CHAPTER 4

ARTISTIC INTERACTIONS: THE REALMS OF

ARCHITECTURE, DANCE AND PHTOJOURNALISM

Introduction:

The principal objective of this chapter is to explore the select realms of arts
such as Architecture, Dance and Photo-Journalism where the French
influence is seen at its maximum level.Since these genres are ostensibly the
major beneficiary of Guj-Franco cultural rapport, they have been explored
here. Gujarats architectural tryst with France commenced way back in early
twentieth century when the erstwhile royalties invited French architects and
town planners. Thus were executed the cities like Dhoraji and the palaces
like Rajmahel of Wadhwan city. This architectural rapport continued well
into the mid- twentieth century when the rich textile tycoons of the city of
Ahmedabad, invited the internationally acclaimed French architect Le
Corbusier to design several buildings in Ahmedabad. He gifted four
architectural gems, namely Ahmedabad Textile Mill Owners Association,
Sanskara Kendra, Shodhan Villa and Sarabhai Villa. His invaluable
contribution along with that of Shri B.V. Doshi has been explored here.

In addition to the contribution made by the above mentioned architects, an

effort has also been made to evaluate the endeavours made by renowed
architects like Bernard Kohn, and Pierre Cadot Sarah-Keller towards the
restoration and the conservation of the Pols and Havelies in the walled city
of Ahmedabad. The substantial contribution towards the Guj-Franco
cultural linkages made by the internationally acclaimed classical danseuse
from Gujarat Mrinalini Sarabhai and her equally illustrious daughter,
Mallika Sarabhai, has also been explored here. A very non-conventional
type of art genre, i.e.PhotoJournalism, which was introduced in Gujarat by
the legendary photographer Parmanand Dalwadi has also been studied and
profiled here.

4.1 Architecture: Mixture of Medievalism with Modernity

Architecture is both the process and the product of planning, designing, and
constructing buildings and other physicsl structures. Architectural works, in
175
the material form of buildings, are often perceived as cultural symbols and
as works of art.

Historical civilizations are often identified with their surviving

architectural achievements. (Wikipedia)

French architecture, consisting of Roman, Pre- Romanesque, Romanesque,

Medieval, Renaissance, Baroque, Rococo, Neoclassicism and Modernist,
ranks high among that countrys many accomplishments.

As noted earlier the French art and aesthetics significantly influenced some
of the architectural styles, especially town planning and the building of
castles and palaces in colonial India. It is imperative to understand the
French colonial context in order to understand the architectural influences
during the eighteenth century onwards. The French who had arrived in India
in seventeenth century and had established their first trading center at Surat
were immediately out played by the powerful English in the colonial game
of supremacy. The ousted French were compelled to drift towards the
southern part of the country where they eventually established their business
centers. Thus was developed Pondicherry which, with its strategic location,
became the cultural citadel for the French.

The town of Pondicherry has been witness to the rise and fall of French
power in India. Though the French developed few other trading centers, this
city emerged as the major center of French art, culture and architecture. It
wouldnt be in excess to state that the story of Pondicherry is the story of
French in India. This city was often built and re-built by the French as it had
been subjected to various territorial conflicts. It today boasts of possessing
massive colonial buildings and statues, systematic town planning and
zoning. French styled the town as per their own expectations and aesthetics.

It must be said that various architects and town planners from France
continued to impress the various architectural conceptions of the country.
These influences appear direct when the executioners are the French but they
become implicit when they influence the indigenous architects who create a
sort of fusion. These influences are also perceptible in the inclusion of
various French symbols and motifs with the local patterns. It must be
remembered that in those days majority of royals had a direct rapport with
the English and therefore, only those royals turned to France who were

176
connoisseurs of French art and aesthetics. The state of Gujarat, one of the
earliest hosts to the French at Surat in the colonial days, always maintained
a special rapport with France, which exerted a considerable influence on the
Gujarati art and aesthetics. Some of the early French influences on the
architecture of Gujarat are found in the built up form, especially in the small
principalities of Saurashtra. The French architects and town planners were
specially invited by some rulers of the state. Sometimes select French
structural concepts were incorporated into the main design which was based
either on the Oriental styles such as Indo-Persian or the Occidental styles
such as Gothic, Baroque and Rococo.Some kings on the other hand turned
to the French for some kind of sophistication and architectural exclusivity.
This aspect has been explored in the ensuing pages.

The Town of Dhoraji

As noted earlier, the grand and gorgeous French architecture has

considerably influenced the planning and execution of palaces, castles and
some elite residencies of Gujarat. It is to be mentioned here that some of the
early French influences on the architecture of Gujarat are found in the cities
and palaces of the small principalities of Saurashtra. Thus, Dhoraji, a small
town on the banks of a rivulet Suffora, a branch of the river Bhadar, came
into existence. The fort and the general town planning of this eighteenth
century Saurastra illustrates a considerable French influence. It is to be noted
that the French influence in the overall structural conception, the
architectural motifs, symbols and execution of the town earned for it an
enviable and coveted sobriquet the Paris of the state.

This town has been part of the eastwhile Gondal State which had acquired it
from the State of Junagadh. Sir Bhagwatsinhji, the progressive ruler of
Gondal State, who had established a town planning department and had
introduced town planning principals to regularize and monitor the growth of
the fortified town of Gondal, Dhoaji and Patanvav, was born at Dhoraji
Darbargadh. The fort and the general town paining of this eighteenth century
city of Kathiawad illustrate a considerable French influence. The massive
fort wall has several bastions, four main gates along with the three smaller
gates known as Boris. The multi-storeyed Dabargadh of the town is located
at the highest point. The faade is ornamented with sculptures of musicians,
177
complex geometric pattern, images of lions in different postures on long
cause, profusely cared pillars, horizontal friezes, decorative kangaroos and
windows framing the skyline.

It is designed like a jewel box-in the same architectural style of

Navaho places at Gondal. (en.m.wikipedia.org)

The town underwent transformation in the twentieth century as its ruler

Bhawgatsinhji sought to bring about a Parisian character to his town. This
was carried out under the influence of the town planning of Paris by Baron
Haussman. Dhoraji thus can be considered one of the greatest architectural
linkages of GujFranco relationship.

The Raj Mahal Palace of Wadhavan City

The French influence on the built form in Gujarat can also be traced back
to the unique conception and execution of the Rajmahal in the city of
Wadhavan. This unique palace, a French symbol where the architecture
borrows heavily from the French Baroque and Rococo styles, was built by
H.H. BalSinhji Jhala in nineteenth century after his return from France. It
was exclusively executed by artisans from France. Built in the rococo style
of architecture, this structure has a lot of decoration, especially in the shape
of curls. Since it illustrates a very strong French architectural influence, it
has been recognized as a major symbol of Guj-Franco cultural interactions.
This royal residence, also known as Balvilas Palace is located in a sprawling
space of 13-14 acres. It accommodates a park like ground with tennis courts,
lily ponds, fountains, out houses and cricket pitches.

The centerpiece is a beautiful pillared courtyard with marble statues.

There is a marvelously appointed Darbarhall with painted ceilings,
kingsized portraits and a throne. There are beautifully restored
vintage cars and a library of automobile books.
(www.gujarattourism.com)

Interestingly, the palace was built by the king after his return from France.
He appointed a French architect and nearly fifty French artisans, as a result
of which,

178
 The palace bears the rational control and proportion of the Baroque
style and the use of florid patterns, gold and pastel colors of the
Rococo style. (Pereira, TOI).

Along with these French architects who were invited by the Maharajas of
erstwhile principalities, a slew of French architects continued to have
dialogue with the town planners and city designers of Gujarat. Some of these
iconic architects who had rapport with Gujarat have been profiled in the
subsequent pages.

Charles-Edouard Jeanneret-Gris (Le Corbusier) (1887-1965)

Le Corbusier- The Soneteer of Stones

Source: 42ndblackwatch1881.wordpress.com Retrieved on 18 October,

2014

Le Corbusier, a Swiss architect and city planner, whose designs combine the
functionalism of the modern movement with a bold sculptural
expressionism, shared a very special rapport with India in general and the
city of Ahmedabad in particular. This internationally acclaimed modernist
architect, Charles Edouard Jeanneret-Gris was born in La Chaux-de-Fonds,
a small Swiss village in a watch makers family in 1887. He adopted the

179
pseudonym Le Corbusier, meaning the crow. The greatness of his works
is reflected in the rare honour given to him on the ten franc currency note of
Switzerland. He eventually made France his home.

The iconic architect from Gujarat, Balkrishna. V. Doshi who worked under
the French legend was moulded and shaped by the infuences of his French
guru. He joined Corbusiers studio at the peak of his career in 1951. It was
a period of rethinking for Le Corbusier, especially after the Second World
War and the troubles he had gone through. The commission to design
Chandigarh kind of revitalized him. Planning for Chandigarh was obviously
the most unexpected but a much welcome opportunity to express his new
thinking. Added to this was the challenge for working in an alien
environment.

Working in India with her large population, full of paradoxes but with
a great cultural history, and the new aspirations following the
Independence, must have been for him a very unusual proposal as
compared to his earlier solution for Algiers etc. (Doshi 4)

Le Corbusier had a very special rapport with the city of Ahmedabad which
provided a free ground for him to realize to the fullest potential many of his
architectural theories in real buildings. He had so many qualities and one of
the most important was that he had a free mind, bound by no rules, not even
by his own idea but orchestrated many ideas, each the seed of different tree
and each enriching the other. He moved constantly in different apparently
contradictory directions.

He was not concerned with consistency. And he was constantly

improvising. (9)

It must be mentioned here that he was always curious and open to challenge
and was ever willing to try and experiment, and therefore, all the buildings
by him in Ahmedabad are remarkably different in their spatial experiences
and even approach. They are an open book on architecture and demonstrate
many different ways of resolving issues of climate, construction and culture.
Ahmedabad can boast of four creations of this modern master, representing
of two architectural prototypesthe private residencies and public
institutions. The following pages shall try to elaborate the four architectural
gems created by this French icon.

The Villa de Madame Manorama Sarabhai, Ahmedabad, 1951.

180
One of the residences belonged to Manoramaben Sarabhai, a widow then,
and was designed as a ground-hugging quiet recluse amid natural tree grove.
The Villa de Madame Manorama Sarabhai, also known as the Sarabhai
House is a unique architectural piece, reflecting French architectural
sophistication in the Indian context. It is a quiet low and meandering recluse
amidst nature, a relevant setting for the widow and her two sons. The house
is situated according to the prevailing winds (in order to be traversed by
currents of air), and its facades are furnished with brises-soleil (Sun
breaker). This structure exhibits unique Catalonian vaults; cradle vaults of
flat tiles, set up in plaster without form work and a row of bricks cast roughly
in cement. These halfcylinders are carried to the walls by the intermediary
of a rough concrete lintel.

The composition serves to create openings in these walls, ail parallel,

playing solids against voids-but playing intensely the architectural
game. (www.fondationcorbusier.fr/../)

A lot of research has gone into this house. One of the most brilliant solutions
to deal with the heat and light is that of the roof. The ground floor is of
Madras stone with an unobtrusive black bonding. The noble and
fundamental material of architecture that is the brick has been used in rough
concrete form. The Catalonian vaults offer a tranquility of their own. The
ventilators supply regular light and air flow to these vaults. It may be
recalled here that this French genius was invited to the city of Ahmedabad
by Gira Sarabhai, once a student of Frank Lloyd Wright, about the
possibility of designing a house for her sister-in-law Manorama Sarabhai in
Ahmedabad. The renowned architect Charles Correa characterized the
humility and spatial fluidity of this house.

A masterwork as complex, amorphous, and as open- ended as banyan

tree, as an Indian joint family. (www.splankin.com.lecorbusier.html)

The Surottam Hutheesing House: (1951-4)

Originally this residence was designed for Surrotam Hutheesing, the then
president of the Millowners Association, but it was then sold at the planning
stage to Shyamubhai Shodhan and transferred to another site. Hence the
nomenclature The Villa Shodhan. It is believed to have descended in the
long run from the Maison Citrohan. The buildings cubic form was carved
out with dramatic concrete brises-soleil and overhangs to create a textured,
dynamic composition, an ascending route and a habitation traversed by
breezes.The house with its over-whelming volumes and cascading terraces

181
under a large and high parasol overlooking the large swimming pool
conjures images from the Indian miniature paintings. The House also
reminds the image of Dom-ino. A Simlar device had been used in the Maison
Baizeau near Carthage of 1928. However, here it was restated in a more
rugged form. Le Corbusier had realised that this should be one of the central
elements of any new Indian architecture as variations of parasol ideas could
be found in several phases of the history of Indian architecture.

Sanskaar Kendra

Source: www.panoramio.com Retrieved on 19 October, 2014

Sanskaar Kendra is one of the two pubic building commissions Le Corbusier

got to realize in the city of Ahmedabad. He made a paradigmatic shift in
terms of concept, theme and execution from the previous two structures
which were private residences.He was well aware of the fact that this new
building was going to be a venue for public, he kept in mind the places of
public with the aesthetics based on Indian ethos and values.

The Sanskaar Kendra being the place of display creates neutral

backdrops of walls and the interoverted spaces become a solid square
box in brick with a central court. (13)

It must be said here that the city of Ahmedabad has been an extremely
fortunate to have a prolonged philanthropic tradition (Mahajans) sustained

182
by the textile tycoons like the Sarabhai family, the Chinubhai Sheth family
and the Lalbhai family.They were not only keen on making the textile capital
of Gujarat into another Manchester, but they were extremly aware about the
necessity of aesthetically designed public places in the city. The then mayor
of the Ahmedabad Municipal Corporation, the late Chinubahi Sheth, asked
Corbusier to design the cultural centre in Ahmedabad. For Corbusier too, it
was both an opportunity and challenge to actualize the theory of spiral,
which he had been advocating through his articles for quite sometimes now.

It was Le Corbusier patent to incorporate the local cultural milieu and motifs
into his designs in order to make them more people-friendly. This could be
one of the reasons why Corbusier incorporated the chowks into the basic
design of the building. Though Corbusier was and eternal experimenter, he
did not wish to deviate from the basic canons of traditional Gujarati
architecture. The fundamental rationale behind his designs can be perceived
from his desire to contextualise his works in the local milieu.Moving
amongst the people, population for whom he had to design, he felt the
intense relationship between people, flora and fauna at spiritual and material
levels in daily life.

The Sanskar Kendra structure bears the stamp of this French wizard. This
built prism in the exposed brick surface is lifted above the ground through a
grid of columns in exposed concrete. It plays with juxtaposed dualities of
peripheral mass and hollow centre. The austere look of the faade was meant
to be relived by the creepers to be grown in the exposed concrete channel
wrapping around the building as the green ribbon. The free form curvilinear
water body and the free standing sculptural outcrop of concrete as the
refreshment counter at the ground floor also offer the counter points to the
straight edge geometry of the built mass.

Sanskaar Kendra is the truest translation of the Domino- house

concept of Corbusier, with concept frame and stairs. It is simply a
grammar of wall planes as infill around the concrete column as the
structure. This organization while containing the voluminous space
inside the museum relieves the mass through lighter column structure
so that eye travels further and sense of volume and scale is
comprehensible always. (Pandya, 13)

The mezzanine floors inserted in four quarters, along with the window
apertures drawing light, punctuate these nodes visually and subtly dividing
the contigous space into four sub spaces.The internal space is otherwise lit
dimly through indirect skylights to avoid heat and glare and bring in diffused

183
light just appropriate for the display function without damaging the exhibits
from ultraviolet rays and direct sun. The upper floor remains accessible
through its trademark element- the ramp which provides not only for
leisurely stroll overlooking the water body in the court but also remains
accessible path for all. The peripheral walls are built as cavity walls
providing much needed insulation in hot dry climate. The insertion of the
service floor between the museum floor and the terrace also shelters the main
floor from the radiation and heat from the roof. Moreover the roof was
designed with water troughs to further insulate spaces below.

The freedom of program brief and the iconic status of the building as
cultural centre inspired Corbusier to explore few ideas beyond the
architecture. (ibid)

Corbusier, consistent to his thoughts on putting roofs to productive

purposes, provided for the water channels where hydroponics were meant to
be grown. No wonder in his architecture volumes, Corbusier enthusiastically
writes more about the aqua-culture possibilities in his structures. The
original sketch for the museum shows four extended arms on four sides
where permanent display about Museum of Man, Museum of Popular
Tradition and Museum of Scientific Research were to be housed along with
the amphitheatre. However, these have not been realized in the initial phase
so far The Sanskar Kendra building became the precursor to the museum
building in Chandigadh as well as museum of Modern Arts in Tokyo.

It is important that a word is stated about the purpose of this cultural center
(Sanskar Kendra). As a city museum it depicts history, art, culture and
architecture of Ahmedabad. Originally designed in the Modernist style with
the name Museum of Knowledge, it was actually a part of a large complex
of Cultural Centre of Ahmedabad which had separate pavilions and areas for
different subjects like anthropology, natural history, archaeology,
monument sculptures, workshops and depots, folklores in open air. It also
included a pavilion for theatre called Miracle Box. But out of whole planned
cultural centre, only Museum was built. Its foundation stone was laid on 9
April 1954.

Ahmedabad Textile Mills Association (ATMA) Building.

Although built around the same time, in the same city, and in the same
climate zone, the buildings built by the French legend display an incredible
level of diversity and contrast. Le Corbusier, the creator of the private
residences is completely different from the creator of public places. For him,

184
the transition from one project to another was little awkward. While
designing the public places for the city, he was faced with the challenge to
express the constraints of Indian economy, technology, climate and the
aspiration of a historical city. However, the French legend could deliver
thanks to the faith and freedom the patrons extended to their visiting guest.
It must be noted that thematically there is a fundamental difference between
the Sanskar Kendra and the ATMA building. The architectural syntax of the
first relies on climate mitigation on its introverted courtyard like square
doughnut configuration along with the service floor and cavity walls for
external insulation. ATMA, on the other hand is largely an extroverted
platform, using the parasol and the Brises Soleil, a roof that would let the
light in yet provide shade against the sun.

One aspect, unique to Corbusiers architecture and one that commonly

manifests in all his projects in Ahmedabad, has been the resource value
ascribed to the roofs.

Corbusier assigned additional value to the roofs of buildings in

Ahmedabad; not treating them as leftover surfaces. He always
emphasized on the incorporation of the natural light into the basic
structure of the building let people get fresh air and a view of the moon
light. (Doshi 8)

Le Corbusier was very well aware of the utilitarian expectations of the

ATMA sponsors. He was asked to build some facility which could
accommodate 60 to 80 persons for associations meeting. It was meant to be
an office building which had one conference room and a large hall for
Associations assembly and meetings. He could understand the Indian reality
and created a gem of structure in the city of Ahmedabad. The visionary
architect from Gujarat, Balkrishna Doshi, who was also associated with the
most Corbusier projects in Ahmedabad believes that the French genius was
always guided by his inner force. He could create new architectural marvels
as:

He was constantly observing, searching, interpreting and

transforming natural phenomenon, objects, plants, and what not.
Anything he saw, he adopted and transformed as if for his own
pleasure. (9)

Le Corbusier was commissioned a total of five buildings in Ahmedabad, two

public institutions and three private residences, of which one was not built.
The ATMA building was the first commission to be completed in 1954. The

185
building is located on the famous Ashram road, in the upcoming western
part of the city. It is a unique structure which has mesmerizingly
incorporated the aspirations of the people and the genius of a visionary. A
ceremonial ramp makes for a grand approach into a triple height entrance
hall, open to the wind. Arrival is on the first floor, where (as per the original
design) the executives offices and board room are located. He wanted the
road and the river to be physically and visually linked. Moreover, he was
well aware of the local expectations. He always knew that some people
always peck, sit for a chat and then go away, and therefore he could
understand both, the utility and the aesthetics. The ground floor of the
ATMA building houses the work-spaces of the clerks and a separate, single
story canteen at the rear. On the third floor is a high, top lit auditorium
with a roof canopy and a curved, enclosing wall, in addition to a generous
lobby. The east and west facades are in the form of sun breakers or Brises-
Soleil, one of his many formal inventions, which, while avoiding harsh sun,
permit visual connection and air movement.

The Brises-Soleil act as free facades made of rough shuttered

concrete, the north and south sides, built in rough brick work, are
almost unbroken. (www.atmaahd.com)

It is to be stated that post independence India was in search of modernist

identity in the realm of public and private architecture. The medieval-
colonial buildings did not suit the recently freed Indian spirit which was
very keen to have modernist but aesthetically designed public buildings. Le
Corbusier who was one of the torchbearers of the Modern Movement in
Europe was invited to India by the then prime Minister, Jawaharlal Nehru in
1951. His concepts of an international style of architecture responsive to
local climate and culture, and the honest expression of materials, were most
subtly expressed in his India projects. While in Gujarat, he talked the way
local inhabitants use their scarce resources, and he tried his most to be as
approximate to Indian reality as possible.

I too follow the custom of using only one bucket full of water and a
tumbler for bath or eat the same way food is served or even study the
multiple ways of Indians use their clothing fabric. (Doshi 9)

In the buildings the French legend created in Ahmedabad there is an

indelible stamp of his genius. In these works, Corbusiers need for the
resolution of opposites found its expression in the juxtaposition of diverse
and often seemingly contradictory architectural elements.How dexterously
he handled spaces is well illustrated in the foyer design of ATMA structure.

186
 On the second floor of the Mill Owners Building, the lobby is treated
as an open space defined by harsh, angular forms and the auditorium
as an enclosed space delineated by soft, curvilinear forms two
contradictory elements that both need the other in order to exist.
(www.atmaahd.com)

The ATMA building involved a very special usage of brick-walls. Here his
box is enveloped with totally opposite types of sun breakers to suit the
western and eastern facades and the north and the south walls are solid brick
walls. He intersperses the spaces with free standing concrete sheer walls and
rounded volumes which are light and moving. The structural grid of RC
columns in this building is broken by the sheer walls the lift shaft and solid
brick end. They not only firmly enclose the box, but also emphasize
directional link between the street and the river
.
The double storied upper floor with its bean shaped hall and its
crescent shaped room connects its palatial hall to the roof, expressing
his message to celebrate life through interconnectedness at all levels.
(Doshi 15)

Corbusier expressed the institutions dual character-the public and the

private-through his concept of the house as a palace (Une maison Un palais).
Villa Cook, designed by him in 1926 and based on this same concept, is
considered to be the closest antecedent of the ATMA Building.According to
him, the expression of monumentality was one of modern architectures
important tasks. The aim of this monumentality was to express the power of
humans acting together and to celebrate the essential nobility of man. It was
the textile industry which gave Ahmedabad its economic, and consequently,
political importance and in housing the business activities of the captains of
the textile industry, the architecture of the Mill Owners Association
Building is a tribute to the nation. Corbusier acknowleged the vision and
aesthetic enlightenment of his clients, the mill owners of the city. It took
courage and insight to engage the architect and his radical ideas, but in doing
so, the mill owners demonstrated that modern architecture is a means to
express a citys aspiration. How majestically the French icon reciprocated
his indebtedness to the city.

With a full hand I have received with a full hand I give. (ibid)

Le Corbusier vehemently spoke about the cascading terraces with or without

attached balconies or verandah and how this he found them represented in

187
the traditional Indian miniature paintings. He appreciated the existence of
such an intimate relationship Indians have with art and real, life. The roof of
the ATMA building echo his reinterpretation of Gujarati traditions. The
Ahmedabad Textile Industries Research Association (ATIRA) building also
has his inspirational imprint on its face.The city has also been a source of
inspiration for him.

The form, the light and air through power station on the banks of
Sabarmati captured his imagination and he translated this industrial
element into the most dignified roof of the Assembly Building at
Chandigadh. (Pandya 13)

His inclined slicing of the roof of the cooling tower and adorning its with
elements in order to catch the cardinal sun rays on a particular day in a years
speaks volumes about his ability to convert highly developed industrial
products into a sacred object of architecture. Here one sees how he fused
the engineer and the artist in him. At micro level, he could, like wise devise
new methods to save energy and cost. Le Corbusier had studied miniatures
to understand the subtle nuances of shaded, private terraces and balconies.
Curious and open to challenge, he was ever willing to try. For him chance
meant opportunity. New issue a challenge meant virtue. That is why all the
buildings by him in Ahmedabad are remarkably different in their spatial
experiences and even approach. They are an open book on Architecture.
They demonstrate many different ways of resolving issues of climate,
construction culture.

It must be stated that the Corbusier projects in Ahmedabad have

exclusivity of their own. These projects are more of Corbusier metaphors
and symbols than being mere structures of bricks and cements.

These four examples are not merely projects. It was a laboratory of

ideas. A demonstration of his theories. A dream comes true. These
four examples are, his theories of thirties reinvented. The idea of
growing spiraling museum, the remakes of espirit nouveau pavilion,
roof gardens and so on. (Doshi 18)

Le Corbusiers arrival in India at the invitation of the first Prime Minister of

India. Jawaharlal Nehru, inked a new chapter in the bilateral alliance
between France and India. His sojourn in Ahmedabad transformed the face
of the city as the four buildings he constructed had far reaching
reverberations across the country.Perhaps, it was here in India, that he saw
greater value in counterpoints or apparent paradoxes. Spiritual meanings,

188
the deeper essence of life is what he saw in India. He admired most
profoundly the quality of activities around the huge water tank enclosed by
the Sarkhej Mosque and tomb complex built in the seventeenth century. The
fact that he was hugely impressed by the art and aesthetics of India could be
measured from the words that he spoke to his disciple and his fellow
architect Balkrishna Doshi.

Doshi you did not need to go to Acropolis, you have it all that we seek
from architecture. (19)

It is needless to repeat that Le Corbusier elevated the Guj-Franco rapport

to a new altitude. The four symbols he chiselled in Ahmedabad emerged as
centres of attraction for aesthetes and institute builders and gave rise to a
new wave of architectural movment in the country. It also signalled revival
and resurgence for establishing new institutions. His legacy was, to some
extent, was carried forward by another French architect of international
repute. The following profile estimates his contribution towards the
sustenance of Corbusiers legacy.

Bernard Kohn (1931-)

The Guj-Franco architectural bond which was shaped by the legendry

French architect Le Corbusier and his equally illustrious disciple from
Gujarat Balkrishna Doshi, is furthered by a horde of renowned architects
from across the globe including the internationally acclaimed master
Bernard Kohn. He was the one who inspired the most ambitious riparian
Riverfront Project on the Sabarmati.

Source: www.narendramodi.in Retrieved on 19 October, 2014

189
He is also one of the founders of Ahmedabad School of Architecture. He
was inspired by the famous Scottish town planner Patrick Geddes who
showed lot of respect for nature, democracy and traditional crafts as a
foundation of city. Many of his students have reshaped the citys skyline in
the past few decades. It may be recalled here that it was Kohn who had
proposed the riverfront plan to the then Union Finance Minister Morarji
Desai in 1961. Ahmedabad was, after Chandigadh, a magnet for word-class
architects such as Le Corbusier, Louis Kahn, B.V. Doshi, Anant Raje and
Charles Correa. Presumably, Kohn hoped to gain Morarji Desais sympathy
as he was from Gujarat. Morarji Desai wrote back.

It was necessary to initiate thinking and stimulate general interest in

the solution of the problem. (Frontline)

Bernard Kohn, like his legendry French contemporary Le Corbusier, was

also instrumental in designing private and public buildings in Ahmedabad.
These buildings may not have received the expected attention yet if one
looks at the conception and execution of them, one certainly comes across
the stamp of a genius.One such exclusive structure is The House of Curios:
Amit, Raksa Ambalal. The focus of this house is on the front room, which
has a Garuda from Southern India, Moghal - Period chests and pieces of
furniture that were part of the familys collection. Natural light streams is
from a skylight. The house is called Sumeru or hills because

It takes inspirations from a mounting, with two wings rising from the
ground and meeting at a central point, which is the lounge. The house
has been designed in a way that more rooms or wings can be added
when required. (India Today)

This house, a product of Bernard Kohns post modern concept was built
almost entirely from architectural fragments of the first floor of a haveli that
once stood in Ahmedabads lanes called pols designed by the family
carpenter, including beautifully carved, rich dark wood pillars, railings,
doors and windows, with the addition of doors from the Jaali of an
Ahmedabad mosque. It is an amalgamation of Guj-Franco aesthetics. The
industrialist turned artist has developed a very special studio with a
wooden faade, brick structure and a tiled roof. It is reminiscent of a haveli
or courtyard house with large, covered verandahs and a raised sitting area
with windows making up the faade. An ornate entrance on the side leads to
an open court, which has the workshop across.

190
Post-independence, the city of Ahmedabad had emerged as a confluence for
experimentation and explorations for so many internationally acclaimed
architects. Enterprising entrepreneurs with their avant garde outlook
brought into the city world legends in the field of architecture. Not only were
these icons invited to the city but they were also entrusted with full creative
freedom to realize their chosen visions. The generous patronage extended
by the textile tycoons of the city of Ahmedabad soon made the historical
town into a citadel of art and aesthetics. No wonder this ambience was
recognized and reciprocated by the city designers and public place planners
from across the globe. Precisely it is the reason why the city has unique and
most profound collection of edifices by international masters.

The city had became a canvas for modern masters to come, experience
and create their three dimensional art. (DNA)

Meanwhile the city continued to host a phalanx of internationally acclaimed

architects such as the British architect Claude Batley, who was instrumental
in the execution of iconic structures such as Tagore Hall, MJ Library and
Vijalighar. Charles Eames was the other town designer who was invited by
Gautam and Gira Sarabhai to help set up the design school- National
Institute of Design, conceptualize its teaching ideology and design the
curriculum accordingly. Similarly, the iconic showroom of Calico Mills was
themetically inspired by the German engineering wizard, Buck Minster
Fuller. And Calico Mills administrative building was originally
commissioned to the legendry American architect Frank Lloyd Wright. Le
Corbusier and Louis Kahn chiseled sonnets in stones and ballads in bricks
and imparted legitimacy to bear aesthetics of exposed brick construction,
hitherto alien to the place and people.

Even after Le Corbusier and Louis Kahn, international architects chanced

their arms over this open canvas. French architect Bernard Kohn and
American teacher Christopher Beninger had made the city their home for a
decade or so and have to their credit numerous buildings in their
impressionist years. Bernard Kohn championed the cause of Riverfront for
the river Sabarmati half a century ago, and Christopher Beninger helped
draft the course curriculum for the School of Planning. From the national
scene, even with no lineage to the city till fifties, Pune born architect
Balkrishna Doshi, apprenticed with Le Corbusier in Paris for four years,
made Ahmedabad his karmabhumi. Noted legends of contemporary India,
Achyut Kanvinde from Delhi, trained in the USA in Bauhaus tradition, and
Charles Correa from Goa-Mumbai, also trained in the USA, have numerous
trend setting buildings to their credit. Ahmedabad Textile Industrial

191
Research Association (ATIRA), Physical Research Laboratory (PRL),
Stadium, Gandhi Ashram to name two each respectively.

Thus, Ahmedabad became the laboratory of architectural innovation,

research and thinking. It not only has imprints of the modern masters for
posterity but has continued to breed new generations of architects with
lessons n puritan and thoughtful architecture through institutional set-up

B.V.Doshi: (1927-)

Source: en.wikipedia.org Retrieved on 19 October, 2014

Balkrishna Vithaldas Doshi is an iconic architect and considered an

extremely important figure of South Asian architecture. He is noted for his
contributions to the evolution of architectural discourse in India. After initial
study at the J.J. School of architecture, Bombey, he worked for four years
with Le Corbusier as Senier Designer in Paris and four more years in India
to supervise his projects in Ahmedabad and Chandigadh. Over the years
Doshi has created architecture that relies on a sensitive adoption and
refinement of modern architecture within an Indian context. The relavency
of his environmental and urban concerns make him unique as both a thinker
and a teacher.

Architectural scale and massing, as well as a clear sense of space

and community mark most of his work. Doshis architecture
provides one of the most important models for modern Indian
architecture (Sharp 45)
192
He stumbled into studying architecture at the suggestion of a school teacher.
Later he travelled to London in 1951 to find himself participating in the
activities of the Congres International dArchitecture Moderne (CIAM).
There he was offered his first job with Le Corbusier in Paris, who was
designing Chandigarh at the time. It was a phase of rethinking for Le
Corbusier, especially after the Second World War and the troubles he had
gone through. The commison to design Chandigadh kind of revitalized him.
India with her multiple complexities posed a kind of challenge to the French
genius. Doshi, without much background of the contemporary architecture
joined the great master. Language too was a barrier. Luckily, the guru took
on the role of a mentor and tought him the basics of architecture through
sketches and drawings. His logical and ever fresh mind inculcated a sense
of decipline and design in Doshis mind. It was Corbusier who tought him
that there was an intence relationship between people, flora and fona at
spiritual and material levels in daily life.

Corbusier could capture the essence of ancient as well as medieval

Indian architecture and mingle it with his modern concepts. To him,
the presence of the etenal Himalayas was, perhaps, sacred. He belived
that natures laws are above everything. On the starry nights, he would
talk about the moon, the stars and the cosmic forces that connected
the Hindu mythology (Doshi 9)

As an architect he rapidly evolved as an incredible amalgamation of Parisian

principles and Indian ethos. In him one finds a captivating blend of
Corbusier cannons and Indian ambience. The last century can be credited
with giving birth to many ideas, visions, ways of living and working. He had
tremendous faith in technology as the panacea of all problems of mankind
and a means to human progress. Arising from the faith in technology are the
principles of modern city planning and architectural theory and practice
which dominated the twentieth century. According to him, city planning and
architectural theory need to be perceived from a holistic perspective. This
perspective is a result of the new understanding that one develops towards
the relationship that exists between man and nature. The man made system
and the natural systems are increasingly viewed from the aspect of
environmental and ecological balance. One is concerned about the
relationship of the man and earth itself, the biosphere. He is of the opinion

193
that conservation or regeneration of environment should be prioritized over
any other developmental considerations. Since ancient days the Indian
civilization had had a close connect with forest, agriculture and industry.

All the crafts, and all those artifacts that one finds in the museums
indicate a harmonious relationship between the place, the place of
work, the place of living and also the place of activity. But as the years
went by, the wholesome life of the community was broken up. The
mans relationship with nature and land came to an end. (Doshi 5)

India became a part of the process of industrialization under the British rule
itself, however, it could not choose the path of development and progress it
desired. The universe of an architect or a townplanner is dominated by
multiple factors

The ferocious pace of urbanization

The religious attitude of the masses
The struggle of modern India to co-exist with mythological
India
The schism between tradition and modernity
The climatic diversity of the country
The ethnic diversity of the nation
The divergent socio-cultural fabric of the society

Though Doshi was born in Pune, he shared a special bond with Gujarat,
especially with the city of Ahmedabad. After having worked with Le
Corbusier in Paris, he returned to Ahmedabad to supervise Le Corbusiers
projects. It is in Ahmedabad that he established his studio Vastu-Shilp
(environmental design). He worked closely with Louis Kahn and Anantraje,
when Kahn designed the campus of the Indian Institute of Management,
Ahmedabad. Though he worked with different masters at international level,
his relations with master French architect Le Corbusier remained very
special.

I learned from Le Corbusier to observe and react to climate, to

tradition, to function, to structure, to economy, and to the landscape.
To an extent, I also understand how to build buildings and
createspaces and fonts. (Doshi 236).

194
It was from the French icon he understood the delicate relationship between
man and his environment. Years after he realized that the bulidings he had
designed were some what foreign and out of Indian milieu. They do not
appear to have their roots in the soil

With experience of my work over the years and my own observation,

I am trying to understand a little about my people, their traditions, and
social customs, and their philosophy of life. (236)

He has closely observed the changing face of the city of Ahmedabad. An old
city has traditions of its own and the new uptown has developed culture of
its own. The uniqueness of the city lies in not just the brick and mortar
monuments but the traditions and life-styles that made it unique.

When you look at the old city, when you walk through it, couple of
things become very apparent- one is that you never feel, that you are
walking on a road or a transport network, but walking in a living
room- a public community living space! It is very vibrant, because
while you are walking there, you imagine people sitting in the
verandah, talking to one another, to the neighbours as well as across
the road. (Shah)

He has made an immense contribution to contemporary architectural

practice and polemic in India. Corbusier had rendered a profound impact on
him but he has always sought to interprete Corbusiers modernism through
local conditions of site, climate and available technology. In recognition of
his invaluable contribution in the field of architecture and education, he has
been conferred upon various recognitions from across the globe. He has
been the first founder Director of School of Architecture, Ahmedabad, first
founder Driector of School of Planning, first founder Dean of Centre for
Environmental Planning and Technology, founder member of Visual arts
centre, Ahmedabad and first founder Director of Kanoria Centre for Arts,
Ahmedabad. He has been instrumental in establishing the nationally and
internationally known research institute Vastu-Shilp foundation for Studies
and Research in Environmental Design.

As an academician, Dr. Doshi has been visiting the U.S.A. and Europe since
1958 and has held important chairs in American universities. In recognition
of his distinguished contribution as a professional and as an academician, he

195
has received several international and national awards and honours. These
include:

Honorary Fellow, American Institute of Architects.

Fellow, Indian Institute of Architects.
Fellow of the Royal Institute of British Architects
Padma shri.
Pan Pacific Architectural citation, American Institute of
Architects, Hawaii
Paul Phillipe Cret Professor of Architecture, University of
Pennsylvania
Great Gold Medal for Architecture, Academy of
Architecture, Paris.
Hon. Doctorate, University of Pennsylvania.
Aga Khan Award for Architecture.
Prime Ministers National Award for Excellence in Urban
Planning and Design.
As an acknowledgement of his unique contributions in the realms of
architecture, academics and town planning, the government of France
has conferred upon him several awards and honors which includes Ordre
des Arts et des Letters, its highest honors for arts.The French award is
equivalent to Padm Bhushan award in India. He was earlier awarded a
gold medal from the French Academy and a lifetime achievement for
global sustainability by the French government.

It may be noted that the French architects not only interacted with their
counterparts from Gujarat at individual level, but they also partnered
with the establishment at institutional level. It is a well-known fact that
France evinced keen interest in the conservation of heritage structures in
the city of Ahmedabad. This phenomenon has been elaborated in the
ensuing pages.

French Conservation of Pols and Havelis

The Guj-Franco bilateral ties were reinforced when the Ahmedabad

Municipal Corporation (AMC) inked a project memorandum with the
French Government between 2000 and 2005. This Guj-Franco joint venture
aimed at the conservation of some of the Pols and Havelis of the walled-

196
city, Ahmedabad. The project responsibilities were to be shared by both the
partners. As part of the project, the team led by the renowed French architect
Pierre Cadot stayed in the old city and documented its unique heritage of
life. He was assisted by another French architect Sarah Keller who is
associated with the MS University, Baroda. MS. Keller was part of a ten
member team which was assigned the task of restoring the old town. It must
be noted here that the city of Ahmedabad has an enviable history of more
than six hundred years. In its heydays it was bigger than even London and
Paris of the same era. This city which was founded by Ahmed Shah has four
km length and three km width. The conservationist team led by the French
architects minutely observed the hues and colours of Pol life, and in order
to have a real feel some of the team members chose to stay with the people
of Pols. It must be said that this professional commitment was virtually
devotional as the team worked tirelessly, studied and restored around thirty
private structures including some Havelis in those five years.

The restoration of Pol houses which capture the essence of community

living, was more significant in the sense that the walled city had ceded its
unique identity to the newly emerged affluent uptown in the Western part of
the city across the river Sabarmati. Chabutras (bird-feeders) of the old city
had a unique identity of their own and they were an integral part of
community living in the Pol milieu in the past. Unlike many other glorious
cities across the globe that have lost their relevance and distinct character,
Ahmedabad has kept its past alive and looks forward to a promising future.
Many other Indian cities have taken lessons from Ahmedabad on
conservation of heritage. In the year 2000, the French signed a memorandum
with Ahmedabad Municipal Corporation to conserve heritage. The
conservation initiative would incur huge expenses, however, HUDCO
(Housing Urban Development Corporation) revised its existing financial
laws to include loan for restoration of ancient buildings. Majority of town
planners and architects, heritage conservationists and archeologists
unanimously consent upon the fact that Ahmeddabad is a living heritage
city. The planning system of the walled-city is based on the ancient Indian
tradition of Vastu principles.

The sharing of community spaces and resources such as water and

building structure, techniques and materials offer social security and self
sufficiency to the Pol inhabitants. (TOI)

On 14th January 2000, the AMC signed a memorandum with the

Government of France for a scientific study of the walled -city. This was
initially for one year and was later extended and finally a tripartite

197
memorandum was signed among the Government of France, AMC and
HUDCO for the implementation of conservation programme. In the next
stage an agreement between Government of France and Ahmedabad
Municipal Corporation was signed for the establishment of the Ahmedabad
Heritage Centre. The Government of France renewed thus the Guj-Franco
relationship in the form of financial assistance and technical expertise which
it so willingly extended to the Ahmedabad Municipal Corporation for
Ahmedabad Heritage Conservation Project.

The French government bestowed a million Euros (approximately Rs 4

crore) grant to AMC for the heritage conservation project of Ahmedabad.
The money to be used to part-finance preservation of the walled city.
(TOI)

It warrants to be mentioned here that the concept of conservation was

seriously deliberated in the nineties by the townplanners, architects, and
conservationists. The city hosted a series of seminars titled as Sambhav in
which a host of internationally acclaimed architects from India as well as
abroad participated. The broader theme of the Sambhav seminars, held at
iconic places like National Institute of Design and Centre for Environmental
Planning and Technology, was the exigency of conservation of the walled-
city structures. Architects from France particularly evinced keen interest in
the preservation of the old city. It was during the third edition of the
Sambhav in Ahmedabad that the Government of France made the
announcement of financial aid to the Ahmedabad Municipal Corporation.

The Sambhav seminar was specifically convened for the purpose of

conservation and revitalization of urban heritage of Ahmedabad. The
programme was the first ever Indo-French heritage exercise in the country.
The city of Ahmedabad which holds an enviable lineage of 600 years was
ready to essay a new chapter in the history of Guj-Franco relationship.
There prevailed this general perception that the antiquity of Ahmedabad and
its reach genealogy would earn a place in the list of heritage cities of
UNESCO. It wouldnt be in excess to note that the conservation drive
undertaken in the old city took this initiative an inch closer to the realization
of that coveted honour.

The French architects like Fredric Auclair as a trainee under the team leader
Pierre Cadot and a formidable team of architect were roped in for perhaps
the most ambitious conservation project. The teams efforts of restoration
and revitalization of the old structure in the walled-city was duly supported
by the visionary architect Debashish Nayar of the Heritage Cell of AMC. It

198
is to be noted here that the conservation project had to deal with a series of
social, legal and financial issues which recurrently thwarted the progression
of the project. The privately owned buildings, especially the Havelis in the
Pols, were almost deserted and dilapidated and therefore, the conservation
to be made was not only in terms of physical structures but also in terms of
restoration of the entire socio-cultural fabric of the yore.

The city of Ahmedabad, as noted earlier, enjoyed a very special rapport with
France as a number of artists exchanged artistic ideas with each other. The
city of Ahmedabad was specifically chosen by the French government as it
possessed a unique combination of historic urban architecture coupled with
most interesting contemporary structures. Significantly, the iconic architects
from France such as Le Corbusier and Bernard Kohn had made Ahmedabad
almost as their second home. However, the genesis of the conservation
initiatives had its roots in Sambhav I and Sambhav II which were held in the
city in 1998 and 1999 respectively. During this period, the French architects
and experts had pulled their expertise and experience with their Indian
counterparts, namely the Heritage Cell of the AMC and Intac. As part of
procedure, an MOU between the Government of France and the AMC
followed. The efforts put in the earlier editions of the Sambhavs finally
yielded results as the third edition of the seminar finally prepared the list and
sites to be preserved. HUDCO financially partnered the Guj-Franco joint
venture by offering aid at much lower market rate.

The French architects and their team were given a special premises in
Tankshalni Pol from where they launched one of the most ambitious and
prestigious conservation programmes of the old city. Pierre Cadot was
particularly extremly enthusiastic about the entire venture as he stayed in the
old city in order to experience the life at microcosmic level. The first Haveli
to be conserved by the French team was Jagdip Mehtas house which was
located in Mota Sutharno Vado, Khadia. For the restoration process, help
and succour came from unexpected quarters. The 150 year old restored
structure is an interesting blend of Indo-European architectural patterns
which seem to have resulted from trade transactions that occurred in the later
part of the eighteenth century.It is an exquisite structure. The central chowk
of the Pol leads you to a courtyard with minimalist spots of greenery and the
ubiquitous jhula.

Once inside there is a small comfortable chowk that opens into the sky
resting on the bowels of a tank housing 15,000 litres of water that is
a part of an elaborate rain harvesting system common to all pol structures.
(Lakhia)

199
The Haveli is a surprising blend of architectural elements, Italian tiles glaze
over floorings bordered by mosaic designs in shattered whites, blues and
reds. Arrays of Belgian glass focusing stained colours and hues defusing the
yellow rays of the sun. Within this the family has created beautifully private
places for the house guests to live and experience life within a Pol. This
Haveli has now become a symbol of heritage restoration undertaken by Guj-
Franco architects. It has also emerged as a seat of cultural meets and a
meeting place for local residents and the foreign tourists who come to
experience the milieu of yesteryears of Ahmedabad. It also hosts visitor and
artists who have deep interest in heritage and culture.

The Guj-Franco architects under the guidance of Pierre Cadot also restored
a Haveli located in the Dhalni Pol, Astodia in the walled-city which is now
managed by Anupa Mehta and is known as Arts Reverie. It also has
emerged as a centre for the research and development of contemporary craft
in collaboration with makers and partners in the city and its region.This
place has evolved as a much sought after residency for artists and creative
people from all across the disciplines. It also engages in multi-level
partnerships with various institutes and agencies nationally as well as
internationally.It has engaged with more than ninety five international artists
over the past five years and partnered in the various International Research
Fellowships.

This center of Arts has also earned support from various international
councils like British Council, Japan Foundation, Arts Council
England, Arts Council Northern Ireland and Australian Council for
its art projects.The Design Camp, supported by Arts Council of
Northern Ireland and Manchester Metropolitan University and the
House of Mangladas Girdhardas have also actively engaged with this
center. (www.artsreverie.com)

The restoration efforts initiated under the supervision of renowned French

architects, the Government of France, the AMC and the HUDCO yielded
expected response particularly from the heritage lovers.It is to be borne in
mind that the restoration per se was a mammoth task and it involved various
stake holders such as the Governments of France and Gujarat, the private
property owners, the financial agencies and the developers. The initial
efforts were greeted with all co-operation, however, some clash of interests
of these stake holders mysteriously retarded the progression of the
project.The French architects who worked with the AMC when they came
to know about this negative development, shifted to the Sanskar Kendra,

200
Paldi, a venue which was designed by none other than the iconic French
architect Le Corbusier.

The Guj-Franco restoration rapport, however, started developing cracks as

some uncalled for legal issues interrupted the hitherto smooth execution of
the entire project. Moreover, the French architects who were not very
comfortable with routine beurocratic hurdles, legal entanglements and red-
tapism got disillusioned soon. This atmosphere of indifference discouraged
the French participation. The other factor which may have impeded the
overall execution process of the project was probably the lackadaisical
response shown by the real estate developers who were not very keen on
restoring the heritage structures of the walled city. In a way they were not
completely wrong as developments beyond the boundries of the walled-city,
especially on the periphery of the city, proved extremely lucrative.

Along with architect, dance is the other genre of art which has also witnessed
a considerable level of Guj-Franco exchange. This phenomenon is not as
expansive as the genre explored in the preceding pages. However, it
certainly warrants for an investigation. The following is the profile of one
of the greatest classical dancing duo of Gujarat.

4.2 Dance: Mrinalini Sarabhai and Mallika Sarabhai (1954- ) Danseuses

Supreme:

Dance is a type of art that generally involves movement of the body, often
rhythmic and to music. It is performed in many cultures as a form of
emotional expression, social interaction, or exercise. It is also used to
express ideas or tell a story. There are as many forms and styles of dance as
are the dancers. There are myriad vareities of dance ranging from folk to
classical in almost all human civilizations. Indian classical dance is an
umbrella term for various codified art forms routed in Natya and sacred
Hindu musical theatre styles whose theory can be traced back to the
Natyashastra of Bharat Muni. Classical dance performances ususally feature
a story about good and evil.

The term classical denotes the Sanskrit term Shastriya for the various
dance styles based on the cannons of Natyashastra. Interestingly, Bharat
Muni doesnt mention the names of any of classical dance forms recognized
today, but he lists the four Pravrittis as Dakshinatya, Audramagadhi, Avanti,
201
and Panchali. Bharatnatyam, Kuchipudi, and Mohiniyattam evolved from
the Pravritti form called Dakshinatya. Mallika Sarabhai, the daughter of a
classical dancer Mrinalini Sarabhai and the renowned space scientist,
Vikram Sarabhai, is an accomplished Kuchipudi and Bharatnatyam dancer.
It maybe noted here that any account of the bilateral relationship between
France and Gujarat is inadequate without the mention of the invaluable
contribution made by classical dancer duo- Mrinalini Sarabhai and Mallika
Sarabhai.

Mrinalini Sarabhai

Before one assesses the contribution made by Mallika Sarabhai in the realm
of classical dance, it is imperative to evaluate the huge contribution in the
field of dance that was made by Mrinalini Sarabhai aka Amma. The state of
Gujarat, it maybe noted here, doesnt have its own classical school of dance.
Mrinalini brought Bharatnatyam and Kathakali to the shores of Sabarmati,
soon after the independence. She married the Ahmedabad physicist Vikram
Sarabhai and later she founded Darpana Academy of Performing Arts in
Ahmedabad. This school has been imparting training in dance, drama, music
and puppetry for well over six decades now. Now the question that arises is:
In what way did Mrinalini Sarabhai contribute towards the cultural
interactions between France and Gujarat? And how did Gujarat benefit from
her artistic interactions with France?

It maybe noted that she is one of the very early artists who introduced the
art circuit of Ahmedabad to the artistic world of France. In the year 1949,
she performed at Theatre National de Chaillot in Paris where she received
a lot of critical acclaim. She is the first Indian to receive the medal and
diploma of the French Archives Internationales de la Danse. She brought
home her reach experience from France and enriched the genre she was
dealing in. Alongwith the French honours, this illustrious danseuse was
honoured with the Degree of Doctor of Letters, honoris cousa (Litt D) by
the University of East Anglia, Norwich, UK. She was also nominated to the
Executive Committee of the International Dance Council, Paris in 1990.
Considering her immense contribution in the field of art, the Government of
Mexico also conferred upon her a gold medal for her choreography for the
Ballet- Folklorico of Mexico.
202
It must be mentioned here that she is also one of the founding members of
Alliance Francaise d Ahmedabad. She has been actively engaged in all the
cultural activities carried out by this centre since its foundation. For
Alliance, she has been an incredibly loving and caring patron. The
investigator feels humbled while noting the priceless contribution this living
legend has made in the realm of art and aesthetics.

Mallika Sarabhai

The legacy of Guj- Franco bilateralism, especially in the field of dance and
drama is carried forward by Mrinalini Sarabhais most illustrious daughter,
Mallika Sarabhai. Under here care and concern, the artistic relationship
between France and Gujarat has gone from strength to strength. She has been
representing India in the various fora of art and culture at international level
and has also brought numerous laurels for the nation. The state of Gujarat is
particularly proud of the fact that she has won some of the most coveted
prizes and awards in France. The investigator also wants to highlight and
profile the humanitarian activities the danseus has been caring out all along
her career commitment. She has not, however, confined her commitment to
dance only as she has been a champion of marginalized millions who are
driven to the fringe of the society.

Mallika has had an enviable childhood as she was born into one of the most
famous families of India. She started to learn dancing when she was young,
and started her film career in parallel cinema, when she was in her teens.
She completed her MBA from Indian Institute of Management Ahmadabad
and later she earned her Doctorate from Gujarat University. Her illustrious
academic career would have made her a top level academician in the
country. However, her artistic inclination which she inherited from her great
mother Amma naturally introduced her to the world of art. She followed the
footsteps of Amma and attained glory in the classical dance, Bharatnatyam,
she subsequently tuned to the world of theatre. It was this genre of art which
provided her wider audience and greater platform. She didnt confine her
selection of subject to the topics extracted from the epics and mythologies,
she dwelt more on the burning issues of the society, especially the issues of
marginalized millions. In 1989 she performed hardhitting solo theatrical
work, Shakti: The Power of Women.After that she directed and acted in
numerous productions reflecting current issues and awareness among

203
people. She also wrote the script for the play Unsuni based on Harsh
Manders book Unheard Voices. Arvind Gaur later directed it as a play, with
the same name.

The role of Draupadi in Peter Brooks play The Mahabharata, earned her a
lot of critical acclaim across the world of theatre. Brooks innovative
interpretation of the ancient Indian epic was a path setting experiment in
cross-cultural theatre. This role changed her perceptions as she became more
concerned about thw women issues

My whole experience of being Draupadi cemented that, because for

me, she has been a powerful feminine/feminist icon. Wherever we
played, be it in Paris, US or Australia, I noticed how she got across
the women. [] I realized that if one role in one show can make
women respond the way they are responding, then if I am not using
the art to talk about what I want to, it is wasting a language.
(www.telegraph.com)

In 2009, she acted in Bertolt Brechts Indian adaptation of The Good Person
of Szechwan (Ahmedabad ki Aurat Bholi Ramkali) which was directed by
Arvind Gaur in 34th Vikram Sarabhai International Art Festival. In the year
2012, Mallika co-directed Women with Broken Wings, an international
production with film-maker Yadavan Chandran and Swiss pianist Elizabeth
Sombert.

It is an ode to the millions of women who have been the victims of

violence.(en.wikipedia)

She has been a regular invitee at almost all Indo-French cultural programs.
In the year 2008, she was invited by the French ambassador Jerome
Bonnafont to celebrate the creative synergy between Indian and French
theatre. French actor-director Astrid Bas directed a play, wherein the cast
included Indian artists. It was a unique experience for the Frenchman who
was working with Indian artists for the first time.

This is the first time Ive directed a play with Indian artistes as its
characters. Though I dont understand Hindi, I could emote with the
artistes. I understood what scene was on only by looking at the

204
 expression of the actors. This gave me a strange kinda confidence.
(timesofindia.indiatimes.com)

Mallika was very appreciative of such collaborative theatrical effort. She

said that she liked the coming together of Indo-French theatre artistes and
that she quiet enjoyed the play.

Doing the play was interesting but slightly difficult, as we

couldnt use our bodies the way we do in dance. (ibid)

She has been passionately participating in the Indo-French cultural festival

Bonjour. In the year 2010, she presented a dance tableau against thre
backdrop of adivasi arts at the Musee du Quai Branly. She has won a number
of awards and honors during her illustrious career as a danseus and as an
activist. The first award that she was conferred upon was the film critic
award for the best actress for Mutthibhar Chawal. Since then she has been
recipient of numerous coveted prizes and awards that had come to her from
across the globe. The impressive roll of honors includes some of the most
coveted awards:

Best Film Actress Award for Mena Gujari, a Gujarati film.

Film Criticss Award for best supporting actress, Sheesha
Sangeet Natak Academy award for Creative Dance.
Woman of the Year, Indian Merchants Chamber (IMC).
Kala Shiromani Purashkar, Institute of Economic studies.
Indian for Collective Actions Honor Award.
Nominated as one among, 1000 women for Nobel Peace Prize.
Theatre Pasta Theatre Awards.
Crystal Awards by World Economic Forum.
Padma Bhushan.

She has been the cultural ambassador of India in general and of Gujarat in
particular for the last four decades.As an acknowledgement of the diverse
contribution she made towards the Guj-Franco bilateralism, the
government of France has conferred upon her two of its greatest awards
Chevalier des Palmes Academiques in 1999 and Chevalier de Lordre des
Arts et des Lettres in 2002. It requires to be mentioned here that she is the
only person from Gujarat who has been generously awarded by the people

205
of France for her invaluable contribution in the realm of arts.She has
undoubtedly strengthened the GujFranco cultural linkages in various ways.

Along with architecture and dance, Parmanand Dalwadis photojournalism,

largely a French import, played a very important role in cultural exchange
between France and Gujarat. This phenomenon has been elaborated in the
following pages.

4.3 Photojournalism: Parmanand Dalwadi (1940-) Le Pionnier

Photographe

The second half of twentieth century was witness to a phalanx of cultural

interactions between France and Gujarat, and it was during this period that
the photo-jounalism as an art was introduced in Gujarat. It is a particular
form of journalism which involves collection, edition, and presentation of
news material. It employs images and photographs to tell a news story. It is
now usually understood to refer only to still images, but in some cases, the
term also refers to video used in telecast journalism. It is also distinguished
from other close branches of photography

By complying with a rigid ethical framework which demands that the

work is both honest and impartial whilst telling the story in strictly
journalistic terms. (wikipedia)

The origins of this art can be traced back to war photography, however, the
mid twentieth century is considered to be the golden age of this art. The
advent of technology, especially smaller, lighter cameras greatly enhanced
the role of the photojournalists. This genre owes a great deal to the
invaluable contribution made by Bresson, who not only adopted this art of
photography but also took it to the nook and corner of the continents. Before
we assess the contribution made by Bressons deciple Dalwadi to the field
of photojournalism, it is imperative to profile the pioneer of this genre.

Henri-Cartier-Bresson (1908-2004)

This French photographers interest in modern art was combined with an

admiration for the works of the Renaissance artistes, however, he confronted
the problemes of artistic form and composition in pohotography. The
photographic realism of twenties introduced him to the surrealist movement
which brought about a paradigmatic shift in his creative perception. He
departed from painting and turned to photography seriously. This
technology aided art impressed him immensely
206
 Photography is not like painting. There is a creative fraction of
a second when you are taking a picture. Your eye must see a
composition or an expression that life itself offers you, and you must
know with intuition when to click the camera. That is the moment the
photographer is creative. The Moment! Once you miss it, it is gone
forever. (Bernstein)

He who was considered an icon and an institute in the realm of

photojournalism was influenced by Andre Lhote and by his Alma Mater
Lycee Condorcet, Paris. Soon Bresson rose to the position of being
acknowledged as the father of modern photojournalism in the world.It was
he who revolutionized the realm of real photography through his technical
innovations and thematic deviations. This master of candid photography was
an early adopter of 35 mm format which helped him develop the street
photography or life reportage style. His non-conventional methodology
has influenced generations of photographers across the world including
Parmanand Dalwadi.

Father of Photojournalism: Henri Cartier-Bresson

Source: totallyhistory.com Retrieved on 18 October, 2014

207
As stated earlier Parmanand Dalwadi introduced this art in Gujarat around
sixties.This is the decade when Gujarat as a state was born and it was in
seach of its own identity. Many artists were invited to the city of Ahmedabad
and it was one of such occasions when Bresson met Dalwadi at NID.
Dalwadi wanted to be a painter and became a photographer. It all happened
during his National Institute of Design days where he spent about sixteen
years. He later took photography as his principal profession which remained
so till today. No wonder today he is being unanimously hailed as the father
of photojournalism in Gujarat. With scholarship from Ford Foundations, he
visited Europe in 1969 for a year and half and had the privilege to work
under the legendry photographer Henri Cartier Bresson and other prominent
personalities like Wolfgang Siol, Pierre Gassman, Rene Groebli and Bob
Gill. His works, it must be said, are the result of Bressons blessings and
encouragement. Travelling extensively covering India twenty times by road
for different assignment was immensely enriching experience and gave him
the fodder to evolve as a photographer as well as to develop and master his
art. He taught, and is still teaching, photography at different renowed
institutions such as Centre for Environmental Planning and Technology,
National Institute of Design, NIFT, IIT-IDC-Mumbai, IIT-IDC-Guwahati,
Symbiosis Pune, DJAD Coimbatore and EMRC Gujarat university.

He was extremely fortunate to work with Henri Cartier Bresson for several
months in his laboratory. This was the most vital formative phase in the life
of a young photographer from Gujarat who was literally awestruck by the
artistic world of Paris. He also met Bressons family, particularly his wife,
who influenced him a lot in understanding French language, art and
aesthetics. Bressons interest in modern art was combined with an
admiration for the works of the Renaissance. He considered the works of
Renaissance as the photographs without the camera. Parmanand Dalwadi
immediately began to be influenced by Bressons approach to art. His
surrealism also made a lasting impression on the young photographer from
Gujarat matured artistically and photographically under his inspiration.

He now understood that a photograph could fix eternity in an instant. His

camera which became almost an extension of his eyes would accompany
him for many years. He envisioned new possibilities in the sphere of
photography. By gods grace, Dalwadi had the ability to capture the world
in its actual state of movement and transformation. In the beginning he did
capture different moments of life much in the Bressonian way. However,
with the passage of time, he evolved a style of his own in the field of
photography. It must be recalled here that Parmanand Dalwadi was also
influenced by Georges Braque (1882-1963), a renowed versatile French

208
artist who had created waves in the realms of painting, drawing, sculpture
and print-making through his cubism and fauvism art. Along with Pablo
Picasso, he developed the art style known as cubism. His earliest works were
impressionistic, but after seeing the work exhibited by the artistic group
known as the Fauver (Beasts) in 1905, Braque adopted a fauvist style.He
used brilliant colors to represent emotional responses. The young Dalwadi
was in eternal awe of Braque whom he so passionately wanted to emulate in
his photographs.

It was precisely during his sojourn in France that the young and amateur
photo-artist from Gujarat came under the influence of the Ulm School of
Design. A visiting German professor of photography at this school rendered
an indelible impression on him. He was more than keen to imbibe the
intricacies and nuances of the art of photography. Dalwadi who was pretty
much impressed by the versatile works of various European photographers
had this enviable privilege to work under the great German photographer
Wolfgang Sior. It was during his European tour in the late seventies that he
came under the influence of Pierre Gassman, another renowed French
photographer. He visualized that photography as a genre was a sure way of
engaging with the world. Like his mentor Bresson, he rarely used a light
meter or checked his aperture setting; and he seldom took more than a few
shots of a single subject. With the instinct of a hunter, he knew when to click
the shutter.

It must be mentioned that Dalwadi had taken an early fancy of the works of
Groebli Rene, a renowed photographer from Zurich, Switzerland. This well
respected swiss photographer rendered indelible imprints on his mind.He
was particularly impressed by the innovative styles and themes of the swiss
genius.During his teneure at NIO, he received rigorous training with Prof.
Christine Staub, a professor of the famous Ulm School of Design, Germany.
The Ulm School of Design (Hochschule for Gestaltung Ulm) was founded
by Inge Aicher-Scholl, Otl Aicher and Max Bill in 1953. Along with the
Bauhaus, it was the most influential school of design. He got trained under
the designers of these international schools and imbibed new approaches to
the process of designing. His association with the Departments of Product
Design, Visual Communication, Information and Film-making massively
influenced his photography. Armed with Ulm model and Bauhaus
influences, he brought a sea change in the conservative realm of
photography in Gujarat.

For Dalwadi, photography was not a mechanical process as it wasnt merely

a cut paste business for a photographer. According to him, when a

209
photograph is suffused with emotions, it becomes art. The word
photography etymologically means light writing which has descended
from the compounds photo (light) and graphy (writing). Like any other
art, photography also is a technical skill and has some skillful combination
of subjects like physics and chemistry. When emotions are blended with
skill, the photographic art is born. The practioners of conventional art genres
like painters, sculptures, graphic artists, writers and musicians have been
expressing their ideas, emotions, thoughts and skills through their respective
arts for millennia. However, the art of photography which has gained
recognition as a creative art quite late is relatively a new genre and has been
in vogue for just over one hundred and seventy five years. It was only with
the technological advancements, particularly the manufacture of different
components that the world of camera is revolutionized. Thus, her
imagination, her creativity, her camera, her lenses, filters, lighting sources,
the frame choices, the perspective, field selection and photo-papers-all came
under the influence of technology.

He is of the firm belief that technology has interfered with aesthetic

perceptions of mankind. The advent of digital technology has revolutionized
the world of photography. Today, there are myriad possibilities even for an
amateur photography, save the professionals. Digital graphics, photoshops
and technical touching have added a new dimension to the conventional
world of photography.

At this point on of time, one can say with conviction the only
limitations to a photographers ability are inside the photographer.
(pmdalwadi.com)

Born and brought up in Gujarat, he always yearned to do something for his

people and for the state of Gujarat. Having been trained under the art legends
of France and Germany, it was little discomforting for him to create the same
aesthetic ambience of Europe back home in Gujarat. Moreover, it was
equally difficult for him to acclimatize with the prevalent photography
scenario in Gujarat which was almost unaware about the world of
photojournalism, a new art form that was creating ripples in the West in the
post-war Europe. The Gujarati newspapers, magazines and periodicals of
the times thrived upon pathetic photo feature which were a product more of
mechanical process rather than an artistic expression. It was in mid sixties
that he started working with National Institute of Design.

The establishment of National Institute of Design was a result of several

forces, both global and local. The late 1950s saw a confluence of these

210
forces, and this time would be a significant one for Indian culture and
education. This was a time of reappraisal and reconstruction in a newly
independent India. A young nation was confronted with the mammoth task
of nation building, of balancing age old traditions with modern technologies
and ideas. The modern movement, the philosophy of the machine aesthetics,
and revolutionary experimentation in the arts, architecture and design were
all taking place at the same time. There was a search for the Indian identity
across all spheres of life. In 1961, the government of India with the
assistance of the Ford Foundation and the Sarabhai family established the
National Institute of Design. The Sarabhai family provided not only a much
needed patronage to a nascent institute but they also revived the philosophy
of the Bauhaus design movement which was learning by doing. Parmanand
Dalwadi becomes part of the National Institute of Design when it was
evolving as an institute of an international repute.

In the 1960s, the idea of design and its education was yet to evolve.
Parmanand Dalwadi joined National Institute of Design in April 1963 on the
insistence of the famous Gujarati painter Hakubhai Shah who happened to
be his senior at the Fine Arts faculty at Baroda. He rapidly got involved in
the affairs of the institute which did not have a conservatively structured
curriculum then. He would assist foreigners and other visitors and learn from
them whatever they were experts in. It was during this time that he had this
privilege of working with the legendry architect Luis Kahn. Moreover, the
historic visit of the National Institute of Design by the legendry French
photographer Henri-Cartierr Bresson changed the course of his life as he
was one of the few lucky ones to be selected to go to Magmum Photo Lab
in Paris to study print making. With an immense sense of gratitude, he
acknowledged his indebtedness to the French legend Bresson.

I get red carpet treatment in other countries even now because of

this connection. The link gives me a thrill even today I was born and
brought up at National Institute of Design. (Ahmedabad Mirror)

For Dalwadi, National Institute of Design became not only an institute to

work with but it became a kind of vibrant studio for him. It was the ambience
of National Institute of Design which catapulted him to the centre of Parisian
art.

One may note that the liberal and artistic atmosphere coupled with an
incredible level of creative ambience of French society shaped the early
artistic sensibilities of him. It was during his sojourn in Paris, he realized
that there existed a sort of interconnect among all arts. Music and dance

211
artistically complement each other and so do painting and poetry of all the
genres. Painting, particularly rendered a huge and everlasting impression on
his mind. The structural and thematic technicalities and nuances that go into
the making of a perfect painting particularly impressed the young
connoisseur the most. He realized that there was a close link between
painting and photography because both aim at the same result, i.e. the perfect
portrait. He realized that some knowledge and training in painting should be
imparted to all the young and amateur photographers. The knowledge of the
technical aspects of painting such as color, balance, composition can be put
to good use, he believed, in photography which also involves color
composition and subject selection, spacing and sizing with utmost care.

It may be recalled here that around sixties, Gujarat had some of the
celebrated photographers such as Kishore Parekh, Ashwin Kacha, Ashwin
Mehta, Balwant Bhatt and Pranlal Patel. Of these, Kishore Parekh (1930
1982) was born in Bhavnagar. He was a versatile genius and had studied
Film making and documentary photography which later brought laurels for
him. As the chief photographer of The Hindustan Times, he had extensively
covered both the Sino-Indian war and the Indo-Pak conflict.His coverages
on femine in Bihar and on the Bangladesh liberation war made him an iconic
photographer of India. When Parmanand Dalwadi came back in Gujarat he
along with Ashwin Mehta had already prepared the ground for the evolution
of Photojournalism. Ashwin Mehta is his most distinguished contemporaries
in the realm of photography.The wizard of camera, the living and clicking
photographic legend Pranlal Patel renders an indelibie impression on the
lace of photojournalism during this period. Even among the true photo-
artists, Pranlal Patel is the rarest of the rare. He firmly believes that

The real art of photography does not reside in gadgets, whether a flash
light or the modern day digital cameras. It does not rely solely on
composition, light and shade, but on the eyes and fingers. There must
be a perfect co-ordination between the eyes and the fingers. In turn
the eyes and fingers must harmonize with the camera in such a way
that they know simultaneously what unusual feature is there in the
subject, compose in a say that highlights that feature and decide in
unison when to press the shutter. They must become one with each
other and the subject being clicked.
(tusharbhattsgujarat.blogspot.com)

Dalwadi was also enamoured of the photo features published by the iconic
National Geographic Magazine which had set supreme standards in its
genre. He realized that

212
 To be a successful photographer, a regular reading of National
Geographic Magazine is mandatory. The art of looking at the
photograph aesthetically involved a special faculty and, therefore, an
emphasis should be on the reading of the photograph rather than on
looking at it. (Conversasion with the Investigator)

Painting and filmmaking, in his opinion, shared immense commonalities

with the world of photography. He was deeply influenced by Francois
Truffaut, the well-known French film director, screen-writer and Film
producer whose art of film-making greatly impressed him. This new wave
director was one of the most continuosly surprising and accomplished
directors of his date, had admirably portrayed children, obsessed men, and
women driven by strong passions. His interest in the extremities of romantic
agony profoundly influenced him.

As a young and amateur photographer, Dalwadi was greatly impressed by

the Rembrandt lighting, the technical nuances of which involved the shading
and lighting. A word on Rembrandt lighting shall put things in proper
perspective.It is a lighting technique that is used in studio portrayed
photography. It can be achieved by using one light and a reflector, or two
lights, and a reflector. It is popular because it is capable of producing images
which appear both natural and compelling with a minimum of equipment. It
is characterized by illuminated triangle under the eye of the subject, on the
less illuminated side of the face. It is named for the Dutch painter
Rembrandt, who often used this type of lighting in his own portraits.

Source: mbasic.facebook.com Retrieved on 19 October, 2014

213
However, the modern photographers had a distinct advantage over the
painters in the sense that their art is aided by machines and technology. A
photographer, he believes, could select his subject and then fill as many
colors as he wished in his snap with the help of digital techniques. It is
clearly the advantage photographer today as even when the photograph is
poorly selected or executed subject, it could be altered digitally. His
association with Centre for Environmental Planning and Technology
inaugurates a new chapter in the cultural life of the city of Ahmedabad.He
has been working on developing the Department of Photography in Centre
for Environmental Planning and Technology. His photography exhibition
Then and Now, a great visual oddesey through his lens, covered the various
and ever changing facets of the city of Ahmedabad from 1862 to the present
day. Captured in both sepia and color avatars, ten significant locations in the
city were chosen by him.

Summing UP

Thus, it may be concluded that the grand and gorgeous French architecture
has considerably influenced the planning and execution of castles, palaces
and private residencies in Gujarat. The French created a beautiful fusion of
styles drawn from both the occidental and oriental architectural schools. The
French interest in conservation of old structures in the city of Ahmedabad
has given new direction to the Guj-Franco partnership.

Mallika Sarabhai has been virtually a cultural ambassador of India in France.

Her French Honours and Awards have promoted the Guj-Franco
engagement to a new level. It is due to her towering presence, especially, in
the art circuits of the west that people have widely come to know about
Gujarat and its arts.

The father of photojournalism in Gujarat, Parmanand Dalwadi, is rightly

credited to have commenced the school of candid photography under the
inspiration of his French master, Henri Cartier Bresson. He is one of the
artists who has been instrumental in bringing Alliance Francaise
dAhmedabad, the role of which shall be explored in the next chapter.

214
 WORKS CITED

Ahmedabad Heritage Cell. Government wikia.com

Retrieved 28th July, 2013.

Bernstein, Adam. The Acknowledged Master of the Moment. The

Washington Post.(August 5, 2004) Retrieved 20th October, 2014.

Conversasion with the Investigator on 21st

October, 2012.

DNA Ahmedabad: 7th June, 2013.

Doshi, Balkrishna. Le Corbusiers work A personal

Reading.Ahmedabad: VastuShilpa Foundation, 2012.

---, Le Corbusier and Louis Kahn-The Acrobat and the Yogi of Architecture.
Ahmedabad: VastuShilpa Foundation, 2012.

---, Le CorbusierThe Indian Incarnation.Ahmedabad: VastuShipla

Foundation, 2012.

en.m.wikipedia.org

Frontline vol-22 issue-II: January, 15-28, 2011.

India Today supplements. May, 23rd, 2011.

Lakhia, Ashish.Ahmedabad Mirror.Ahmedabad:11th February, 2009.

Pandya, Yatin. DNA Ahmedabad: Feb, 2013.

Pereira, Nishita. The Times of India February 19th 2013.

pmdalwadi.com/virtualtour/index.htm

Shah, Jamuna. DNA, Ahmedabad: Sunday , March 6, 2011.

Sharp, Dennis. The Illustrated Encyclopedia of Architects and Architacture.

New York: Quatro Publishing, 1991. Print.

Times of India Ahmedabad. 22nd November, 2012.

215
timesofindia.indiatimes.com>>Events The Indo-French connection.
13th Jan, 2008. Retrived 22nd Oct, 2014

tusharbhattsgujarat.blogspot.com//eentu29 Times. 2013.

www.ahmedabadmirror.com

www.artsreverie.com

www.atmaahd.com

www.fondationcorbusier.fr/.../

www.gujarattourism.com

www.splankin.com.lecorbusier.html Retrieved 23rd July, 2013.

www.telegraphindia.com. 12th Jan, 2012. Retrived 22nd Oct, 2014.

216