawan at Raisina Hill to
India Gate C hexagon and beyond.
cities |
LBZ boundary
existing since
2003
0.5 0 1 2 5 10km
Extents of LBZ as per MPD 2021
Post-Independence, in response to rapid
densification of areas in and around
Central Delhi, with the demolition of
war-time barracks and the construction
of multistoreyed buildings, particularly
around Connaught Place, the Govern-
ment of India imposed a temporary ban
on development in this area.
In 1988, the Lutyens Bungalow Zone
area was demarcated incorporating an
extent of 25.88 sq.km (of which Imperial
Delhi was 19.12 sq.km) with restrictive
development guidelines in place to
maintain the low-rise character of the
area. Its expansive boundary, as desig-
nated at the time, was a recognition of
landscape 61
47 | 2016
 cities |
.SINF,FYJ_TSJFXNLSNHFSYTUJSUZGQNHXUFHJNSYMJHNY^
the importance of both the bungalow ar-
chitecture as also its landscape planning
of axial streets, pedestrian infrastructure,
bufers, setbacks and plantation. In order
to protect the intent of the scheme, this
designation included areas that were not
necessarily part of the original concept
but later additions. In 2003, the LBZ
was revised to include 28.73 sq.km, and
declared a heritage zone in the Master
Plan of Delhi (MPD).
In 2015, the Delhi Urban Art Com-
mission proposed to redeine the LBZ
boundaries, in the Lutyens Bungalow
Zone- Boundary and Development Guide-
lines submited to the Ministry of Urban
Development (Delhi Division). The
areas to be excluded from the LBZ com-
prised the transition areas between the
historic zone and the areas administered
by MCD, as well as the Central Ridge.
Current concerns
As per the new guidelines, the character
of the LBZ would change dramatically
(to its detriment), with signiicant im-
pact on the environment and character
62 landscape
47 | 2016
of Delhi. he possibility of using this
area for the beneit of a majority has also
not been discussed.
Any atempt to address the LBZ has to
give due recognition to the planning
of its wider footprint,not limiting its
significance to the Rajpath corridor.
he mandate of the proposed guidelines
focuses on the corridor and undermines
relevance of related spaces in the concep-
tualisation of the LBZ planning.
For instance, green corridors along
the Ridge, Sardar Patel Marg, and
Panchsheel Marg as well as heritage
precincts of Lodi Road, Dr Abdul Kalam
and Prithviraj Road are key alignments
that predate the design of New Delhi.
Planting for LBZ conceptualized by
Edwin Lutyens for this Garden City
mandated a single variety of trees on
each arterial road. The significance
of a holistic street design structure is
not taken into account in realigning
boundaries.
It would be of enduring value to Delhi,
and other cities to emphasize the herit-
age value of equitable central public
spaces, and their connectivity with the
wider city expanse through open space
networks and greens. Western cities,
after having lost much of their herit-
age to industrialization, have learnt to
preserve their historic core addressing
the relevance of edges and bufer areas
in its protection.
Changing the LBZ boundaries, as is
being proposed, will result in disappear-
ance of the edges, bufers, and transi-
tional greens, sharpening the distinction
between what remains of this area and
the emerging fast-paced developments
in its vicinity.
Over a decade, per capita open space in
Delhi decreased from 25 sq.m/ person
to 15 sq.m/ person (Report, JLL 2011)
with its 20% green cover (Indian State
of Forest Report, 2009)increasingly
compromised. he predominantly green
LBZ, a mere 1.7% of the city area has
taken over a century to mature. Its loss
would adversely impact the habitat it
ofers in the heart of Delhi to hundreds
of species of birds.
 cities |

he guidelines have been put forth at a

time when Delhi is in dire need of a green Connaught
Place
lung for carbon sequestration, rainwater
recharge, improving the micro-climate
and other proactive measures to improve
its global image. he redevelopment of
these areas in the current air pollution
Pragati
crisis is bound to adversely afect Delhis Maidan

atmosphere. Central Ridge Rashtrapati

Bhawan Central Vista India Gate

With further densiication of the area, as

proposed in the guidelines, the current
criticality of pollution levels will only
Delhi Golf
worsen with added construction, com- Club
Lodhi
merce, traffic, and parking pressures. Gardens

Pressure on other resources includ-

Original Lutyens Delhi
ing storm water, sewer and rainwater Safdarjung LBZ 1988
Airport
recharge systems, electricity and com- LBZ 2003
Proposed LBZ 2015
munications too have not been thought
through. Neither has the critical concern Evolution of LBZ delineation

of depletion in groundwater recharge as

a consequence of added basements and
hard paving, received due consideration.

Way forward
Connaught
he LBZ is one of three invaluable land- Place

scape resources of Delhi; the other two

being the Ridge and the River. Nehru
Park, Race Course, Delhi Gymkhana
Club, Safdarjung airport, Safdarjung
Tomb and its precincts, Lodi Garden to
the south; Delhi Golf Club on the south- Purana
Central Rashtrapati Central Qila
Bhawan India
Ridge Vista
east; and to the east, the Zoological Gar- Gate

den, Purana Qila and Humayuns tomb

are contiguous open spaces ofering the
Zoological
possibility of creating verdant networks. Park
Delhi
Fragmentation of this large space com- Golf
Club
promises the possibility of connecting Lodhi
Garden
and creating inclusive open space infra- Nehru park
Safdarjungs Original Lutyens Delhi
structure for all sections of society. Public Tomb
Proposed LBZ 2015
access to LBZ, its precincts and landscape
Avenue Tree Alignment
heritage is of greater value to the larger Roundabouts
public good today than expansion of
individual residential bungalows.
Possibility of green corridors connecting open spaces in Central Delhi

landscape 63
47 | 2016
 cities |
Landscape character of LBZ Rotaries | Tree canopy along avenues
Areas on the periphery of LBZ, such
as Kidwai Nagar are being redeveloped
to accommodate the growing housing
needs for citizens, and at Moti Bagh
and others for MPs and bureaucrats,
demonstrating the eicacy of planned
densiication to accommodate develop-
ment pressures, while simultaneously
respecting the landscape character of
Central Delhi.
This anomaly, wherein demands for
financial benefits supersede human
and ecological considerations, tends to
undermine the signiicance of areas such
as the LBZ resulting in a fragmented
and inequitable urban environment.
Any redefinition exercise of the LBZ
therefore, needs to be borne out by a
critical understanding of the cultural
and natural landscape it encompasses.
A study of the diverse lora and fauna
present, quantity of water recharge,
relevance in reducing air pollution and
carbon sequestration will meaningfully
contribute to the endeavour.
64 landscape
47 | 2016
he way forward should balance devel-
opment pressures, design conservation,
and environmental protection, while ad-
dressing the needs of a burgeoning pop-
ulation, preserving the identity of the
city derived out of its multilayered past.
Densiication to create public spaces for
social, cultural and community uses in
these precincts, respecting the cultural
and ecological footprint, updating of
planting guidelines and exploration of
ecological modeling are opportunities
that need to be explored further.
LBZ needs to be conserved, not only for
its historic planning, but signiicantly
its model landscape planning design;
strategic planting; mature, verdant and
diverse canopy (which took nearly a
century to establish); and, the critical
biodiversity it supports. But most of all
LBZ ofers a hope to still breathe clean
air for Delhi citizens.
LBZs continued protection and/or
development must be borne out of a
holistic and long term vision pivoted
upon its cultural values of spatial plan-
ning, architectural, landscape and envi-
ronmental heritage.
A city that respects its past, conserves its
resources (where else in Delhi does one
ind hundred year old trees), incorpo-
rates the ambience (luxuriant tree can-
opy) and addresses the wide spectrum
of its users is inherently smart. he LBZ
debate is crucial at this juncture of city
building in India because urban planning
is devoid of one vision, fragmented into
multiple visions and projects that keep
morphing into multiple names and faces
and facades of a kaleidoscope.
LBZ is inherently signiicant to the dis-
course of the future of an Indian city. It
is signiicant for showcasing the historic
development of our capital city. It is im-
portant for the vast ecological resource it
ofers. It is relevant for safeguarding the
largest, most accessible, and functional
open spaces in the city. his ofers an
 cities |

ISOLA (Indian Society of Landscape Understanding the value of this

The setting of architectural heritage
opportunity for charting an inclusive
future for a city, which is growing into a
$UFKLWHFWV'HOKL&KDSWHULQWKHUVW
collaboration of its kind, with INTACH (Indian
National Trust for Art and Cultural Heritage)
and IUDI (Institute of Urban Designers-India),
submitted observations and objections to the
Ministry of Urban Development in October
2015 highlighting the lack of consideration to
the landscape heritage of New Delhi.
ISOLA observations
and suggestions include
The LBZ does not represent built heritage
alone. It is an invaluable ecological resource,
DJUHHQOXQJIRUFDUERQVHTXHVWUDWLRQIRU
rainwater recharge and a distinct micro-
climate which needs protection especially in
the context of Delhis polluted atmosphere.
,WLVLPSHUDWLYHWRUVWPDSWKHH[LVWLQJ
landscape resources in the LBZ zone
DQGTXDQWLI\WKHODQGVFDSHKHULWDJHDQG
its value to the city, both tangible and
intangible. The outstanding values must to
Landscape Heritage.
'HQLWLRQRIFRQVHUYDWLRQDQG
development norms and safeguarding
landscape heritage.
Recognising and shaping a
comprehensive vision for this zone for the
future.
A thorough and detailed inventory
and design study to be conducted
over 6-8 months for the Lutyens Delhi
landscape to document, analyse and
create a comprehensive vision for the
LBZ landscape heritage and open space
networks.
INTACH observations
and suggestions include
Modern Day progressive development
means heritage sensitive conservation
oriented development. Can we save
the 50% (that still retain the bungalow
severely fragmented urbanscape, islands
of abundance siting amidst an expanse
of squalor and deprivation. he LBZ of-
fers hope that with a clearer vision and
a need to balance multiple aspirations,
a solution for this area will be arrived at
through consensus, protecting the values
that are held dear across society. Till such
time as all can sit around the table and
discuss the future of their city, the LBZ
is best let alone.
EHSUHVHUYHGDQGWKHTXDOLW\RIRSHQVSDFH
maintained.
In the DUAC report, the area of cultural
value shown is only the Rajpath corridor,
and none of the rest of LBZ. However, the
Garden City planning covered a wider
footprint both in its plantation and in
its axial street design and open space
networks.
A change in land use will adversely
impact important street networks and
axes, with multi-use developments (as per
FKDUDFWHU"
LBZ should be recognized as a Heritage
Zone and not a Development zone.
LBZ is a wrong name and it should be
Lutyens Delhi. The area of Lutyens Delhi
should include all areas shown in the
RULJLQDOSODQDQGWKHDUHDUHTXLUHGWR
protect it.
No bungalows should be altered, and
institutional buildings should not be
allowed to follow Master Plan norms if
located within LBZ.
References
1. July 2015, Report on the Lutyens Bungalow
Zone (LBZ) Boundary and Development
Guidelines, DUAC.
2. October 2015, ISOLA (Indian Society
of Landscape Architects) Delhi Chapter,
Objections and Suggestions.
3. October 2015, INTACH (Indian National
Trust for Art and Cultural Heritage) Delhi
Chapter, A Review.
Photographs courtesy the Authors
03'LQFUHDVLQJWUDIFYROXPHVWKHUHE\
Establish the boundary of the city as
putting pressure on and compromising the
designed by Lutyens as the LBZ boundary.
street design and interface.
A detailed study of the different
(TXLWDEOHXVHRIRSHQVSDFHZLOOQRWEH
typologies should be carried out if it does
afforded to the general public through these
not already exist and the architectural
measures. These are private initiatives that
features should be maintained as a
will not only compromise the integrity of
dictionary of architectural elements in
the landscape heritage, but will also change
the extreme case where a bungalow does
the character of Central Delhi.
have to be demolished and rebuilt if found
Public access to LBZ, its precincts and VWUXFWXUDOO\XQWIRUKXPDQRFFXSDWLRQ
landscape heritage is of greater value to
A thorough study should be carried out
the larger public good than extension of
to determine current landuse, ownership
residential bungalows.
pattern and state of conservation of
Detailed mapping of Landscape buildings.
Resources.
No change of landuse should be
4XDQWLFDWLRQRI/DQGVFDSH+HULWDJH permitted.
(tangible and intangible).
 view from within |
Geeta Wahi Dua
CONSERVIN
ENGAGING
ENGAGI
& WITH
NATURE
ver the past few weeks, there
O
have been passionate debates
about the pros and cons of
holding a mega event on the loodplains
of the Yamuna river in Delhi. he issue
has been discussed thread bare on 24x7
television and radio channels, from all
possibleand at timesimpossible
perspectives. here are innumerable
articles by experts in the print media
highlighting the devastating efects of
holding such an event on river ecology
and its morphology, with a few outlin-
ing broad steps to regain lost ground.
here are no two opinions about the
fact that it will, and now, has caused
adverse efect on the health and well
being of the lood plains and the river.
his is not the irst time that such an
event or development, temporary or
permanent, has taken place on the
lood plains of the river in the capital.
Some years back, the Commonwealth
Games Village residential complex and
Akshardham Temple complex were
66 landscape
47 | 2016
constructed, with all the necessary
permissions. he question remains
why are we, as concerned people in a
democracy, so helpless when it comes
to the question of protection of natu-
ral and cultural heritage of our cities
against such pressures? Delhi is a useful
starting point for such a discussion.
Ecological Master Plan
On a philosophical note, it is important
to live and work in the present, which is
now, rather than in a perceived past or
in an imaginary future. he actions of
today will deine the future. So, instead
of being nostalgic about the past or for-
ever imagining a bright future for our
city environment, the irst step towards
inding a sustainable solution towards
the conservation of our natural envi-
ronment is to identify and document,
in present, environment, culture and detailed description, deining its sali-
history in spatial terms, in a tangible
manner. I propose an Ecological Master
Plan, EMP which is a comprehensive
document that comprises of listing, de-
scription and set of detailed guidelines
for conservation, preservation and en-
gagement with ecologically sensitive
and culturally important natural and
manmade features of a city/ town or
village. he EMP will include detailed
listing of all open areas of varied scales
and character, both natural and other-
wise like river, natural lakes and ponds,
nallas, artiicial ponds, lakes, marshy
lands, zoological parks, bird and wild-
life sanctuaries, lood plains, sanitary
landill sites; city parks, district parks,
green linkages, (along transportation
corridors) neighbourhood greens,
grounds and maidans; heritage greens
and archaeological parks.
he EMP is to be prepared on a scale
that allows a clear idea about the physi-
cal boundaries of each site, along with
ent features, past history, ecological
and cultural signiicance in the city.
Various spatial planning sotwares and
 view from within |

LEGEND

Representation of Ecological Master Plan of Delhi

Ecological Master Plan, EMP is visualised as a comprehensive document that
comprises of listing, description and set of detailed guidelines for conservation,
preservation and engagement with ecologically sensitive and culturally
important natural and manmade features of a city/ town or village.

M A P N O T T O S C A L E

landscape 67
47 | 2016
 view from within |

B.
B.

C. C.

A. A.

A. City Park 10 lakh/ Unit 100 hectares A. City Multipurpose Ground 10 lakh/Unit 8 hectares
B. District Park 5 lakh/ Unit 25 hectares B. District Multipurpose Ground 5 lakh/Unit 4 hectares
C. Community Park 1 lakh/ Unit 5 hectares C. Community Multipurpose Ground 1 lakh/Unit 2 hectares

)JQMN25)RJSYNTSXFHQJFWMNJWFWHM^TKTUJSFWJFXGFXJITSYMJXN_JFSISZRGJWTKZXJWXIJSJX
various categories. Categories of city parks, community parks, city multipurpose grounds, and District
multipurpose grounds may also form part of Ecological Master Plan.

advanced techniques of Remote Sens-
ing can be used to have an updated map
of the city, thus helping in tracking each
change and keeping the information
updated regularly. It is very important
to extend the documentation of these
environmentally signiicant areas in
the Zonal Plans and Ward Local Area
Plans, so that all scales are addressed.
Conservation guidelines
Once the Ecological Master Plan is
ready, detailed guidelines for conserva-
tion and use may be prepared by a panel
of experts and professionals (in public
participation) in consultation with the
developing agencies. here is a clause
for public participatory approach to
planning and implementation of the
projects in the Delhi Master Plan 2021.
It needs to be a further nuanced and
deined so as to create a framework of
botom up approach rather than top
down. hese guidelines should be able
to clearly identify character of various
kinds of intervention zones and spec-
ify the long term and short term uses,
functions and conservation measures
keeping in mind the needs of the resi-
dents that can be adopted in the areas.
Legal framework
At present, there seems to be a lack of
trust in various State Governments re-
garding role of professionals in devel-
opment and policy. In Delhi, bodies
like National Green Tribunal (consti-
tuted for the issues of environment and
ecology) or Delhi Urban Arts Commis-
sion (constituted for the issues of urban
aesthetics) may have experts and pro-
fessionals but they have limited pow-
ers, to get their guidelines or speciic
decisions implemented on the ground.
Many times, their rulings are compro-
mised or they are not in the discussion
or decision loop at all or there is a de-
cision reversal under political pressure
or their decisions are overruled by the
bureaucrats and the political class. In
case of World Culture Festivalthe
mega event referred to at the start of
this articleheld in March this year
on the lood plains of Yamuna, despite
the knowledge of the basic fact that the
event of such scale and character would
adversely afect the river ecology into
the future, permission was granted by
National Green Tribunal at the last
hour. It ined the organization for vio-
lating green norms, not as a penalty but
environmental compensation. Equally
appalling is the reaction of the Delhi
High Court where rather than ques-

68 landscape
47 | 2016

tioning the concerned authorities involved, they
held applicants responsible for the delay in bringing
the case before them and hence for their inability to
stop the event at that stage. he event got full patron-
age from the present Governments, both State and
Centre, which is another discussion.
Despite their best intentions, the inability and help-
lessness of such organizations to hold their forte
as also in the cases of Commonwealth Games and
Akshardham Templeis to be noted. If this can
happen in the countrys capital, then one can think
of even worse situations in other States capitals, not
to mention smaller cities and towns.
he conservation guidelines of the Ecological Master
Plan need to be strongly backed by a legal framework
of tribunals and statutory bodies of State and Cen-
tre Government, which are passed in the Parliament
through various Acts of Constitution. All the devel-
opment agencies like DDA, MCD and NDMC will
be required to work under this common umbrella of
Ecological Master Plan. he EMP can become part
of DMP 2021 and for operational purposes as well
as remain as a separate entity being documented and
implemented in the Environmental division of State
Government.
he EMP underlines the a strong need, to empower
groups of experts and professionals to develop a pro-
fessional approach towards the conservation of our
environment, supported by systematically compiled
and updated physical data, accessible to all.
he idea of Ecological Master Plan can become a
template for other cities, towns and villages. Once
we have such systems in place, we will have much
informed public discourses focusing on developing
sensitivity towards the fragile nature of our city ecol-
ogy, history and culture, not only in debates but also
in real actions.
References
www.dda.org.in/ddanew/pdf/Planning/reprint2021.pdf
view from within |
Environment in
Delhi Master Plans
In India, a Master Plan, with all its limitations and shortcoming of
being abstract, non-participatory, with a top-down approach, is still
the only city scale document in the present planning set up, where
professionals, experts and governing bodies work on a common
working board. The vision document gives broad clues of the areas of
focus of the development in the times to come.
7KH'HOKL0DVWHU3ODQLVFRQVLGHUHGDVDXQLTXHH[DPSOH
of a city level planning exercise that displays a sensitive approach
towards environment and heritage of the city. The city has gained
in more than one ways from it- the system of green linkages,
hierarchies of open green areas, heritage zones, guidelines for Ridge
(city forest) and the River Yamuna. It placed the right foundation
while pointing towards the long term direction of conserving the
natural heritage.
The new Master Plan of the city envisages vision and policy
guidelines for the perspective period up to 2021. It is proposed that
WKH3ODQEHUHYLHZHGDWYH\HDUO\LQWHUYDOVWRNHHSSDFHZLWKWKH
IDVWFKDQJLQJUHTXLUHPHQWVRIWKHVRFLHW\
+ROLVWLFFRQVHUYDWLRQRIQDWXUDOHQYLURQPHQWRIWKHFLW\QGVLWV
mention again in Delhi Master Plan DMP 2021:
Management of Natural Resources and the related environment
infrastructure and services in a manner that would lead to optimization
of use of natural resources, and reduction / abatement of pollution;
Conservation and Development of the Natural features with a view to
enhancing their environmental value; and Development and preservation
of open spaces, greens and landscape / recreational areas.
Rejuvenation of River Yamuna through a number of measures including
HQVXULQJDGHTXDWHRZLQULYHUE\UHOHDVHRIZDWHUE\ULSDULDQVWDWHV
refurbishment of trunk sewers, treatment of drains, sewering of
XQVHZHUHGDUHDVWUHDWPHQWRILQGXVWULDODIXHQWUHF\FOLQJRIWUHDWHG
HIXHQWDQGUHPRYDORIFROLIRUPVDW673V
,GHQWLFDWLRQRIKHULWDJH]RQHVDQGDUFKDHRORJLFDOSDUNV'HYHORSPHQW
of Special Conservation plans for listed buildings and precincts.. with
inclusion of Mehrauli Archaeological Park, Tughlaquabad Archaeological
Park, Sultan Garhi Archaeological Park.
landscape design |

CONSCIOUS
KEEPER
TEMPLE OF CONSCIOUSNESS, ALIYAR, TAMIL NADU
 landscape design |

WINNER OF ISOLA AWARD 2015

GENERAL DESIGN CATEGORY AWARD OF EXCELLENCE

Jury Comments
The design clearly establishes a sense of place and achieves its objectives
of connecting humans to nature and consciousness. A simple, calm, serene,
gesture of a subtle design evokes a sense of peace. Use of local materials, well
done execution creates a place with a design sensibility based on less is more
which is not a slave to pattern making.

V
ethathiri Maharishi Kundalini
Yoga and Kayakalpa Research
Foundation, founded by Shri
Vethathiri Maharishi in 1985, is situ-
ated in a beautiful natural seting at the
foothills of the Western Ghats and in
view of the Aliyar reservoir. he non-
religious research foundation institute,
covering an area of 30.10 acres, imparts
the teachings of Shri Vethathiri Mahari-
shi by ofering various types of courses
on a regular basis and is also involved
in social services activities, adoption of
villages for improvements, conducting
courses in other parts of the country
and abroad. It houses the main building
Temple of Consciousness and Maha-
rishis samadhi along with other facili-
ties. On any given day, there are around
two thousand people atending various
courses and research facilities. Apart
from these, many general visitors and
devotees visit the place.
'ZJWXUFHJGJY\JJS4RPFWF2FSIFUFR
and Arul Arangam
Site
he site is adjoining natural reserved
forest on the south side with beautiful
panoramic views of mountains and for-
est. he hostels and oice blocks were
existing along with few trees scatered
all over the site. here was a natural
stream cuting across the site north-
south which was almost perennial. Fed
by the river water from the adjoining
mountains, the stream has been inte-
grated with the landscape design by
rerouting it along the main approach
the Walk of Faith.
Master Planning
Master planning of the project which
started in the year 2000, included in-
tegration of the existing few buildings
with the future expansion of addition
of facilities. he direction taken was to-
wards sustainability and conservation
of natural resources.

landscape 71
47 | 2016
 landscape design |

17
C A
N A
L

16

16
18
16
18

2
11 4 >
1
15
10
12
5 3
15
8 6
9
7 18

13
18
15
14

MASTER PLAN

LEGEND
1. Entrance & Arrival Spaces 10. Lawn
2. Information Centre 11. Mani Mandapam The Samadhi
3. Orientation Class Room Here new visitors are briefed 12. Museum and Gallery
about the campus 13. Classrooms
 2IFH%ORFN 14. Dining & Kitchen Facililties
5. The Walk of Faith The main approach towards the temple 15. Hostels, Cottages & Accommodation Facilities
6. The Circular Ramp 16. Cultivation Lands, Mango Tree Farm FACING PAGE
7. Omkara Mandapam The Temple of Consciousness 17. Treatment Plants The Walk of Faith with steps and ramp
8. Submerged shoe deposit centre 18. Parking Spaces
9. Arul Arangam The Auditorium

72 landscape
47 | 2016

he Master Plan kept on evolving with
the increase in the inlow of visitors and
addition of new requirements. he design
scope included the entrance zone, infor-
mation centre, orientation classroom, ad-
ministrative block, Omkara Mandapam
the Temple of Consciousness, Arul Arangam
the auditorium, museum and gallery,
classrooms, dining and kitchen, cotages
and accommodation facilities.
landscape design |
Being a charitable institution, inancial
planning was also an integral part of the
future course of actions. Since the fund-
ing depended mostly on the course fees
and donations, so any unnecessary pro-
visions, extravaganzas and luxury were
strictly prohibited. he main idea in
the project was to work with nature at
every scale and stage.
landscape 73
47 | 2016
landscape design |
 landscape design |

Mani Mandapam in its setting, in all its

splendour and glory

Large shaded spaces for silent walks

One of the many footpaths with seatings

provided for the inmates

The Walk of Faith glowing in the dark

Also ater the demise of Shri Vethathiri Maharishi in the year

2006, a Mani Mandapam which houses his samadhi also be-
came a part of the master plan. he project was completed by
the end of year 2011.

Design

he campus, being public in nature, aims to spread the teach-

ings and philosophies of Shri Vethathiri Maharishi. hus, it
was important that by itself the campus relects his way of
life and thoughts.

he spatial design and design elements materials were kept

simple and sensitive to the environment, so that the overall
design merged well with the surroundings. Use of natural
and locally available materials and cratsmanship was en-
visaged. Choice of building and surface materials was done
carefully so as to use only natural materials, earthy shades
with rustic inishes. here was a predominant use of grey
granites, red porous laterite blocks cut to diferent sizes and
thickness, wire-cut bricks and rock skins. Atention to detail-
ing was an important factor like the joints, stacking paterns,
projections and recesses, avoiding the visibility of cement
anywhere in the inal gaps, edges, surface inishes, combi-
nation of materials, slopes and gradients etc. he materials
were custom-cut to suit the designs by establishing neces-
sary machineries at the site.

landscape 75
47 | 2016
 landscape design |

he main idea was to make the visitors feel detached from Multilayered grass berms with access
to the residential quarters
the daily mundane routine, worries and stress and instead
feel the peace and pleasure of the place with warmth of Circumambulatory pathway around
the Mani Mandapam
the surroundings, so as to help them improve their health,
peace, happiness and well-being.

he design principles were the guiding factors and the PROJECT DETAILS
site itself as an inspiration. With the philosophy of Shri Project Name Temple of Consciousness
Vedathri Maharishi, participation of people associated Location Aliyar, Coimbatore District, Tamil Nadu
with this organisation, the expertise of the local artisans Size 30.10 Acres
and cratsmen along with the purity of thought and mind, Client Vethathiri Maharishi Kundalini Yoga and
the design was intended to sink into the hearts and souls Kayakalpa Research Foundation
Landscape Architect Jeyakumar Associates
of the people inside. It was ensured that no harm would
S. Jeyakumar (Principal Landscape Architect)
fall on the original character and ambience of the place,
Sushma Jeyakumar (Landscape Architect)
the sanctity of the atmosphere, the existing lora and fau-
Project Duration 20002011
na and to the Mother Earth.
Cost ` 3.50 Crores

he design aimed at being considerate to the diferent

age groups, people from various sects and religions with
the core objective of creating an overall spirituality in the
environment, a sense of peace and calmness, a sense of
brotherhood and relationships.

Project description and photographs by Jeyakumar Associates

76 landscape
47 | 2016
 landscape design |

GREEN
RETREAT
CITY
IN THE
AAREY BHASKAR PUBLIC PARK, MUMBAI

Bowl fountain near the park entrance

L
ocated amidst residential area with high population density, the park
was envisaged for heavy usage by all age groups for active and passive
recreation. he site being surrounded by high-rise concrete build-
ings, the design idea centred around the park to have a picturesque quality
and be densely planted to provide an oasis, in the otherwise, harsh sur-
rounding buit forms. With the ideas to recover the initial cost of develop-
ment and later maintenance cost, and to make the project self-sustainable,
many revenue generating activities were also proposed.

landscape 77
47 | 2016
 landscape design |

15

12 11
10

13

8
9

7
6

5
H
A

14
L L
A

16
N

4
3

1
>

A C C E S S R O A D

LANDSCAPE LAYOUT PLAN

LEGEND
1. Main Entrance 12. Childrens play area
 4HJ 13. Nursery
3. Library 14. Public Utilities
4. Water Fountains 15. Multipurpose Area
5. Waterfall 16. Open Ground /
6. Yoga Hall Area for
7. Amphitheatre Recreational Activities
8. Food Court
9. Rock Garden
10. Lily Pond
11. Toddlers Area

78 landscape
47 | 2016

The tray waterfall adds to the soundscape
of the garden with its sound enhancing
the feeling of being amidst nature
FACING PAGE
Walkway near the amphitheatre
A balance between tranquillity with
activities and atractions that would
turn the park into a positive entity for
the neighbourhood and the city as a
whole was the initial goal for design
development. All the areas in the park
are accessible by steps as well as ramps
for the convenience of the physically
challenged. All existing mature trees are
retained. Facilities for active recreation
landscape design |
for all age groups have been provided,
like childrens play areas, outdoor gym,
jogging track etc. Passive areas with
interesting siting spaces provided for
those who just want to be with the na-
ture. A library, yoga hall, meditation
areas and an artists corner with an out-
door display area for artworks provide
a variety of experience in the park.
landscape 79
47 | 2016
landscape design |
Taking in consideration the natural con-
tour levels, an amphitheatre with nine
hundred seating is proposed, which can
be rented for concerts, functions and
product promotion activities. Surface
drainage system has been introduced by
altering land forms (taking into consider-
ation base levels of existing trees) to avoid
looding during heavy rains of Mumbai.
Plantation comprises of a combination
of exotic palm species along with indig-
enous tree species, to provide unique
visual character, not usually seen in
Indian public parks. Water is used as a
design element in lily pond, fountains
and waterfalls. A plant nursery is devel-
oped to propagate and grow plants for
the park and also for sale to public.
Project description and photographs
by Swati Dike
Steps to the amphitheatre upper level
Section of jogging track lined with
Bismarkia palms
Rock garden amidst black bamboos,
cycas and ferns
 landscape design |

PROJECT DETAILS

Project Name Aarey Bhaskar Public Park

Location Dindoshi, Goregaon (E), Mumbai
Size 3.70 Acres {15,000 sq.m}
Client S D Constructions
Jeyakumar Associates
Landscape Architect Swati Dike (Principal Landscape Architect)
Architecture {Entrance Gate} Shekhar Dadarkar
Project Duration 20052008
Cost ` 8.00 Crores
seeing the unseen |

Anjan Mitra
EXPERIENCING
SOUND
SCAPE
SHABDO A FILM BY KAUSHIK GANGULY

drunkard goes up the

A stairs, bangs the door,

beats up his wife, topples
shelves, and throws utensils.
Acts of sheer frustration, anger.
We see visuals, we hear voices.
Yet, its unreal, almost ghostly,
something is missing.

Tarak is missing.

SHABDO Tarak is shabdo, the sound.
He brings life to the muted act and his sound-
scape makes it a simulating experience. He, the
Foley artist simulates associated sounds that
completes a visual narrative. Whats more is
that he is capable of triggering memories even
without accompanying visuals; just by creating
sound.
seeing the unseen |
His is a fascinating world. Yet for us it lies
dormant in our day to day experience of space,
in our actions, our feelings, etc. We tend to take
it for granted and hardly pay it atention. But, as
someone who tries to simulate real sounds, these
everyday sounds are the focal point of his entire
existence. Like a magician he can conjure up the
perfect sound out of seemingly nothing, a few
odd studio props and his boundless creativity.
seeing the unseen |

Close your eyes;

and you can hear
an elevator coming down,
a lock of pigeons lutering
at the delight for the open sky.
You can feel life.

84 landscape
47 | 2016
 seeing the unseen |

It is essential for Tarak to critically observe the

sounds emanating from various acts in Nature, in the
Environment, in day to day mundane operations and
also swings of moods. Re-creating the same sound de-
mands a lot of innovation and creativity it demands
sensitivity. To be able to rise to such demands Tarak
has to concentrate on the unheard sounds of objects,
acts small and signiicant. he unimportant heard
sounds of human voices, commands slowly recedes, a
slave to this unheard soundscape. It is not a psycho-
logical problem but a conscious choice.

landscape 85
47 | 2016
seeing the unseen |

Ater all he is an artist.

Like a painter who relies on colours and lines, or a poet

who expresses ideas and meanings with words, Taraks
oeuvre is one of sounds. He creates meaning with sounds
and knows the diference between the sounds created
by a cup that is full, partly full or empty.

No wonder he claims that, shabdo ilmer jaan bujhli,

(shabdo is the soul of the ilm); and emphasises his role
as a creator of total experience, and the role of the sounds
he creates in bringing meaning to any narrative.

Like Dr Swati a psychiatrist, we all are compelled to

undertake a journey into Taraks world of soundscapes.
We marvel at the unheard sounds that pervade our world
and its importance in bringing meaning to our existence,
our experience. For a designer, an architect, a landscape
architect sounds are another dimension to add. Its
another powerful parameter to include, a cue to bring
dynamism into an otherwise static spatial experience.

86 landscape
47 | 2016
 seeing the unseen |

I sit back and think of Shabdo (more compre-

hensive than just sound but a body of emotions,
meaning surrounding it). Clearly it becomes an
important aspect of spatial experience. he same
space evokes new life, changes perception and
keeps communicating new meanings all the time.
A window is no more just a physical element that
allows in light and air. Tarak has taught us that the
window is a portal to experience life around us.

he cuckoo of the hen heralds in the morning,

responded to by the chirping of the birds and then
shatered by the car-horns disturbing reality.

he mild rumbling of leaves a whisper, leaves are

talking.

We are in a living world a wonderful, joyous,

eventful space to explore.

Tarak is narrating Shabdo Brahma holistic

soundscape.

landscape 87
47 | 2016
seeing the unseen |

Close your eyes, the leaves above you are moving, a

dry leaf loating in the winds lands next to you, you are
treading sotly over the fallen leaves some dried and
some moist; diferent sounds.

Somebody is dragging a chain the jangling, scrap-

ing sound on the ground, we wonder who he is an
escaped prisoner he may be.

88 landscape
47 | 2016
 seeing the unseen |

You are nearing a waterfall the drumming, brush-

ing sound of water over the boulder, you are wet and
drying yourself in ire the crackling sound of ire, you
feel the warmth what a nice adventure in the jungle
and then you open your eyes and you ind yourself in a
cotage room up in north Bengal.

Such is our connection of sound to known imagery

to our memories.

Photo source: abigailthompson.wordpress.com

All this can be created by a piece of paper, by foot- Written and directed by Kaushik

steps, cloth and very incidental titbits it hinges
entirely on the creativity of the Foley artist. He makes
us notice this soundscape (Shabdo Brahma) and its
deep connection to our experience and memories.
hank you Tarak for making us sensitive to the sound-
scape and its connection to our lives; its value and its
meaning. Now I realise there is nothing called silence
in this material world, a living world full of sounds
that signiies life itself.
Ganguly, Shabdo (language Bengali,
running time 100 minutes) is the story
of a Foley artist who creates ambient
VRXQGVIRUOPVEXWJUDGXDOO\JHWV
trapped in his own world full of sounds.
Released in 2012-2013, and starring
Ritwik Chakraborty, Raima Sen, Churni
Ganguly, Victor Banerjee and Srijit
0XNKHUMLWKHOPZRQWKHWK1D-
tional Film Awards for Best Feature Film
in Bengali and the Best Audiography.

Photographs: Screenshots from Shabdo, Dhoom Video

landscape 89
47 | 2016
 book review |

Review by Trisha Gupta

THE

WORLD
PICTURE
AS

llow me to start this see. Beyond the scalloped window arch

A review with a trip-

VISUAL HOMES, IMAGE WORLDS
ESSAYS FROM TASVEER GHAR
THE HOUSE OF PICTURES
EDITORS: Christiane Brosius, Sumathy
Ramaswamy and Yousuf Saeed
PUBLISHER: Yoda Press, New Delhi, 2015
Paperback, 360 pages
ISBN 93-82579-07-9
SIZE: 241 x 184 x 20 mm
tych of images
since Tasveer Ghar, as the
name suggests, is all about
pictures. An online database
initiated in 2006 for collect-
ing, digitising, and docu-
menting the popular visual
culture of South Asia, Tas-
veer Ghar has generated ex-
citing conversations among
scholars and arts practition-
ers, around the social, polit-
ical and performative lives
of images. he beautifully
produced Visual Homes, Im-
age Worlds is a collection of
essays generated by the Tas-
veer Ghar network (and irst
published online).
The images I want to discuss appear
in diferent essays in the book. But to
me they seemed to speak to each other
across the pages. he irst picture is the
frontispiece of Richard H Daviss superb,
succinct essay on God posters for and of
worship. It features a smiling sari-clad
woman in side proile. Holding an aarti
thaali, her head covered respectfully, she
raises her eyes to something we cannot
in which she is framed, a series of South
Indian-style temple gopurams and co-
conut palms are silhoueted against the
evening sky. he caption reads: A Hindu
Devotee Prays.
Davis points out that the Calcuta Art
Studio, one of the irst companies to is-
sue chromolithographs of Hindu deities,
switly realised that the Indian public
wanted images of the gods, but single
prints... for worship, not bound volumes
for leisurely perusal. he recognition led
commercial publishers and companies
to produce calendars, posters and other
visual material that could cater to this
demand. But slowly, as Davis shows, im-
ages produced for worship were joined
by images of worship. he incipient form
of these was the Lakshmi or Ganesh
with a plate of prasad and/or lit diyas
painted at their feet, thus incorporating
the intended puja samagri (items used
for worship) into the image itself. he
image Ive described could be said to be
a more advanced version, where not just
the puja samagri, but the worshipper is
mirrored within the image. In this par-
ticular poster, there is no deity at all. But
there is a temple, and a human devotee
who contemplates the divine.

90 landscape
47 | 2016

he second picture I want to point out
seems to me to echo the irst in some
ways, and difers from it in others. he
irst image was dated mid-20th century,
while this dates to the late 19th or early
20th century. It is a beautifully illustrated
textile label, included in Catherine B
Ashers article Fantasizing the Mughals
and Popular Perceptions of the Taj Mahal.
Here, too, there is a human figure in
the let foreground, framed within an
arch and looking out into the distance.
he object of contemplation here is the
Taj and its relection, not a deity or a
temple. he young man stands with his
back to us, wearing a kurta and dhoti, as
well as a fetching red turban and a red
sash around his waist. Asher describes
him as overwhelmed by the buildings
signiicance, or perhaps smiten with love.
here is no obvious religiosity here, but
the old mendicant in red robes, seated
to the right of the image, may be said to
provide a hint of the spiritual.
book review |
he third image dates to the present day:
2010, to be precise. It is a beautiication
mural on Chennais Anna Salai, made by
the artist J P Krishna, and reproduced
as part of Roos Gerritsens essay on the
gradual replacement of political and ilm
hoardings along the citys major arteries
by murals meant to signify Tamil culture
and heritage. On the right hand side are
two Mamallapuram temples, their stone
carved outlines reproduced in almost
photographic detail. On the let, again
with their backs to us, are two igures
admiring the grandeur of the buildings.
Like the woman in the irst image and
the young man in the second, these view-
ers stand in for us the real-life viewers,
standing outside the frame. And in this
case, theyre tourists.
hese three images are drawn from three
very diferent time periods, and for very
diferent purposes calendar art for
Indian consumers, a commercial textile
label to be sent abroad, and a street-side
mural created by municipal iat to project
a new aspirational global urbanity. And
yet, in incorporating the viewers gaze
into the image itself, I see these images
as being very clearly in conversation.
Looked at together they open up a whole
range of thoughts about the aesthetics
of looking: whether the contemplation
of beauty is the same when the subject
is perceived as divine, as spiritual, or
as world heritage. At one level, it is a
conversation that emerges from the old
Benjaminian chestnut about the loss of
aura, but in terms of these speciic im-
ages, it could only have unfolded within
the pages of this book.
A Hindu Devotee Prays
landscape 91
47 | 2016
 'JFZYNHFYNTSRZWFQRFIJG^FWYNXY/50WNXMSFYMFYIJUNHYXY\TYTZWNXYXQTTPNSLFYYMJ
Mamallapuram heritage site. Anna Salai, January 2010.
And this is no accident. hrough the es-
says here, popular visual culture in India
emerges as an under-explored bin of
history. Rummaging through it is both
a way to produce an alternative archive,
and challenge tightly-policed notions of
genre. As the editors point out in their
Introduction, the Tasveer Ghar archive
is a place of cross-fertilisation. Indian
images that were mass-produced, be
they greeting cards, god posters, patriotic
prints, street art, advertisements or cinema
hoardings, journey through various
sorts of worlds, and as they do so, de-
velop complex biographies and relations
with other images. Single images (or a
constellation of them) oten freely criss-
cross any boundaries that might exist
between public and private, local and
global, religious and secular (oten more
like sacred and profane), and finally,
citizenship and consumer-hood.
92 landscape
47 | 2016
Patricia Uberois essay Good Morning
Welcome Svagatam, suitably for the
irst Indian anthropologist to take mass-
produced visual culture seriously as a
subject of study, is placed at the start of
the book, and helps locate calendar art
within the dense matrix of tradition and
modernity, Indian and Western. Stylis-
tically and technologically, calendar art is a
modern art form born of the Anglo-Indian
colonial encounter, though it obviously has
roots in several indigenous traditions also,
Uberoi writes. hus the recourse to tradi-
tion in calendar art is both a reaction to,
and is matched by, the appeal and prestige
of westernized modes of representation.
She ofers many illustrations of this, in-
cluding a semiotic reading of goddesses
and actresses saying Welcome, or ILU
ILU and Aum Sweet Aum as hybrid ap-
propriations of the colonisers language.
Yousuf Saeeds essay, which follows
Uberois, offers another example of
hybrid appropriation in the form of
Eid cards, which were likely to have
been inspired by Christmas cards, and
oten actually used blank picture cards
imported in bulk rom Europe [featuring]
photographs of locations and objects as
alien to Indian Eid as Greek and Italian
sculptures and monuments, ... besides
European cinema and theatre stars of the
time!. Saeed also traces the transforma-
tion of images on Eid cards. While early
20th-century cards those created in
India contained modern objects like
aeroplanes, cars and multi-storied build-
ings, and no Muslim-cap-wearing boys,
cards from the late 1980s are dominated
by images of Mecca, Medina, Quranic
calligraphy, crescent-and-star icons, pious
praying women and babies, and occasion-
ally, romantic rose bouquets.

he book is divided into sections themati-
cally rather than by age or region or type of
visual material. So, for instance, Christiane
Brosiuss partly-ethnographic meditation
on Valentines Day cards is not placed
alongside Yousuf Saeeds, but in the section
On Love, Land and Landscapes. Brosiuss
subject is a fascinating one how Archies
Gallery helped create a language of love for
post-liberalisation India but her insights
sometimes seem rather obvious, and her
analysis of the actual images sometimes
lopsided. For instance, she insists that the
scooter [on a card] cannot be an aspira-
tional marker because it is tied to lower-
class mobilities, small-town aspirations, and
a Nehruvian petit bourgeoisie, seeking to
establish its present-day association with
freedom using An Evening in Paris (1967)
really a rather old cinematic reference
point! All of this ignores the basic fact that
Archies clients are almost all school and
college students, and for most of these, a
two-wheeler certainly remains an aspira-
tional thing.
In the same section, Sumathi Ramaswamy
looks at another profoundly familiar form
of visual culture that has been crying out to
be studied: the mapped form of the nation
in popular prints. In the artful mapping of
the bazaar, she successfully shows, bod-
ies appear to mater more than boundaries,
the afective more than the abstract. But
Ramaswamys surprise at what she sees
as these free, demotic appropriations of
cartography, seems surprising: surely one
genealogy for 20th-century Bharat Mata
maps lies within pre-colonial cosmo-
logical traditions of map-making, whether
18th-century Rajasthani images like that of
Krishna as Visvarupa, containing the cos-
mos within the divine body, or Nathdwara
Pichhwais of pilgrimage routes.
The book review was first published in Biblio A Review of Books in September-November 2015.
We are thankful to the publishers for granting permission to reproduce the same.
Kajri Jains essay on monuments, land-
scapes and romance in popular imagery
is a wonderful example of how cross-
fertilisation works in Indian visual
culture. Drawing on religious/mytho-
logical prints, calendar art and cinema-
inspired paraphernalia, Jain argues that
the framing and staging of romantic
couples whether legendary folk lovers
like Sohni and Mahiwal, mythical ones
like Visvamitra and Menaka, Hindi ilm
couples or real-life ones consistently
represents them in and for the public:
outdoors and facing the viewer rather than
or as well as each other.
Between Rosie Thomass analysis of
the very particular Orient peddled by
early Indian cinema (Arabian Nights, the
Wadia version of Aladdin, Alif Laila, and
so on), Sabeena Gadihokes tracing of
ilm history through Lux ads, and Vishal
Rawlleys painstaking delineation of the
types of sexy ladies on Bhojpuri music
album covers, the At the Movies section
takes in a wide swathe of the ilm world.
In the Consuming Images section, Philip
Lutgendorf s analysis of tea advertise-
ments deals with familiar terrain in a
fascinating, thorough fashion. I enjoyed
Abigail McGowans tour of the modern
home, and her argument about the
erasure of labour from these depictions
of urban women. I was less persuaded
by her piting her visual archive against
cherry-picked literary sources from a
previous era: in particular, the com-
parison of mid-20th century calendar art
with he Brides Mirror (an Urdu classic
from 1869) seems strange.
he section Of Gods and Cities bridges
two rather diferent themes. Beginning
book review |
with the Richard Davis piece discussed
above, we move to Annapurna Garimellas
discussion of grihani (housewife) aesthet-
ics, as expressed in Dasara doll-displays
in South Indian households. he theme
of images that are used to perform iden-
tity in public segues nicely into Shirley
Abraham and Amit Madhesiyas Gods
on Tile, which explores somewhat
repetitively an urban phenomenon
weve all seen: the use of religious icons
to prevent people peeing in public space.
he deliberately engineered transforma-
tion of public space is also the subject
of Roos Gerritsens Chennai Beautiful,
mentioned earlier. Gerritsens analysis of
Tamil heritage as enshrined in Chennais
new murals is detailed and interesting, but
a less entrenched ideological perspective
might be beter able to unpack the con-
tents of what is currently lumped together
under the too-easy rubric of neo-liberal
globalisation, neo-liberal nostalgia, and
neo-liberal middle class publics. How do we
understand, for instance, the fact that many
of these sanitised murals are by the same
artist who made the now-removed political
hoardings? Stephen Ingliss essay on the
hugely popular artist K Madhavan who
made the original banners for SS Vasans
legendary ilm Chandralekha (1948) is
a revelation, and again, demonstrates
powerfully the way that cinematic imagery,
product advertising, religious iconography
and political propaganda low in and out of
each other. Madhavans vast and fascinating
body of work (of which only a fraction is
yet in any archive) makes clear, once and
for all, that the study of visual cultures is
truly fecund terrain, in which all of Indias
obsessions can come together. May Tasveer
Ghars many interminglings continue to
bear ever richer fruit.
landscape 93
47 | 2016
 book review |

Review by Kiran Kalamdani

A
CONTEMPORARY
INVENTORY
shameful in others) needs to be looked
at with understanding, feeling, humil-
ity and pragmatism. Greener ways of
living in small setlements (as against
the big city terrible place) need to be
understood and appreciated. Our fast-
growing populations demand more and
new things needs to be balanced with
responsibilities that relate to our recent/
distant past.

It could be that these slower civilizations

hile we as a nation move
of the past, churned out setlements that
were greener, more graceful and at peace
with the people, their politics and the
surrounding environment. Maybe all
was not well with them (read feudal-
ism, epidemics, illiteracy, ills of a caste
system and lower life expectancy) as
some would like to romanticise. But the
fact remains like a clear writing on the
wall, or rather ground, that till the Inde-
pendence of India one sees a continuous
patronage of such structures that speak
of a concern to create beautiful testimo-
nies to the need for public places around

BAOLIS OF BUNDI:
THE ANCIENT STEPWELLS
PUBLISHER: INTACH, New Delhi, 2015
Paperback, 152 pages
ISBN 978-93-82343-13-4
SIZE: 241 x 228 x 10 mm
W
towards an organized so-
ciety of the 21st Century,
having seen the worst of the Industrial
Revolution and riding the crest of a wave
of the Communications Revolution,
our past that was once glorious in parts
and moments (also despicable and
water. Lessons of compact setlements
and close-knit communities that are now
giving way to gated communities and
islands of opulence, rendering our towns
and cities non-inclusive, inequitable and
un-liveable for the majority, need to be
learnt once again. he public realm as a

94 landscape
47 | 2016

result is geting eroded, rendering public
spaces as unused, neglected or abused
dumps of garbage or obsolescence, so-
cially exclusive.
Baolis of Bundi by INTACH focuses on
this very aspect of a 14th century origin
setlement where the water sources (bao-
lis and kunds) were once public spaces
roughly distributed at a rate of one
per 1800 to 2000 people. Constructed
largely in the 16th and 17th centuries,
a period when Bundi enjoyed political
autonomy and stability It is indeed a wel-
come irst book to deal with 48 stepwells
and 10 kunds of a single urban region
in their local surroundings, artistic and
architectural features. he purpose of
the book seems to be to reach out to
the architectural student and teacher
(not mentioned anywhere, but obvious
from the visual language and the text),
or at best the heritage enthusiast who
may be looking for speciic material of
a region. Another noble purpose may
be to include the community involved
at one time in the makingand now
the present abuseof the monuments
and the rich heritage, a society divided
between a rich inheritancethe chal-
lenge of the future and a miserable
present condition in a language (only
English) which few users would under-
book review |
THE BAOLIS BAOLIS OF BUNDI : THE ANCIENT STEPWELLS
PLATFORMS
These are provided regularly at the junction of the steps
and the walls. These platforms serve as seating space for
travelers and visitors.
TORANAS
Toranas are seen above the gateway of elaborate baolis
adding richness to their architecture.
PARAPETS
&DQWLOHYHUHGSODWIRUPIRUSXOOH\VLQ*XODE%DROL
Parapets are constructed completely in stone with stone
VODEV[HGRQVWRQHSRVWVSURYLGHGDWWKHWHUUDFHQDUURZ
walkways leading to arched gateways and at other elevated
areas in order to prevent accidents.
PULLEYS
Pulley system for drawing water is found at cantilevered
platforms at the terrace level along the walls of the well.
ORNAMENTATION AND
SURFACE DECORATIONS
The following patterns of ornamentation are seen in the $MKDURNKDLQ1DKDU'KRRVNL%DROL $QHODERUDWHO\RUQDPHQWHGJDWHZD\LQ5DQLMLNL%DROL
3ODWIRUPVDORQJWKHVWHSVOHDGLQJWRWKHZHOO5DQLMLNL%DROL
various baolis at Bundi:
Paintings: Surface decorations in the forms of paintings
from the Bundi School of Painting can be seen on the
VXUIDFHDQGVRPHWLPHVWKHVRIWRIDUFKHV
Ornamentation in plaster: 5HOLHIZRUNLQOLPHSODVWHULV
IRXQGLQJDWHZD\VbaradarisDQGchhatris is another form
of surface decoration.
Relief work in stone: Ornamentation in the form of stone
sculpture is widely observed in more elaborate baolis
especially in the toranachhatrisEUDFNHWVQLFKHVSDUDSHW
SDQHOVFROXPQVSLOODUVSODWIRUPVDQGRUQDPHQWDOVWRQH
bands etc. 3URMHFWLQJZDONZD\VVXSSRUWHGE\VWRQHEUDFNHWVDQGSURWHFWHGE\ Torana at the entrance to the Bhawaldi Baoli
0XUDOVXQGHUDQHQWUDQFHDUFKLQ5DQLMLNL%DROL
VWRQHSDUDSHWZDOOV5DQLMLNL%DROL
 
stand or appreciate. If the inal aim is to the relative sizes of the creations. he
ensure conservation of these 58 baolis text information on the condition map-
and kunds, what is urgently required ping drawings are barely visible in the
is a multidisciplinary approach where drawings.
the anthropologist/sociologist/ social
worker; the water expert, the hydraulic Directions for future development of
engineer, the economist, the cratsper- the baolis as a system of water conserva-
son and the architect work together. he tion and their public use is a diicult
pilot project completed for the Bhawaldi challenge due to the advent of piped
Baoli, a State-Protected Monument is a water supply and drainage. Perhaps there
good beginning. But a legal-technical- were instances of water contamination,
inancial and user-based framework for disease, water scarcity and famines that
the rest of the baolis and kunds needs to may be part of the collective memory
be initiated which is based on commu- which needs to be explored in such
nity participation but initiated through an exercise. If government action and
a Heritage Cell for the town or even public apathy has led to the neglect of
the taluka. a collective heritage, then there should
obviously be corrective measures from
A near complete omission of the com- both ends and the book points towards
munity in terms of recent pictures (the that without making an issue.
archival etchings and lithographs show
an abundance) is conspicuous. It is the Juta Jain Neubauers introduction to
people who give meaning and reason for the subject with a reference to the irst
the water, the stones, bricks, lime/ce- stepwells at Girnar and the irst struc-
ment mortar to exist. hese cannot exist tural stepwells of Gujarat then takes
, survive or be abused and divorced from a sweeping view that includes Hindu,
each other. he architectural drawings Islamic, Jain patronage in Northern,
show several plans drawn at diferent western and central India. She also
scales to it into the available spaces in makes a gender issue saying that most
the book. A comparative drawing with of these wells were commissioned by
few representative baolis and kunds with women with philanthropic or charitable
their respective sections could have been concerns or at times to perpetuate the
a good analytical exercise to explore memory of a patron while making a
landscape 95
47 | 2016
 book review |

public gesture. Of particular note is the

INVENTORY OF BAOLIS
B17 GULAB BAOLI B18 DAMRA BAOLI (BISHTI BAOLI) B19 VYASJI KI BAOLI B20 BHAWAL DEV KI BAOLI (BHAWALDI BAOLI)
INVENTORY OF BAOLIS

heroine of the book one Rani Nathwatji,

the queen of Rao Raja Aniruddh Singh
(1681-1695) who built 20 out of the LOCATION AND SETTING
%XO %XO &KDERXWUD below Handja
Horse. There is a fountain on the
DESCRIPTION
HISTORIC
LOCATION AND SETTING
$ORQJ PDLQ URDG VXUURXQGHG E\
stores.
DESCRIPTION
HISTORIC
LOCATION AND SETTING
In a small street on the left side of
Main street when coming from 'DP-
DESCRIPTION
HISTORIC
LOCATION AND SETTING
Souraj Pol
DESCRIPTION
HISTORIC
The baoli ZDV EXLOW GXULQJ WKH WK According some sources the baoli is The date of construction is unknown. OWNERSHIP: Private The baoli was built in 1686 (inscrip
side of the EDROLVZDOODQGDSRPS UD%DROL

48 baolis, the most prominent among

century by the ruler Oumet Singh.
A building was made above the en
trance. ARCHITECTURAL
The baoli KDV D 8 SODQ ZLWK WKUHH
OWNERSHIP: Public
LJKWVRIUDWKHUQDUURZVWHSVJRLQJ
USE straight to the deep well. The well
PAST USE: Drinking water itself is surrounded on three of its
OWNERSHIP: Public
USE
PAST USE: Drinking water
PRESENT USE: Abandoned
PROTECTION: 8QSURWHFWHG
Protected by the Department of Ar
approximately 400 years old.
ARCHITECTURAL
The baoli is rectangular in plan. It has
a rather narrow and steep stair go
ing straight to the well located deep.
7KHUH DUH VPDOO LJKWV RI kund like
OWNERSHIP: Public
USE
PAST USE: Drinking water
PRESENT USE: Not used anymore
PROTECTION: 8QSURWHFWHG
WLRQE\%KDZ6LQJKRQHRIWKHUXO
ARCHITECTURAL USE
ers of Bundi.
The baoli is rectangular in plan. It has PAST USE: Drinking water
a very simple portico at the entrance PRESENT USE: Not used anymore ARCHITECTURAL
with a pointed arch and a small met PROTECTION: Protected
The baoli has a L plan and monu
al gate. Then a stair goes straight to mental features: an entrance with
WKH ZHOO ZLWK D LJKW RI IRXU VKRUW MATERIALS OF CONSTRUCTION FKKDWULV resting platforms on both

them being the Raniji ki Baori in 1699.

PRESENT USE: Not used anymore sides by rectangular platforms. The steps on the sides of the well. VWHSV DW WKH WRS OLQWHO DQG EHDPV Stone masonry with plaster VLGHV RI WKH ODUJH VWDLUV D SRUWLFR
FKHRORJ\DQG0XVHXPV*R5
PROTECTION: 8QSURWHFWHG
water drawing platform is located MATERIALS OF CONSTRUCTION representing trabeated construction. showing post and beam lintel and
ORNAMENTATION
on the left wall. MATERIALS OF CONSTRUCTION Cut and uncut stones with mortar. 7KH ZHOO FDQ EH UHDFKHG E\ D LJKW foliated arch and a second one above
MATERIALS OF CONSTRUCTION Cut and uncut stones with mortar. A The baoli can be compared to the Gu- 6ODEV RI VWRQH RQ WKH VWDLUV 5HXVHG of short steps symmetrical to the up the well with a double level of foliat
8QFXW DQG FXW VWRQH ZLWK PRUWDU ORNAMENTATION recent plaster on the right wall. ODE %DROL with a simple outline and stones. per one. A narrow rectangular plat ed arches. The upper level is linked
5HFHQW SODVWHU RQ WKH OHIW VLGH  ZDOO 9HU\ OLWWOH GHFRUDWLRQ 1LFKHV ZLWK features. It is also made of some re
form is built on two sides of the well. to the stairs by narrow rectangular
EDVUHOLHI VFXOSWXUHV 6RPH GHFR used stones. One can notice a little

Her typical view of the subject, however,

of the third series of steps. SIGNIFICANCE SIGNIFICANCE 5HPDLQVRIWKHZDWHUGUDZLQJSODW SIGNIFICANCE platforms. The water drawing plat
rated stones in the wall are reused niche projecting on the wall and two
+,6725,& +,6725,& form can be seen on the front wall. +,6725,& form is missing.
stones. This baoli is one of the most RWKHUV ZLWK EDVUHOLHI FDUYHG VFXOS
SIGNIFICANCE $5&+,7(&785$/ $5&+,7(&785$/ $5&+,7(&785$/
common type of baolis of Bundi. tures. ORNAMENTATION ORNAMENTATION
+,6725,& &8/785$/ &8/785$/ &8/785$/
The decoration is reduced to the re The baoli KDV D YHU\ ULFK GHFRUD
$5&+,7(&785$/ ASSOCIATIONAL ASSOCIATIONAL ASSOCIATIONAL
mains of carved corbels and a niche tion. The architectural features are
&8/785$/ 27+(5 27+(5 27+(5
ZLWKDFDUYHGEDVUHOLHIVFXOSWXUHLQ highlighted by rectilinear frames
ASSOCIATIONAL

makes mention of typically Gujarat,

side. The general features of the baoli and foliated arches projecting out of
27+(5 GRADE: II GRADE: II GRADE: I
are comparable to 'DPUD %DROL and VPDOOHU RQHV EHORZ FUHDWLQJ ZLGH
*XODE %DROL Carved stones of other effects of light and shade. Architec
GRADE: II
PRESENT CONDITION PRESENT CONDITION
temples have been used. PRESENT CONDITION
tural features comprises niches with
No maintenance. The water is very )DLU 7KH ZDWHU LV TXLWH FOHDU EXW Limited signs of deterioration. Trac pediments resembling the temples
PRESENT CONDITION VLNKDUDV WRUHG EUDFNHWV FDUYHG FRU
Advanced state of decay. The water dirty with garbage. Trees are grow there are garbage and pigeons drop es of moisture. Pigeons droppings.

Rajasthan, Delhi and Agra. Here it is

ing on the walls. Buildings have pings found all around. 5HVWRUDWLRQ  ZRUN KDV EHHQ XQGHU EHOVDQGRUQDPHQWVSODVWHUHGRQHV
is very dirty with garbage. Trees are ZLWK ORWXV RZHUV VFXOSWXUHV UH
growing on the walls. Pigeons drop been made above the EDROL taken by Intach in 2010.
PDLQV RI H[TXLVLWH SDLQWLQJV LQVLGH
pings. WKHURRIRIWKHSRUWLFRWKDWKDYHXQ
fortunately been altered by the new
plaster. The upper part of the same
19.00m ENTRANCE
13.00m portico has 0DWV\DWKHUVWDYDWDURI

important to mention that several other

14.00m
DN 9LVKQX 7KLV baoli shows the evolu
tion of stylistic decoration in the Is
lamic period. It can be compared to
5DQLMLNL%DROL
WELL
9.00m

20.00m
5.00m

WELL DN ENTRANCE

6.00m
parts of South-Central India have a long
WELL DN ENTRANCE

WELL
DN

0 1 2 5m 0 1 2 5m 012 5m
0 1 2 5m 20.00m
 ENTRANCE 

and varied history of the subject where

the Yadavas, followed by the Bahamani
(Bijapur, Ahmadnagar, Golconda, Bidar, BAOLIS OF BUNDI : THE ANCIENT STEPWELLS

Berar) states and later the Marathas

operating in the semi-arid Deccan Pla-
teau also evolved several water supply
systems that included stepwells, kunds
and aqueducts that are being explored,
documented, revived, conserved. She
does make a mention for the need for
region-wise monographs on waterscapes
where a wealth on the subject remains to
be made public.

The graphic design and layout of the

book raises the standards to a new level
on this subject. In the inal analysis, the
book raises many expectations and
hopes on the subject but ends up an-
swering only a few of them. For someone 1 0 1 2 3 4M

looking for a basic introduction to the

Condition Mapping
subject, it is a good start up. Sectional Elevation 2-2
SHEET NO. BDB/AD/17
DATE SEPTEMBER 2009
DRAWN BY NISAR KHAN, CONSERVATION ARCHITECT

111

96 landscape
47 | 2016
books
LANDSCAPE DESIGN & PLANNING, BIODIVERSITY, ECOLOGY India: A Sacred Geography
Diana L. Eck
An Indian Garden
Harmony, Reprint Edition, 2013
Emilie Mary Eggar
Kessinger Publishing, 2010 Indian Cities: Oxford India Short Introductions
Annapurna Shaw
Winged Wonders of Rashtrapati Bhavan
Oxford University Press, India, 2012
Dr Thomas Mathew
Ministry of Information and Technology, The Oxford Anthology of the Modern Indian City
Publication Division, 2014 Volume II: Making and Unmaking the City-Politics,
Culture, and Life Forms
Sacred Plants of India
Vinay Lal
Nanditha Krishna and M. Amirthalingam
OUP India, 2013
Penguin India, 2014
Baolis of Bundi: The Ancient Stepwells
Sacred Animals of India
INTACH, New Delhi, 2015
by Nanditha Krishna
Penguin India, 2014 Kumbh Mela: Mapping the Ephemeral Mega City
Rahul Mehrotra, Tarun Khanna and Diana Eck
Birds in My Indian Garden
Hatje Cantz, 2015
Malcolm MacDonald
Alfred A. Knopf, First Edition (1961), Reprint, 2015 Baroda: A Cosmopolitan Provenance in Transition
Edited by Priya Maholay Jaradi
ARCHITECTURE AND PLANNING Marg Foundation, 2015

Learning from Delhi: Dispersed Initiatives in Changing Nalanda: Situating the Great Monastery
Urban Landscapes Frederick M. Asher
Maurice Mitchell and Shamoon Patwari Marg Foundation, 2015
Routledge, 2010
Ladakh: A Photo Travelogue
Planning the City: Urbanization and Reform in Sohini Sen
Calcutta (c. 1800 - c. 1940) Niyogi books, 2015
Partho Datta
Tulika, Nil Edition, 2012
Banaras: City of Light
Diana L. Eck
Urban and Regional Planning in India Penguin India, 2015
A Handbook for Professional Practice
S.K. Kulshrestha
The Lost River
by Michel Danino
SAGE Publication India, 2012
Penguin India, 2015
HISTORY, CULTURE AND ARTS The Incredible History of Indias Geography
Sanjeev Sanyal and Sowmya Rajendran
Land of Two Rivers
Penguin India, 2015
Nitish Sengupta
Penguin India, 2011

landscape 97
47 | 2016
 47 AUTHORS
CONTRIBUTORS
Anjan Mitra is a committed designer and believes in
creating a holistic experience through design. Through
his works he seeks realms beyond physical realities, be
it in architectural projects, in cultural tourism, heritage
conservation or landscape.
appropriatealternative@gmail.com
Iftikhar-Mulk Chishti has been associated with teaching
at School of Planning and Architecture, New Delhi for
more than two decades. His design practice includes
GHVLJQLQJLQVWDOODWLRQVWKHDWUHVHWVDQGOPPDNLQJ+HLV
the convenor of the public platform Design X Design an
initiative of Alliance Francaise de Delhi and his Studio iF.
imchishti@hotmail.com
Jamal Ansari is an urban and regional planner by
SURIHVVLRQZLWKPRUHYHGHFDGHVRIH[SHULHQFHLQ
teaching and practice.
ansari.jamal@gmail.com
Kiran Kalamdani is an architect, urban designer and
conservation enthusiast heading the practice, Kimaya,
since 1990. He has taught for a decade at Marathwada
Mitra Mandal College, Pune.
kimaya.arch@gmail.com
Maithily G Velangi is a landscape architect recently
graduated from the School of Planning and Architecture,
1HZ'HOKL6KHKDVEHHQZRUNLQJLQWKHODQGVFDSHHOG
RYHUYH\HDUVZRUNLQJRQYDULHGVFDOHVDQGW\SRORJLHV
of projects.
maithilygv@gmail.com
Nidhi Madan, a landscape architect, is Director,
Samarthyam, National Centre for Accessible Environments,
where she provides design and research expertise in
creating barrier-free, accessible urban spaces.
madannidhi@gmail.com
Nikhil Chaudhary is an architect-urban designer and
works with EMBARQ India as Senior Project Associate.
A self-taught graphic artist, he has published several
comics focusing on urban development, environment and
architecture.
nikhilchaudhary.aj@gmail.com
98 landscape
47 | 2016
Nupur Prothi Khanna is a landscape architect,
with an education in Physical Planning and Historic
Conservation. She is the Founder-Director of Beyond
Built, a research based design practice in Delhi.
nupurprothi@gmail.com
Om Prakash Mathur is currently Senior Fellow and
Head, Urban Studies at the Institute of Social Sciences
and Non-resident Senior Fellow, Global Cities Institute at
the University of Toronto. He was also a member, Prime
Ministers National Review Committee on JNNURM
(2005-2014).
om_mathur@yahoo.com
Raj Rewal is an architect and urban design consultant
whose approach to architecture responds to the
complexities of place and time, the context of climate,
nature and culture and comprise a wide range of
building typologies. His works have been widely
exhibited and published, with monographs in English
and French.
mail@rajrewal.org
Shiny Varghese obtained her degree in Journalism from
Asian College of Journalism, Bangalore in the year 2000.
After working for few newspapers and magazines, she
joined Design Today, where she worked for six years.
Presently, she is working with The Indian Express and
follows design and architecture in the newspaper.
shinee.v@gmail.com
Trisha Gupta is a New Delhi based critic and freelance
writer. She has written extensively on books, art,
photography, cinema and the city.
trishagupta@yahoo.co.uk
 know your plants |

Millettia peguensis
K E E P

Monhnein rosewood
&

http://www.lahoregardening.com
U T
C

Millettia is named in honour of J.L. Mil-
let, a French botanist. Its genus includes
many species of trees and climbers, na-
tives of the tropics and subtropics of Asia
and Africa.
Family
Fabaceae
Common Name
Monhnein rosewood, Jewels on a string
Distribution
It is a native of Myanmar and Thailand and
is now commonly cultivated throughout
India.
Description
Millettia is a medium sized deciduous tree
with a dense conical crown and a kind of
drooping branchlets. The trunk is straight,
cylindrical with few main branches, grow-
ing approximately from the same place
on the trunk. These, in turn divide and re
GLYLGH LQWR QH EUDQFKOHWV ZKLFK GURRS
down. The bark is smooth, light-brown
(TZSHNQTK8HNJSYNH
and flakes off in easily in small irregular
pieces. The leaves are light green in col-
our, elliptic-oblong, slightly leathery, with
prominent midribs and blunt tips. They fall
in March and new ones appear in April.
It flowers at the same time. The flowers
are small, pea-shaped with petals which
are purplish or mauve. Each flower is set
on a small stalk. The fruit, in the form
of woody pod, is pale to light-brown in
colour, flat, slightly curved with a rough,
10-12 mts
knobby surface. It starts forming soon
after flowering and attains full size in
3-4 months after which it fully matures
by end of the year, then turning yellowish
in January-February. The tree grows to a 08-10 mts
height of 10-15 meters. Its average life is
50-60 years.
https://icwow.blogspot.in
Climate
It can be grown in a wide range of climatic
conditions but prefers slightly dry regions.
Soil
The tree flourishes in well-drained, light
soil with moisture. It does not grow well
in waterlogged or salty soils.
Propagation and Training
It can easily be raised from seeds which
are sown in April-May on raised beds.
Young plants need protection from sun.
It is a rather slow growing in the early age
but picks up and comes to flowering when References
4-5 years old. In early stages, it requires Manikam T J and Bijit Ghosh. Trees for Landscaping
careful training to a single stem and so (School of Planning & Architecture, 1968).
needs staking. Little pruning is needed 2FMJXM\FWN/0+QTWFTK)JQMN
afterwards. & Industrial Research, 1963).
Mukhopadhyay, A and G S Randhawa. Floriculture
Design Uses in India (Allied Publishers, New Delhi, 1986).
One of the most beautiful ornamental
Krishen, Pradip. Trees of Delhi (DK Pvt. Ltd. 2006).
trees when covered with delicate flowers, \\\T\JWXTSINFSJY
it looks feathery because of its slender Bagla, Pallava and Subhadra Menon. Trees of
main trunk and branches and the char- India (Timeless Books, New Delhi, 2000).
acteristic foliage, and so is planted on Khullar, Rupinder. Flowering Trees (Timeless
roadsides, parks and small gardens. Books, New Delhi, 2006.

LA, JOURNAL OF LANDSCAPE ARCHITECTURE

landscape 99
47 | 2016
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notes |

notes |
Mu-
Metropolitan
Iran c.1800.
| Garden Carpet,
notes
seum of Art intersected
stream of water by
a wide central of them enlivened
courses, all J
by narrower XY^QN_JI9M
JYMJ\FYJWFWJMNLMQ^chahar baghs.
XMYMFYQNP of two
as a whole is
composition each unit is
at the
the center of tree-
At both ends, marked by a
physical water courses,
and drama, litle crossing of two trees jut out
di-
scribed in poetry From it large

DISE E
In a culture so proicient studded island.
the neighbouri
ng squares. Beyond
| evidence is available. things to do with land agonally into
g

PARA
notes units representin
e A Search in all more formal 
speaking of landscap and sophisticated and where
these are four WT\JWGJI
X&QTSLYMJ
I
As always, when references to associ-
and the husbandin
g of resources, FSTWSFRJSYFQUTTQT WXJNXFT\JW^UFYMFS

IN PARADIS
authentic traditions

KALIDASA
ancient India, d to Q\FYJWHTZ
and gardens in ent are he search for of form the backgroun \NIJHJSYWF
border the narrow
courses
designed environm n and the making elaborate gardens other smaller ones
ated with the perceptio pre-Islamic period in the epics and
ABOUT gardens or the
and general mansions bly
on
s in the the lives described of visual and photo :
www.metm
useum.org
tantalizingly brief Indian landscape of physical perplexing shortage Quoted from
perfumed (presuma from a paucity literature, the and form has
LD terraces somewhat content
IN THE WOR
palace sufers s, speciic
water,
by fountains and
such largely on reference clues as to their
AND GARDENS by plants?), cooled
in the same compositi of
ons, remains. It depends
illustrations
in literature, always been a mater
of concern to designers
roots in the indigenou
s
LD GARDEN especially when,
with the abundanc
e descriptions and
in art, for example,
sculptural searching for aesthetic and trefoil, so
much so Poetry of Refuge
THE WOR these are contrasted
word-pictures
of the in the epics, and
complexes. On
the other garden traditions
. ground is grass XVDQGLQEDGWDVWH by
marvellously graphic almost all of the 144 friezes in temple to surface of the to a Garden Carpet
life, traditions
related ...the whole OGEHVXSHUXR he poem Ode quoted
world of nature.
In fact, hand, in everyday of land have Garden USHWRQLWZRX Sui poet (c.1500)
draw very precise
images
appropriate use Versions of the WKDWWROD\DFD an unknown
and Laleh Bakhtiar
verses of this poem verse could the spiritually
strongly present
in rituals, ly by Nader Ardalan which
wildlife. Each misdirected? may be to mundane lly the aesthetic
from nature and for millennia been and the their search is Memoirs of
Jahangir
conined as that and outlines speciica
for a miniature
painting, of sacred places, Could it be that gardens, gardens ations of physical and carpet:
be the inspiration vignete the identiication from the that the basis of these its well with literal consider guides both garden
this sharply etched geographic features, Is it possible shape and Carpet imagery , from
as for example, veneration of the sacred which guided their of the Kash- the Persian tradition great visual proximit
y.
clarity: coast by way of or the premise our cur- he natural wonders belonging to lives an ever lovely
of virtually cinematic mountains to the al so diferent from ic times to the

Burning under the

a rog leaps up rom
suns iery wreath
the muddy pond
of rays, rivers in the plains.
and medicinal
vegetation is well
he spiritual, astrologic of
signiicance of
documented.
various kinds
composition was
rent vision of what
be that we cannot
before us? Perhaps;
we think a garden
read the clues
the appreciation
should
that appear
of the
record of
T mir valley inspired

the inal blossomi

ng of
the Mughals
that represen
to create gardens a tradition

centuries to
the crats
t ancient pre-Islam

teenth and
ents between
garden achievem h century in Persia
eighteent
and in the Mughal
the six-

gardens in India.
he most famous
earliest documented
known as the
and perhaps

Baharestan or
also the
garden carpet
Spring Car-
Sassanian
is
Here in this carpet
spring,
Unscorched by
Safe too rom
summers ardent
autumns boisterou
flame,
s gales,
parasol hood is limited by the stretching back ent ioned by the still,
to sit under the tired. in classic
gardens of antiquity water managem pet, commiss AD) Is gaily blooming
that is thirsty and ind expression when the re- of horticulture, weaving Khusrow (531-579
of a deadly cobra All these traditions ral treatises and
prac- it not possible, in Persia crat of carpet Shahanshah
their remains. Is the garden imagined carpet weaving he art and than hall of the Palace wide border is
the garden
planning and architectu Vastu Shastra. he are observed and and indeed, sig- aking) is more for the main audience is now Iraq). It he handsome
amongst drama- and mains of looking at it Asia. heir aesthetic their (and of garden-m old in the Persian (in what
Acknowledged
as foremost tices, such as Manasara and royal complexes, bias in favour and Central of years at Ctesiphon
in classical Sanskrit
literature, temple that there is a he idea that gardens beyond the sum two thousand garden carpet, long and 27 meter the
wide. wall
g the Park within
remains of cities, y niicance lies are;
tists and poets two thousand years
and kunds, exhibit profoundl only as a built product? be perceived , visually enticing as these region. he idea of the ly styl- was 140 meter
Arab writings of Protecting , preservin a magic space
about stepwells, baolis appropriately, elements they ofer but graphical in renewal:
Kalidasa wrote m B.C. concepts, can also, equally a certain way, It is described of the For refuge and
of the irst millenniu planning and spatial art remains examined in with its accurate chahar- AD) the design , music and rejoicing,
ago, at the close fourth or systematic site sources for the horticultural orary design,
and of the familiar period (c. 637
suggest, in the s are also thematic as processes of deserves. ised depiction plan of a royal
pleasure For concourse
lonely spell
or as some scholars and sometime traditional the emphasis it lessons for contemp insights into the es an interestin
g connec-
carpet was the beds For contemplations lovers shy disclo-
or adaptation of somewhat without hic level, bagh establish ly outdoor It represented
rent by the moon ith century A.D. the interpretation rary landscape at a philosop man and nature. the essential garden or paradise. blossoming trees Conversations
grave or
Nights indigo masses on water, motif in contempo the most vividly
relationship between tion between
ure and the crat
of and
practicalities built reveals its form and nts of of gardens of spring lowers in sure, ...
aesthetics and wondrous mansions study of his work re. Riverside arrangeme of In the history out- practice of horticult relationship which and water lowing
niicance to the various gems Even a cursory and architectu where even scatered a g, a divided by paths
le connection s in India today. cooled by fountains; the land- are a striking example inluential are those more than indoor furnishin was a broad
border
here is an inseparab perception of of creating landscape liquid sandal concern with
ways of perceiving
e view, ghats and temples al axis the in stone, suggest Garden Carpets amongst the
major
channels. here beds
lines, structured is probably unique of the world. Po- here again were

T between poetry

plation of the world,

and the
landscape; art stems
from the contem-
and of nature.
origins of artistic
Writing
move-
Environmental
Imagery

to Summer in
he imagery related Rtusamharam (he
the irst
cool to the touch;
the world seeks
relief in these
in summers scorching
heat, my love

the senses,
scape and the
for example), and
nature.
world (a clouds-ey with
a deep engageme
nt how the desire

between being
for an ontologic
the earth and the
connection between a characteristic of all
and god,
religious constructi
ons being translated is
sky, or

into
glimpse of past
we can relate to
grandeur. he ease

prototypes represente
with which
familiar and visually the
d by, for instance,
or the picturesqu
robust

ely informal
On the banks
of the Dal Lake,
the for-
like an enormou
mal garden spreads carpet, seeming
exquisitely paterned the hill-side to
s gardening tradition
etry about both
speaks of them
s
gardens and
in the same idiom,
a garden
carpets
im-
and vice
all around, and
of bright coloured
ground in this
thread.
lowers. he
wonderful piece
he leaves of
yellow
was
trees and
about the literary of perfumed, luring s the idea r landscape. Its
genesis
baroque vista, down
as
agining the carpet conceptual inter- of gold were inlaid
essay on the genesis two verses of the
poem Palace terraces breath... imagery encourage a uniquely spectacula style, and also, closer
home,
to unroll gently of silk. Fruits
ments in a deinitive ral is a luminous il- beneath the beloveds he wealth of may yield y the veneration English landscape , taking with
it the rip-
versa; it suggests
a lowers were chan-
e, the renowned architectu Gathering of the Seasons) ted and wine trembling
a particular reading of his work in the rituals that accompan is mystique of Mughal gardens,
the lake-edge channelle d and exterior, quite polished stones, the water
the Picturesqu
Pevsner postulates
that extremely sophistica that
beyond that of
literary the sun, and its
realization the geometrical the only waters weaving of interior beyond the usual with
the blossoms
pre-
historian Nikolaus lustration of an - climate, a vision of landscape of the water and the illusion that pling, cascading e, in the nels were crystals,
of environment that it may n of the edge between and 33
approach to gardening on
in
description, and sometimes creates its bare spring; elsewher diferent from, between landscape
the entirely new detailed perception genius or lyrical in the artistic negotiatio is in its remains, from a natural kind of interactions cious stones
hinged to a diferent point
of view, meaning of a garden the ephemera there is another theory about landscape,
England, which people, and places: suggest the way of gar- water and land. and not also in distant plains, by a river- and outdoor
18th century - of the lessons from
Swami
the very deinition bones if you like, t. oten than not indoor space
of a new aesthetic
ABOVE
Tansen take
with insights about looking at vital constituen garden, more
invention Akbar watching which are so frequently that are its other
the miniature
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between
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pause.
landscape garden writers and
Haridas in Vrindavan; angarh (Rajasthan den space. Indeed, rary s eloquently de-
by philosophers, moon longed for
eagerly painting in
the Jaipur-Kish painter. , which its contempo d, and sometime
1710 and 1730
gardeners . the
mixed style,
circa A.D. 1750
by unknown
the larger landscape neatness. mentione
architects and deep waters inviting ikipedia.org with surprising
virtuosi, not by Image source:
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to plunge in continually quiet beauty landscape 17
is replete with images days drawing to
a close in
he poetry of Kalidasa gardens, a running low
of landscape and the tide of desire
and evocations 32 landscape
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vision of the world scorching summer
nature-centric of sig-
is in it a resonance my love
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