Port City Multiculturality

At the Marseille St. Charles TGV, I turn to my fellow traveler, he, with the wife, three smart phones and two blond children. I smile goodbye. “Waalekum Salaam” he responds.

Francois, mine host, greets me warmly, and, as he leads me down the grand steps outside the station, tells me that this city is France’s most multicultural. We walk down the Longue des Capuchins and the flavors of multiculturalism assail our senses. Hotels and street side stalls present cuisines from the fragrant Orient. Lebanese, Moroccan, Turkish and Arab fares grab our attention. Sweets steeped in sugar syrup, sweets made of burnt milk, sweetmeats not unlike barfis bulge lusciously from corrugated paper canapés. As we turn right into the main thoroughfare La Canebiere making our way towards the quay, the Vieux Port, hotels and street front menus written in chalk on blackboard all show the day’s fare, all halaal. Right on the Quai de la Fraternite, on the Neuve is the Jaipur, an Indian Restaurant. Khalil, mine host, is a Pakistani from Peshawar, and offers you naans you could go to war for.

You could look at anyone on the street and know neither ethnicity nor nationality. France has legislated prohibition on displaying religious affiliation on clothing or person. Everyone dresses similarly, exquisitely. But buildings and artifacts, sights, smells the music and speaking in tongues betray the confluence of cultures that only happen in a robust port city.

What is an architect worth?

What is the value of a professional architect?

This question came up, when, in a recent round of placements for Architectural Interns, one of India's largest and most prolific architectural firms offered interns from my college Rupees Five Hundred per month (Rs.500/-) as salary for placing them. You read that right. Both times.

Apart from being deviant, perverse and downright ridiculous, it is unfortunately not so far from the norm as far as architectural interns in Bombay or the rest of the country are concerned. In architecture colleges, the coursework is for a five-year duration. The final semester of this long course is a term of professional internship where a student joins a firm to understand the nitty-grittys of professional practice and also be an active part of the team of architects that execute projects. They are never intended to be observers or by-standers. Students who join as interns are made to work without any fixed work conditions, and depending from office to office, have to work 12 hours a day or more, and even during weekends. They are (mostly) not reimbursed travel expenses for commuting to work and, as some say, 'hamare office mein chai ka paisa bhi dena padta hai.'

Despite this, many interns join architects offering them an internship salary of anywhere between Rs. 2,500/- to Rs.7,500/-. Few firms offer Rs.10,000/- or above. The highest I have heard is Rs.18,000/- which a student of mine got by joining a firm in Delhi. I have often wondered why, no matter what the pittance offered to them, do students get reconciled, even happy to a salary that amounts to an insulting amount of bheekh (largesse)? The reasons interns give us are:
1. It is a good architectural design firm.
2. I always wanted to work with so-and-so architect.
3. I am getting to learn so many things.
4. I will do my internship here, and then change when the mandatory time period is over.
5. I will get a good recommendation letter from the firm when I apply for post-graduate studies.
6. I am not the lowest paid (in comparison to my peers) so it’s OK.

Why do architects not have even a twinge of conscience when paying sums like these? Architectural firms come in all sizes. There are many one-person proprietary firms with few projects and resources, and then there are some monster firms with staff strengths of over 200 employees and office branches in several cities. Paying such low salaries is not necessarily restricted to size, as is evident by my initial example. Mostly it is a culture of conditioning. And added to that the arrogance of self-aggrandizement. The reasons firms give for their salary structure is:
1. Students don’t learn anything in college. We have to spend time teaching them.
2. They don’t stay with us for a longer duration; they run away the first opportunity they get.
3. We are a small firm; we can’t afford to pay them more.
4. They will never get a better experience than in our firm.
5. They won’t sign a bond to stay in our firm for (x) years.
6. Everybody is doing the same thing.
7. We don't really want interns.

It is by plunging to the lowest common denominator that both employers and interns perpetuate this culture of exploitation. In my irritation and frustration (we have, for several years, tried to get our students placed in offices that pay what the interns minimally deserve, but have not succeeded), I propose that, instead of wasting their half-decade long learning, skills, experience and talent to people who do not value them, they should instead join the unskilled workforce and get jobs either breaking stones or sweeping floors.

Here is the definition of an unskilled employee: An unskilled employee is one who does operations that involve the performance of simple duties, which require the experience of little of no independent judgment or previous experience although familiarity with the occupational environment is necessary. His work may thus require in addition to physical exertion familiarity with variety of articles or goods.

Just as a comparison: an architectural intern is one who does operations that involve the making of architectural drawings and models (the drawings made on computers using specialized software), making site visits, doing site supervision and measurements, meeting clients and other professional consultants, visiting local municipal agencies for procuring certificates of commencement for projects, etc., helping in the creation and checking of tenders and bills of quantities, writing correspondence, sending/receiving drawings and other documents, and doing pretty much everything required by the employee; which requires five years of professional learnings, but whose independent judgment is of little or no value, with no previous office experience, although familiarity with the occupational environment is necessary. The work may require, in addition to physical exertion, familiarity with variety of articles or goods.

Nevertheless, for the purposes of argument let us consider the architectural intern unskilled.

Unskilled workers come under the purview of the Minimum Wages Act, 1948, which is a legislative protection for workers to receive a minimum wage, and a fundamental premise of decent work. With effect from November 2009, the National Floor Level of Minimum Wage is Rs.100/- per day. Minimum wages are fixed for work up to 9 hours a day and 48 hours per week.

For employment in Maharashtra, the Labor Department, Government of Maharashtra makes the following provisions for unskilled stone crushers/breakers: their basic wage varies from Rs.169.23 to Rs.192.31 per day. The total minimum wage for stone crushing/breaking varies from Rs.227.63 to Rs. 250.71 per day. That works out to Rs.5,918.38 at the very minimum for a 26 day working month (a 6-day week).

Unskilled sweepers and scavengers have a similar basic wage and their total minimum wage varies from Rs.194.87 to Rs. 217.95 per day. This works out to Rs. 5,066.62 at the very minimum per month.

To the best of my knowledge, almost one out of every four architectural firms I know of pays their architectural interns less than this. Even using the national floor level of minimum wage, an intern's salary should amount to Rs. 2600/ per month. Certainly not Five Hundred.

A generation of architects has already been warped by this despicable mindset. Architects as employees have no long term loyalty to firms; keep jumping jobs for a pittance in salary raise, develop a mercenary mindset and go abroad the first chance they get. Employers keep taking interns with three month commitments; manage without senior architects, run their show like road contractors offering daily wages to all comers, all this while publishing their work in the glossy magazines.

Sure, this is not in violation of any Child Labor Laws, but them it isn’t much removed from that either.

Just in case you find this hard to swallow, you can read this rather dismal chain of posts from a discussion on ArchNet.

All Wage Data from http://www.paycheck.in/

My First Serial Killer

I saw Claude Chabrol's Le Boucher (The Butcher, 1970), I'm not sure, but probably around 1974. I was nine.

I watched this film in blurry black and white on Bombay Doordarshan. This was a time of fledgling programming by Bombay's only television channel, leading to its golden age in the mid-seventies. Foreign films were a weekly staple, as I remember, under the program head of 'Montage'. For me though, looking back now, Chabrol's film was one of many firsts: it was my first introduction to world cinema, it was my first sub-titled film (something I unquestioningly accepted as normal) and it was my first serial killer movie.

Of course, what stood out for me was the last bit. As kids we were all brought up on a bloody diet of killing, murder, bloodshed, what have you... you know the wholesomeness of growing up, none of the namby-pamby stuff.

One scene in the movie stood out, clearly imprinting in my memory. I have recalled it many times since, I must have been pleasantly traumatized by it. A schoolteacher takes a bunch of children out on a picnic to a cave site in the hills. They sit by a stone ledge and open their sandwiches. One little girl open her buttered sandwich and exclaims 'Its raining!' The teacher says 'It's not raining.' The girl cries out 'But its red!' and looks up. A bloody female hand with freshly dripping blood pokes over the ledge. Everyone screams. Oh, how we loved watching this then, a bunch of kids in our neighbor's home (the only television set in the area at that time) and replayed it over and over in our heads and in our games. Drops of blood being an index for murder is a corny cliche today, but for us kids it was an affirmation of our own imaginations and fears.

By this time of course I had had my fill of horror stories and horror movies (only through books and magazines, trawling the depths of Poona's British Council Library, where I practically grew up). A particular favorite was the Encyclopedia of Horror Film and Cinefantastique (full of pictures, both scary and naughty-that's where I discovered King Kong, Godzilla, Dracula, Boris Karloff, Bela Lugosi, Vincent Price, Frankenstein, the Mummy, the Creature from the Black Lagoon, The House of Wax, the Thing, the Blob, and everything undead), and of course the monthly Films and Filming magazine that I could never get enough of. Watching these actual movies would come much, much later. No, I consumed texts, still images and above all movie posters, lurid marquees in books and magazines and outside on all the cinema theaters I passed everyday in our school-bus on our way to school, fueling fantasies and populating the visual libraries in my head.

Chabrol, of course, I saw for the first and only time time that evening in the mid 70s. I found the scene again today, after nearly 40 years, and in glorious color here. And yes, the scene played put pretty much as I remembered it. Amazing, how I must have internalised the whole thing. A few years later, still a kid, I wrote a murrrderrr ishtory of my own called 'Whatever happened to Aunt Alice?' full of killing and assorted bunkum, where the first clue to a possible doing-in were three drops of blood on a bedsheet. Yes, yes, I did Google the title today to find that it was a film made in 1969, and I must have seen the title somewhere, what did I know? Plagiarism does not exist when you are ten. I must have seen the poster on the right, it has a gory familiarity, the blood is just about right. Also, this just occurred to me: the image of the bloody hand on the DVD box mirrors the hand in Le Boucher. Some amazing triangulation happening here, both inside my head and outside of it.

But of this I am sure of:
when those drops fell on the little girl's open buttered sandwich, I saw them fall in red.

A New Beginning

This is the first piece I wrote for Time Out Mumbai, occasioned by their 'End of the Line' issue on the last suburbs at the end of the Mumbai Local lines. Panvel, of course is currently the last station on the Harbour Line.

A New Beginning

Mustansir Dalvi tries to makes sense of living in Panvel

A patch of road, about three feet wide, crosses my path to the railway station on the New Panvel side. Elsewhere, the road continues, well tarred regularly before each monsoon. This singularity, however, remains untouched and has been since the Harbour Line made its way into town in 1995. Not just unmaintained: it was never built in the first place. Every subsequent overlay of tar turns this dirty old track into an even deeper crater filled with rocks and plastic detritus. Each morning, as I drive station-wards, I am compelled to make obeisance here with a loud, teeth-rattling thump. Departmental no man’s land between the Central Railway and CIDCO, to me this patch represents Panvel itself. 

   We found a home in New Panvel in the early ’90s. It was planned by CIDCO, circa 1970, as part of the New Bombay Project. Across the highway is “old” Panvel (of the same vintage as the Big City across the pond). New Panvel – or Naveen Panvel, as it’s now known – falls between several jurisdictional cracks. Part of revenue district Raigad (but not the Raigad Lok Sabha constituency), not under the Navi Mumbai Municipal Corporation nor administered by the Panvel Municipal Council, yet, apparently maintained by CIDCO, our little hub of urbanity is paternally challenged It’s at one end of the Harbour Line. Although Panvel is a terminus for the suburban line, through trains connect it pan-India, from Hazrat Nizamuddin to Thiruvananthapuram. Old and Naveen coexist, like Siamese twins, both conjoint and severed by the railway and the NH4.

   New Panvel was a one-horse town when we first bought our home, and remained so until the millennium. I can get nostalgic about leisurely drives down its wide, main avenue perpendicular to the highway, through the town and beyond into pristine wilderness, into the spectacular hillscape at the foothills of Matheran. Every monsoon, we chased the elusive 180 degree rainbow. We got lucky, once. Then, we would return to this well-planned place that, for 30 years, merely existed; a place for investors and absentee landlords, a few service shops and several jewellers’ boutiques that fronted for moneylenders. New educational complexes grew and prospered because land was available, as was easy residential accommodation. “Then came the churches, then came the schools, then came the lawyers, then came the rules; then came the trains and the trucks with their load,” exactly as Dire Straits predicted in their song “Telegraph Road”. New Bombay developed, but this node awoke only after the Harbour Line reached Panvel in 1995. 

  
In the ’90s and noughties, as we paid up EMIs at 16.5 per cent, Panvel surfed the crests and troughs of real estate vagary and emerged, unlike sisters Vashi and Kharghar, resolutely downmarket. Migration fuelled economy; incoming communities marked their presence with new religious places – a temple to Kali, another to Ayappa, a new mosque, the unusually named CIDCO Vinayak mandir.  Forty years on, the wrinkles are visible, what with the administrative ambiguity the city finds itself in. Now, various levels of neglect can mean that load-shedding hits us as if Panvel is a rural backwater; local rickshawallahs scorn metering (for every fuel price hike of one rupee, their base-fare rises by five); garbage collection is sluggish; bins are usually taken apart by stray dogs, who rule the night and run in packs of 20.

   The other Panvel, to my right as I get off the train, is, not unlike Mumbai, an old town in a new world. Historically both a port and a trading town, Panvel was once the rice bowl of the north Konkan, with its famous Bazaar Peth, Mirchi and Kapad Gallis. Panvel Gaon dates back to 1725, when the Bapat Wada was built. It was elevated in the 1800s, when migrants from the Konkan were populating Bombay and Panvel Shahar became an alternate place to make a home. When you talk to old-timers, they tell you that a newcomer could always find home in the Bapat Wada and occupation in Dhootpapeshwar, the ayurvedic factory. While the factory is gone, the wada still shelters several hundred residents.

   Then as now, festivals at the many temples, mosques, dargahs, even a synagogue bring the faithful thronging to Panvel. The oldest temple, the Ballaleshwar, is from the eighteenth century; the Beth-El Synagogue was consecrated in 1849. When I visit these places today, I am struck by their similarity. On the outside, every place of worship looks like every other, and only reveals the trappings of faith when I enter. This old town was once a paragon of middle-class cosmopolitanism. Its various communities – Hindus, Muslims, Jews and Jains – shared a Konkani culture, food, clothing and Marathi as lingua franca. 

   In the past 20 years or so, I have seen attitudes stiffen: today, gentrification pervades, the old bonhomie is breaking down. More and more overt displays of religion and community foreground civic life – flags and flex-banners pervade. I am uneasy when I encounter makeshift notice-boards, not-so-subtly exhorting good religious behaviour. Money also fuels change. Many (thankfully, not all) of these places of worship are now “renovated”, with RCC shikharas and minarets sprouting incongruously. Many wadas too have given way to MHHSes, or Middle Class Housing Societies. Now, tall buildings crowd narrow alleyways bottlenecked with newly acquired cars. No country for old men.

  But I wallow in my good fortune, for, out of my window I can see, beyond the whooshing SUVs on the expressway, Panvel’s glorious peaks – Malang, Vishal, Prabal, Matheran and Karnala. Each with signature crowns, they transport me to the geological beginnings of the Mumbai Metropolitan Region. This entire geography was the result of great and sustained volcanic eruptions 65 million years ago that cooled to form the Deccan, the Konkan and the isles that were Bombay (eliminating all the dinosaurs in the process). This craggy beauty bookends Navi Mumbai to the east and signals the end of the Harbour Line. 

   Meanwhile, Panvel waits; patient, like the stone sentinels that shadow it, patient like Mother Konkan, who waited decades for the railways to link her to the ghats. Panvel now waits (as I do) for a new airport, a new SEZ, a fast train to Mumbai or even a three-foot patch of road to energise its fortunes – and mine. Until that happens, I have to be content with “Asia’s largest railway station” (all steel mushroom decking and faux Egyptian columns), still in the making. 

Marad hona toh aisa hona

from 

'Marad ona toh aisa hona' 

 

Amul Banner from 1986

to

'Mera rona to kaisa rona' 

Other Amul banners featuring God's Own Hand down the years.

Diddled by Germany in the past too.

carded for substance abuse

Millennium and its discontents

The one big problem with the Millennium Trilogy by Stieg Larsson is that the bad guys never, ever have a real chance of winning.

Like Greek tragedies in reverse, things go steadily downhill for the antagonists as destiny and fate, or Salander and Kalle Bloody Blomkvist decree their ultimate annihilation and/or demise. The inevitability of an Evildoers Apocalypse makes you just canter along merrily for the ride, your heartbeat and pulse rate remain at balmy normality as it all plays out and the Gurrl mit der Dragon Tattoo walks into the sunset with her stolen billions. After a point, patience does get stretched.

Very rarely in a novel in the thriller genre do you encounter such has-been, past-the-expiry-date, doofus-brained villains, all with two left feet and un-opposable thumbs. One of the many perpetrators of atrocities is actually a geriatric in a wheel-chair who is almost perpetually connected to a dialysis machine, even as he plans to shower fire and brimstone on the equally gormless Salander and Blomkvist.

To sustain an interest in nearly 2000 pages of adventure you must at least have the occasional possibility of mortality for the main characters, should you want to root for them. Here, even a bullet in the head brings no grief, and is little more than an excuse for 200 odd pages of hospital procedural. It is understood that the protagonists are not going to be bumped off (not until the very end of it all, if at all) but at least there should be the fear of such a possibility and the dread that comes with it. Even a kindersroman like Harry Potter makes us, on occasion, feel that something very, very bad is round the corner, and the anticipation of what might be raises goose pimples, as it should. Mikael Bastard Blomkvist and Lisbeth Insouciant Salander and their clueless peripherals go their merry ways like a fairy/doll house tea party in Enid Blyton’s Enchanted Forest.

The utter safety that this narrative provides is probably the reason for the books’ success. Larsson jettisons drive and anticipation for wish-fulfilment and vicarious voyeurism. If you choose to identify with the good guys, it is promised that only good things will happen to you, and you can string along until ultimately good things do happen. Larsson satisfies many forbidden urges- breaking down all barriers of the privacy of others, while keeping your own secure, procuring vast sums of money by dubious means but never getting caught (also experiencing the pleasure of spending vast sums of  said monies on pleasuring the self), and of course, screwing all and sundry on two legs. How many of the main characters does Bonking Blomkvist make his conquests? Five, or six, by my last count. Pity he doesn’t swing both ways, or Larsson could have made him sleep with most of the bad guys too.

Salander’s actions, on the other hand, are a result of childhood abuse, but most of that is in the past. Her present is all about the exploitation of the system she finds herself in without responsibility or consequence. Even rape is an opportunity or strategy to get even. Victimhood for her is like some other person, another body that is constructed in the present and put to use for personal gain. Talents like cyber-hacking and passive-surveillance allow her to do pretty much anything, almost like a denizen of Krypton in Metropolis. There is never failure. While reading you are carried forward in the sugar-rush of procedures and methodology of police work, the judiciary, journalism, sting operations and publishing, of the life and mores of millennial Sweden, while all is accomplished as smoothly as a hot knife through butter.

Spare a thought for the poor sods at Tehelka. They must be gnashing their teeth in horror while reading these books. They know a thing or two about consequences.

The Romance of Red Stone

You are cordially invited to the book launch of

The Romance of Red Stone

An Appreciation of Ornament 
on Islamic Architecture in India

Photographs by Yashwant Pitkar	Text by Mustansir Dalvi
Published by M S Lehri Super Book House Mumbai	Hardbound 11” x11” 256 pages

Friday 23^rd April 2010, 5.30pm

at the Claude Batley Gallery

Sir JJ College of Architecture, 78/3 DN Road, Mumbai

Ms. Tasneem Mehta,

Convener, Greater Mumbai Chapter of INTACH

Honorary Director and Managing Trustee

of Bhau Daji Lad Museum, Mumbai

has kindly consented to release the book on the occasion.

We look forward to your presence 
on the evening of the 23^rd.

YD Pitkar  MM Dalvi

About the Book

In The Romance of Red Stone, Yashwant Pitkar presents architectural ornament as a feast of craftsmanship, an enduring romance with shape and stone in its unending variations. Pitkar’s photographs allow the viewer to appreciate Islamic ornament on architecture at a level removed from the formal- as an articulated surface. An architect first, then a photographer, Pitkar’s images reflect his love and admiration  for the buildings of Delhi, Agra and Fatehpur Sikri, amongst others, which he captures in a way he knows best, up close and personal.


His unique photographic gaze is like that of a Mughal miniature painter, or a Company artist, taking the viewer close to the buildings, enough to shut out the dominating forms of the architecture to be immersed right into the aesthetics of surface. For those familiar with these buildings, the photographs allow a return, a recollection of architecture as a phenomenon, giving a sensual experience of places visited; an effective feel for the infinite craft.


Pitkar’s images also work at a deeper philosophical level. The viewer is made aware of the inner meaning of aesthetic representation, of the different ways of inducing the immeasurable. The plays of multiple superimposed levels and of forms and patterns continue like an incantation beyond the photographer’s frame suggesting the infinite.


Mustansir Dalvi’s text complements Pitkar’s photographs by guiding the reader to an understanding of the variety and symbolism of ornamental forms that grace Islamic architecture, especially in the Indian context. Ornament in its many manifestations transforms the architecture, dematerializing immense monuments into elegant jewel-boxes. Dalvi shows how artisan and patron came together in India in a unique integration of two divergent world views and cultures to create a lasting syncretism of Islamic and Hindu traditions that reached its zenith in the architecture of the Mughal period.

Which historical wrong gives you the right?

One bone of contention that bedevils any talks on climate, such as those currently on at Copenhagen is that the ‘developed countries’ must bear the brunt of responsibility for climate change. This is through fundamental restructuring of production and enterprise, everyday living and general progress in these nations, the ones who are well off. The developed countries of the world, Old Europe and New America have reaped the benefits of industrialization for the past two hundred years, most of it through the over-generous use of the finite resources of the planet. In doing so they have polluted the atmosphere, not only locally but globally, raising temperatures, and have brought the natural resources of our planet to the edge of depletion. All this is substantially true, but to make a whipping boy of industrialized countries by positioning themselves as victims, the ‘developing countries’ make poor, untenable arguments. These countries and indeed those of the ‘underdeveloped world’ want to have it both ways- make the big boys pay for the sins of the past and continue their own present substantially polluting ways because they ‘need to develop’ to come on par with the rest/best.

I think it is this misguided sense of victimhood, this subaltern posing that will bring useful action on climate change to an inevitable halt. The sense of historical wrong that the Other World is ballyhooing has a whiff of hypocrisy about it. For which are the historical wrongs that give those present a right to redress? That the sins of the fathers committed in the name of development are the sins of the sons and need immediately to be countered, whereas the sins of the fathers committed in the name of racism, religious intolerance and ethnic fundamentalism should be let go in the name of reconciliation and the need to ‘move beyond’? Can one assert that one wrong is tenable while the other is not? Take your pick. Every historical wrong, from the Jews being dispossessed by the Romans to the depredations caused by every former coloniser on every former colony, from the temple breakers of the early 1100s India to those crusaders who sacked Constantinople rather than continue their own religious jihad on Jerusalem can be called upon once again and through their descendants be made to pay for the wrongs of the past. Why then should the descendants of those who created, nurtured and ultimately prospered because of the Industrial Revolution now have to pick up the tab? Even more so, it is a wilful under-appreciation of the fact that industrial progress has, whether those crying wolf like it or not, raised the standard of living of peoples everywhere, which in turn has allowed even the erstwhile dispossessed to reclaim their rights and dignity, right up to the point where they can make these one-sided claims.

It is time primarily to put one’s own house in order. In terms of the environment, the price to pay will be high. The changes to shift to a more sustainable way of being are paradigmatic in most cases and painful for those accustomed to the comforts of a lifestyle fuelled by using natural resources and pollution as most of the developing countries, China, India, Brazil and those of the Middle and Far East already are. They strip-mine, dump sewage into fresh-water, mass produce vehicles of mass pollution and pat themselves for their progressive ways. Such countries have no business posing as victims so that they can continue their exploitative ways ‘for some more time’ so that they can come up on economic par with the First World. In the case of a ticking bomb scenario, as climate change very much is, each country should put their nose to the grindstone and find their own ways and means to convert to more sustainable ways of living. Laying down conditions, buying time, and creating ‘first you, then us’ arguments will only make things worse, and things such are they are, bring in no cheer at all.

To that extent the Government of India should be lauded for making targets for emission cuts by themselves, without waiting for agreements on climate such as those being attempted at Copenhagen. This is by no means enough, but should show the rest of the world that unilateral attempts to alleviate the ill effects of climate change should be the precursor to coming together at the negotiating table. All strategists are aware of the management game called the Prisoner’s Dilemma. When this game is played iteratively, the best way forward is ‘Do Good First’. The phenomenon of conditional reciprocity that all the developing and undeveloped countries are waiting for shows them up in a poor light. No matter how under-resourced you are, you can change and you should. Remember if you have nothing, or not much at all, you are not contributing overmuch to the problem. That does not give you the right to become an exploiter,  just because your neighbours or former rulers have been.

Strategy begins at home.

What happened to the Lions?

Starlings are tough
but the lions are made of stone
...I'm thinking about the lions
What happened to the lions, in the night?
"Lions" (1978), Dire Straits

After the delight of walking through the Court of Myrtles in the Alhambra at Granada, and entering the fabled Court of the Lions, we were in for a shock. For the lions, all twelve of them, had gone walkie, leaving behind a forlorn basin in a new wooden box. Why build a cage after the lions had bolted? The marble lions, the centre piece of the court had been removed to a safe haven to be restored. Over the centuries, lime and grime had coated their noble visages to a point where their features were in danger of being obscured. Conservators would toil over the course of the next two years (2009-2010) to bring back the beasts to their pristine state.

No consolation to us though, we, who had paid good money to see them. However temporarily, the centre piece of the visit to this Nasirid Court, built by Muhammad V between 1362 and 1391, was obscured. The tableau of our imaginations collapsed like a card-castle, and replaced by an entity as alien as the monolith among the Neanderthals in Kubrick’s 2001. What appreciation could be possible for the surrounding court and chambers, with their exquisite ornament of geometric and calligraphic finesse, when the vellum itself was botched with spilt ink?

What were the conservationists thinking?

This brings me to the issue of interventions. Any infill in an existing environment will be viewed critically in inverse proportion to the time that environment has remained pristine. Any change that is not incrementally invisible will hurt both memory and ‘good taste’. Part of our mooring in life is to be able to take some things for granted, and the environment in which we physically move, that of the home, the street and the city work best when they are backgrounded to our own lives. So change, any change, would in effect be undesirable. We would be fooling ourselves, however, if we thought that we could live in the vacuum of our own imaginations forever.

So what kind of intervention is the more acceptable- the harmonious or the unpredictable? In recent times architects have been called upon to make these choices in an increasingly built environment. There are few tabula rasas, especially in our ageing cities, spaces are constantly being remodeled for a variety of reasons. Insertions are inevitable, and they will be new. What attitude of conservation, or conservatism should the architect adopt?

Look at the insert in the Court of Lions. The central fountain of marble was two tiered- with a large lower basin and a carved upper fount. Twelve lions flanked this basin radially facing outwards. Positioned more or less in the center of the Charbag that the crossing water channels formed, the fountain formed the focus of  both axes that led in from the entrance to the court and that led out from the surrounding chambers. Both lions and upper fount are now significant by their absence. The lower (large) basin was in need of conservation, too. The rim of the basin boasts of an eulogy for Muhammad V carved in calligraphed marble by Ibn Zamrak describing the building of the court and of the lions. You can read this poem below.

The basin is large, simply too large to remove from its central location. So it has been enclosed, not by a tarpaulin or some such, but in a ‘camera’- a room of its own. This room is made of slatted timber on a metal frame, with glazed front and back along the shorter side of the court. Visitors can view the basin as it goes through various stages of restoration from the glazed ends, while the slatted end gives a new foreground to the axis leading on to the Hall of the Two Sisters and the Hall of the Abencerrages.

Under the roof of this box is a canvas canopy that can be moved as desired. The outer box of wood can (seemingly) be slid out along its axis to allow for a larger inner volume, and the canvas roof on the metal frame can be then be a shelter against the harsh south Mediterranean sunshine. The wooden slats allow for cross ventilation and the glass has perforations too. The entire system sits lightly on the pebbled base of the court. With this intervention, the conservators and their precious object are protected from the elements- from both solar radiation and the droppings of the thousands of swallows who inhabit the Alhambra, providing a constant chirruping in the background and casting abstract patterns on plastered white walls in the various courtyards. All very functional, of course, but does the intervention work?

It does take getting used to. First, the disappointment of the missing lions needs to be overcome, and then a reconciliation with the wood, glass and canvas replacement. The ‘camera’ is a small room, proportioned not to overwhelm the arcade of the court, allowing space and light enough to appreciate the existing architecture. It forms a new element, an installation, in this space, that creates its own presence, becoming part of the stepped visual axes as it rises from fountain to arcade to roof to dome. The glazed ends form a portal framing the basin with the arches behind, and you realize that nothing is really lost.
The Court of the Lions in the Alhambra now offers an alternative view, for a limited period only, as long as the conservation process lasts. During this time the arcades themselves have come into their own, not having to remain secondary to the impressively iconic lion fountain that dominated the composition of the court. The ‘camera’ can be appreciated, in of itself, as a well crafted modern device, or seen as at an interim scale between the basin and the arcade in a larger unfolding of spatiality. The absent lions constantly intrude on our imaginations. The conservators have made the right choice by not replacing them for the time being with plaster or GRF casts.

For too long in the last two hundred years has the Alhambra been exoticized and orientalized, mostly by visitors from the West (Washington Irving, Richard Ford, et al) who came to wallow in its ‘perceived’ decadence and relegated it to a ruin by treating it as such, occupying it with unseemly callousness, vandalizing it with graffiti. After centuries of suffering in such pitiless ‘timelessness’ the Alhambra, or one part of it at least, has become a dynamic space once again, with its new intervention. Artists like Christo and Anish Kapoor today, thorough their installations in well regarded public spaces make us renew our relationship with those environments by shaking our own perceptions of those spaces, and asking us to seek new meaning in those places that we took for granted. Maybe this was not what the conservators at the Alhambra really had in mind, but the enclosure around the basin forces us to look at the former Moorish palace anew, and that is something.


John Dobbin, Lions in the Alhambra
Water color, From a sketch made in 1859, V&A Museum, London


Poem on the basin of the Lions
Ibn Zamrak (1333-1393)
"May The One who granted the Imam Mohammed
with the beautiful ideas to decorate his mansions be blessed.
For, are there not in this garden wonders
that God has made incomparable in their beauty,
and a sculpture of pearls with a transparently light,
the borders of which are trimmed with seed pearl?
Melted silver flows through the pearls,
to which it resembles in its pure dawn beauty.
Apparently, water and marble seem to be one,
without letting us know which of them is flowing.
Don't you see how the water spills on the basin,
but its spouts hide it immediately?
It is a lover whose eyelids are brimming over
with tears, tears that it hides from fear of a betrayer.
Isn't it, in fact, like a white cloud that pours
its water channels on the lions and seems the hand of the caliph,
who, in the morning, grants the war lions with his favours?
Those who gaze at the lions in a threatening attitude,
(knows that) only respect (to the Emir) holds his anger.
Oh descendant of the Ansares, and not through an indirect line,
heritage of nobility, who despises the fatuous:
May the peace of God be with you and may your life be long
and unscathed multiplying your feasts
and tormenting your enemies! "


PS.
The fountain was two-tiered- lower large marble basin, upper carved nozzle with a smaller basin. This is evident in the water colour by John Dobbin from the 1860's. The two tiers are also visible in a silent documentary on Granada and surroundings made in the 1920's.

However all contemporary photographs before the restoration show only the lower large basin with the lions. At what point was the upper portion removed? Was it, in fact, a later addition- after Ferdinand and Isabella took over the premises in 1492? I have not been able to find any references to corroborate.

For the time being, the missing part of the fountain remains a curiosity.

.

A Diachronous Delving into Dhan Te Nan

What delighted me even more than hearing Vishal Bhardwaj’s ‘Dhan Te Nan’ for the first time is the realization that the music director has to be of the same vintage as I am. Why? Because I instantly recognized the sound-meme from my youth that he so cleverly channeled into his song for the forthcoming ‘Kaminey’.

‘Dhann-ta-dhaaaan!!!’

If you are my age and grew up soaked in Hindi films, you know this sound. The first cousin to the more ubiquitous- ‘Dhishum!’ , which, as any fule kno, is the only technically correct foley for a punch, a box, a kick, a swipe, or (as we say in pure Gujarati) a fight. On the other hand, 'Dhann-ta-dhaaaan!!!', as any fule kno, is the loud background music exclamation! when the hero dramatically breaks into the villain’s den to save the heretobefore kidnapped heroini from a fate worse than… chiz chiz chiz.

‘Dhann-ta-dhaaaan!!!’

In big, bold letters. In flashing lights, in neon. The audio equivalent to Roy Lichtenstein’s ‘Whaam!’ (1963). As kids we must have made this sound in a variety of settings, telling the picchur ka shtory the morning after, or even catching a friend during chor-poliss- ‘Dhann-ta-dhaaaan!!!’ Gotcha!


Was it Bhardwaj, or Gulzar that did not get the sound just right? Dan Te Nan is a bit pale when written down, although its quite fine when sung, just like the sound we kids used to make. This dilution is not surprising- we’ve heard it done before. Rajesh Khanna used this as a dramatic counterpoint in Bawarchi (1972), but in an almost lisped ‘Dhat-ta-raa!’ which even we, as frigging seven year olds, for God’s sake, knew wasn’t the right way to say it.
Wimp!

This is a sound that needed to emerge full blown from within, deep within, rising up from the rectum, through the digestive tract, up the esophagus until its escaped with a roar: ‘Dhann-ta-dhaaaan!!!’ (dha-na-dha-nan)

Well, what to do? We are the people our parents warned us about.
.

Blind in Granada

.

"Dale limosna, mujer,

que no hay en la vida nada

como la pena de ser

ciego en Granada."

attributed to the Venezulean writer Francisco Alarcón de Icaza

.

Give alms, my dear girl,

for there’s nothing worse in life

than to be blind in Granada.

.

.

The Court of Myrtles
.

The Court of Lions

.

The Mirador

.

The Generalife

.Gardens of the Generalife

.

Granada is unprotected from people;

since nothing or no one can defend from praisings.

Federico García Lorca

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Remember the time

Michael Jackson’s explosion on our consciousness paralleled my years in college. ‘Thriller’ coincides with my second year in Architecture. Television was still the venerable and much lamented Bombay Doordarshan, and one evening they did a segment on the Grammy hopefuls. These were a long string of music videos- a relatively new phenomenon to us at the time. ‘Beat It’ and ‘Billie Jean’ were accompanied by David Bowie’s ‘Let’s Dance’, Billy Joel’s ‘Uptown Girl’, Lionel Richie’s ‘All Night Long’, Culture Club’s ‘Karma Chameleon’, even Sheena Easton’s ‘Telephone’. How do I remember all this? Because I had taped the show on an old fashioned mono cassette recorder using an external mike propped up next to the single speaker on the neighbor’s television set. I must have had this tape and heard and reheard it all through college, that’s why this stays with me. Madonna, Bruce Springsteen and Live Aid all came in later years, but that year (1983) was seminal. Incidentally they never showed the Grammys, to the best of my recollection, and the memories of watching Jackson cradling his eight Gramophone replicas were from newspapers, I guess.

You knew Michael Jackson was someone else. Apart from being blown away by his dancing, it was his voice and the musical arrangements of Quincy Jones that would remain, and do even today. Just a couple of months ago ‘Thriller’ was reissued as a 25th Anniversary edition, bringing into sharp focus how we had grown, more than anything else. But the music is still fresh and continues to be part of my collection of MP3’s on my computer. Of course, after that that everyone was trying out the shaky-breaky dance movements with variable success. Mithun Chakrarvorty and Salma Agha rehashing the zombies of ‘Thriller’ in some long forgotten film still give me the heebie-jeebies just to think about it.

No one, however, could emulate the voice. In the midst of our continuing education into the Ages of Rock (Django Reinhardt onwards, by way of Muddy Waters, John Lee Hooker, Chuck Berry, Elvis, the Beatles, the Stones, Dylan, Floyd, Dire Straits and beyond) Michael Jackson was our concession to POP, and he did Rock our Joint.

I remember going to the American Center Library to watch a special screening of ‘Thriller’ and ‘The Making of Thriller’ by John Landis. Why American Center? God alone knows, but even they probably acknowledged that the cultural scene was no longer the same without Jackson. The ‘Making of’ was the first for a music video, and the first behind the scenes look at filmmaking that I can remember. This was fun to watch. Jackson played his overgrown child persona and Landis indulged him (Middle to Close up shot, Landis to camera: “This is Michael Jackson. This is Michael Jackson’s toe.’ Followed by lots of tickling and giggling). Landis, of course, had just made ‘An American Werewolf in London’. ‘Thriller’ was just a reprise of that, but the prosthetic special effects were quite novel for the time (Long strand of hair growing out of face, canines sliding out of jaws like stilettos,et al). Life Magazine (defunct and lamented too) had done a many page photo feature on the great efforts it took to apply all this on the actor, and the film showed similar atrocities being heaped upon Jackson, before he could give his shots.

But the ‘Making of’ was remarkable for another memorable performance. It showed in its entirety Jackson performing ‘Billie Jean’ live at the Motown celebrations- sequined glove, white socked, with a fedora, Jackson unveiled the Moonwalk and forever embedded himself in the cultural space of popular music. I must check if the ‘Making of’ is on You Tube, it must be. The silken backward shuffle, defying gravity still gives a thrill, watching it after all these years. Plus, there is this quiet satisfaction in the knowledge that despite one’s forty five years and weighing twice that, one can still do a perfectly passable Moonwalk.

PS.
Hope you’re OK now, Annie.

Unexpected Pleasures-I -The Patio Festival, Cordoba

It seemed that Cordoba would be a crushing disappointment.

We figure out a complicated way of visiting it- needing to travel there from Seville by train, train back to Seville and then board yet another for Granada- all on the same day. Having made bookings using the fairly limited windows of opportunity on offer, we land in Cordoba promptly at around ten in the morning- only to be told that the Mezquita is shut.

The Grand Mosque of Cordoba is now the fully functioning Cordoba Catedral. In an act of the most creative vandalism (after the conquest of al Andalus by Catholic hordes) the middle third of the venerable structure had been gutted and replaced with a grand cathedral that rises out of its innards like an alien chewing its way out of a human, as in the first film. From the inside, Catholic spaces rise cheek by jowl with horse-shoe arches of the Mezquita- not that we know it at the time. The minders at the gate point to some recently xeroxed notices announcing closure due to the investiture of priests that morning. Public access to be resumed only by three in the afternoon. Our train back to Seville is at three thirty, bugger it!

In a moment of inspired lunacy (Spain does tend to make one uno poco loco, in any case) we decide to hang around until three, give the mosque’s insides a once over in about five minutes flat and then run like hell for the nearest taxi to take us to the estacion- for we would see the mirhab, or bust! Ridiculous, but that leaves us with five hours to twiddle out fingers, and toes.

In mindless concentrics, we walk around the streets lining the outer walls of the mosque- and as the streets get narrower until even two persons would brush shoulders passing each other, and the crowds keep increasing making the shoulder brushing mandatory, we come across the first of the unexpected pleasures that alleviate our dampened souls. Before we know it, we are immersed in the United Colours of Geraniums. May is the season of Cordoba’s Patio Festival.

Every year at this time the old houses that line the alleyways around the mosque bloom with flowers. A competitive sport this, every space- entrance way, courtyard, balconies and window box vie for the prize of Best Patio. The crowds that we vie with for space have all turned out to gaze at these amazing displays, and scurry around from courtyard to courtyard filling up memory sticks of mobile phones and digicams with impunity and making a godawful racket while they are at it. Marvelous!


The spaces where the flowers are arrayed are little cortiles in these havelis (favelas?). Alfresco, with a small fountain on cobbles or paving and a stairway to the upper floor. Some of these spaces are not even bigger than a living room in a Bombay flat, but that is space enough to fill. Every available wall has flower pots with geraniums in full bloom (la flor de los patios), traversing every tint, tone, shade and hue from white to blood red, standing out in stark afterimage from bright green leaves and stems. The Nasirids are probably to be complemented, for these flowers originate from Africa. All these concentrations of color stand starkly against whitewashed walls bathed in the midmorning Mediterranean sunshine. Orange trees, rose bushes, clambering vines, azules ceramic plates and occasional bric a brac add to the clutter.


The Mediterranean in spring.

That nature is at its most fecund is obvious at this time in southern Europe. In the Andalus, one cannot miss trees laden with oranges- Naranja, especially in Seville, Cordoba and Granada. The twin legacies of the Nasirids, irrigation and plantation, are now the hallmarks of the region. Oranges, pomegranates and roses (roses, everywhere), probably descendants of those planted by the erstwhiles engulf you- chance encounters with color are a constant source of amazement. And yet, in Cordoba, our dip into color is unexpected, and overwhelming.

Some of the streets where the Patio Festival is held are within the Jewish barrio and we have a quick stop-over at a small but very elegant synagogue, built into the warren of houses. This reminds us of our own little Bene Israeli synagogue back home in Panvel, but this one is ornamented on the interior with Islamic geometric patterns and Hebrew Scriptures in stucco. Nearly seventy patios are opened for viewing during this time, not that we see them all, and we move and pick and choose like magpies attracted by every bright color that catches our attention until we do not quite know where we are. And then, satiated, we make our way back to the mosque to stand (sans expectations) at the head of the line.

Pretty soon an anaconda of touristas forms behind us, and the powers that are, probably thinking us a really desperate lot, open their counters at two thirty. We race through the (initially) empty mosque and fill ourselves with the sights of the forested arches and foliated domes, admire the stunningly ornamented mirhab, fuss over the absurd juxtaposition of the cathedral in a Muslim praying space, wonder about reused Roman columns, are thrilled by the recently excavated Roman mosaic floor on display- all with an extra half hour at our disposal, satisfy ourselves (to the extent possible) and run out.

We did catch our train, after all.

Miros of the Spray Can

16 May 2009
Spain seems to have given its vertical public spaces (of about twice human height) completely to practitioners of graffiti. There does not seem to be a single space left unmarked and unsigned. Any road, even slightly off the tourist track will have these profuse expressions of hombres at large. Although we did see some graffiti on vertical surfaces of such height that would have required rappelling skills!

Many are artistic in the fashion of the Miros of the spray can, although most are (probably) gang related territorial markers. The most vibrant and colorful graffiti that we saw was on one bank of the Guadalaquir leading up to the Alamillo Bridge in Seville.

Techniques also vary- a new form used stencils- leading to some fine work, and also work that could be replicated quickly, challenging the one off aura of larger, elaborately sprayed neighbors. A lovely one was in English that said 'Lost your (image of a) button'.

What makes graffiti a truly citizens art in Spain is the possibility of protest. Since every wall is fair game, exhortations/protestations indicate the contemporary climate. There are CCTVs everywhere and official indications to that effect. That has not stopped, probably encouraged a large graffito: 'Videosurveillance NON!' Others we saw said 'Securidad Muerte!' 'Free Catalonia' and my personal favorite- 'Errata, Ergo Sum'.

Retro fit and Retro fit

There is a refreshing nonchalance in the additions to the older buildings in Madrid. The obvious public example is the addition of the elevators in the Reina Sophia Museum. A pair of slick hi-tech glass and stainless steel towers are appended to the outside of the older palacio for easy access to upper floor galleries. Visiting the Guernica deserves such a rite of passage, I suppose. These glass boxes overlook the beautiful plaza that fronts the museum, justifying the use of the scenic elevators. The words Reina and Sophia are etched large on the towers evoking memories of the fad for super-graphics in the early PoMo day of the eighties.

The point is that contemporary inserts into historical spaces are not always a bad thing. Contrast this with Raphael Moneo's addition to the Atocha Station- another building evoking the eighties and some of the horrors that Botta and Bofill were up to at the time. The interior spaces are interesting specially the train platforms themselves, which are a delight. But I am not sure how the drum-like central circulation space and the cuboid clock tower sit with the fabulousl19th century glass and iron station.

On the subject of retrofit, the last word surely goes to the lift installed in our tiny B&B- the Hostal Luz on the Arenal. Fitted in (the perhaps two feet three inches wide) stairwell of an older four floor building, the elevator is exquisite in its modernity- with all the fittings- the stainless steel and glass that made the Reina Sophia's what it is. Wide enough to accommodate me, but not me with a rucksack, making me feel like a mujera in a tube top, traveling in it made up in style, elegance and convenience whatever it lacked in volume.

Slick!

Random Tweets from Madrid

8 May 2009
I am writing this on a high speed train from Madrid to Sevilla (AVS), watching the rolling flatness of central Spain speed by.

In one evening, we were able to see Picasso's Guernica, Dali's The Great Masturbator, Lumiere's Employees Leaving a Factory (1896), Velazquez' Self Portrait with the Meninas of Felix II, Durer's Portrait of the unknown man and Hieronymus Bosch's Garden of Earthly Delights and the Haywain. That must amount to something.

I finally concede that there is a difference to looking at a great work of art in a book or even a high def image to standing in front of the real thing. Contemplating the Guernica- there is so much in the painting that just doesn't register in a reproduction, especially gray on gray. The delicate and harsh brush strokes of Dali need to be looked at with your nose at a distance of six inches from the naughty bits. So up yours- Baudrillard and Walter Benjamin!

The Museum of Reina Sophia has a series of photographs of Picasso's painting in various stages of completion, and the many morphs it went through, fascinating. As are the several paintings called Postscripts to Guernica. Picasso's Hombre with Goat is also a delight leading to a wistful wish- the Great Hombre himself should have made more sculptures. The twisting goat about to spring out of the man's grasp (who holds the beast almost in a wrestlers grip) is reminiscent of the twisting Laocoon.

Nothing quite beats taking the long(ish) walk from the Atocha past the Botanical Gardens and reaching the Prado to find that the entry was Gratuitas.

Our gracious landlady at the Hostal Luz is surely the reason the late Wren and the equally deceased Martin added 'onomatopoeia' in their chapter on Figures of Speech in their unlamented text on Grammar. She spoke no English and made up for it, quite successfully communicating in a mixture of machine gun Castillian and a wide variety of sound effects (Phut-pht-pht-pht!! bole to turn right)

Mario Miranda 's Bar Lady

Mario’s Bar Lady
The moon presents itself above Bergstrasse,
disentangling from its wobbly twin on the Rhine.
White glory showers. Work worn customers
trudge in like obligatory raindrops beneath
a dim archway. A spark flies every time-
clicketyclack! Heels connect with shiny stone.
A bearing swift, but in all her speed, never
a drop spilt.

Six gullets quenched by six massifs, delivered
vice like. She moves, mugs close to breast,
mugs that can hardly compete with her enormity.
White apron flashes, paling the moon.
She makes her rounds: ‘Was willst du denn?’
A return order: everfoaming kegs with an aperitif-
a smile.

The brash customer mellows. Dependent on
deepening dimples, empties jealousies and terrors
with beer. Her nods advise, a heaving chest berates
whatever scratches her sensibilities. Empty flagons
raise groaning feet, propel them homewards, yet
in passing, a Mark is pressed with a wan grin:
Danke schon, Maria. ‘Bitte, libeling.’ She returns
to beckoning bar, ready to gush forth every time:
‘Bier, bitte?’

This poem was inspired by Mario Miranda's very lovely drawing posted here. This dates from March 1984, when some of his drawings from (I think) Germany in Wintertime were featured in Midday. I had cut this one out and ensconced it safely until today when I scanned it and put it up here for all to see. This is really from way back when- Indira Gandhi was still Prime Minister, and the back of this clipping retains part of an advertisement for a cola, now defunct called 'Do it'.

Rediscovering Mario Miranda

On a recent visit to Goa, I had the opportunity of visiting a work in progress- a museum to house the works of the cartoonist Mario Miranda by the architect Gerard da Cunha. Apart from the delight of seeing a building at the bare bones stage (a delight for any architect, as any fule kno), it was the rekindling of association with the lines and forms, the crosshatching and the subtle colour infills of a cartoonist and illustrator whom people of my vintage 'grew up with'.

We knew Mario before we knew R.K. Laxman. Mario's illustrations filled our English textbooks- the venerable Bal Bharati. Right from 'This is Tim. This is Mini.' from Standard I to the later and deeper poems of Walter Scott (Kenilworth), we negotiated the byways of language mainly because of the illustrations that went with them. Mario could be funny, caricaturish but also dark and noirish as needed, and we absorbed this all. Mario's illustrations are now part of the visual vocabulary inside me and there is always a frisson, a kickback of nostalgia when I encounter (now rarely) his work.

His cartoons and illustrations were all around us too in the seventies and the eighties- mainly in the now defunct (and missed) Illustrated Weekly of India and several newspapers including the Times and Midday. These were of course contemporary and political, although Mario could, on occasion delight with full page spreads teeming with more characters that Michelangelo's Last Judgement but identifiable as people around us. Mario is from Goa, but for us Mario was quintessential Bombay- with buses, beggars, big bodied and bare bodied Bombayites teeming in Boribunder and Bhendi Bazaar. The word 'buxom' may have been coined specially for Mario's women- from the society ladies of Bombay to the fisherwomen of Goa- all bulging impossibly fore and aft.

Although Gerard da Cunha's museum is yet to see a single drawing installed, the architect must be commended for the monumental archive of Mario's work he has put together for a single book- 'Mario de Miranda', published by Architecture Autonomous and Art India. It has over 2000 images of Mario's work (sadly no Bal Bharati reprints though) from all the decades of his active life and it is a delight to possess. I have been immersed in it for the past few days and have no immediate need to emerge from it sometime soon. I can heartily recommend this book to anyone who knows his work (or doesn't).

Mario's work is also an architect's delight. In his later illustrations are single drawings of Goa, New York, Paris and Portugal, detailed and evocative of both time and place. Mario's work put together is a sociological document of many decades of work. You only need to see the New York suite to know that this is the city from the early Scorsese/Taxi Driver days and not the post Giuliani/post9/11 present.

                         

Gerard da Cunha has also put an extensive exhibition of Mario's ouvre in the Cymroza, which I have yet to

see. Fortunately it is still up for a few more days.

...and in the end the memories of the Bal Bharati days still most vivid are Mario's renderings of hands- open and clasped, fingers extended and expressive, that speak to me across the years. Yes, they are all there in the book and are as evocative as I remember them.

The illustration by Mario displayed here is of the coming of the Konkan railway- 

a wish fulfilling event about a decade ago for most of its denizens.