Often employing elements of community consultation to engage directly with place and people, the projects explore ideas

of location, identity and spatial ownership.

International Strategic Partnerships In Research & Education

This project continues to strengthen communication routes between the University of Central Lancashire, Preston (UK) and the Beaconhouse National University, Lahore (Pakistan), through a series of staff & student skills/culture exchanges, symposia and visual art exhibitions. This strategic partnership aims to strengthen links via communication through the visual arts by developing and documenting contemporary representations of country and culture. Participants will explore personal perceptions of the UK and Pakistan, leading to dialogue between these two communities and a fuller understanding of cultural differences. http://www.uclan.ac.uk/schools/adp/inspire.php

http://www.magnumphotos.com/C.aspx? VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R13H1KG&nm=Chris%20SteelePerkins

Margaret Bourke-White is known equally well in both India and Pakistan for her photographs of Gandhi at his spinning wheel. Sixty-six of Bourke-White's photographs of the partition violence were included in a 2006 reissue of Khushwant Singh's 1956 novel about the disruption, Train to Pakistan.

Khushwant Singh does not describe the politics of the Partition in much detail. This is mostly because his purpose is to bring out the individual, human element and provide a social understanding
http://www.henricartierbresson.org/index_en.htm xxx http://www.marcriboud.com/marcriboud/accueil.html

first picture published in LIFE magazine. Now regarded as one of the definitive Parisian images, it was the 'Eiffel Tower Painter' in 1953. "That painter was joyful, singing as he worked. I think photographers should behave like him - he was free and carried little equipment." That was Riboud's approach; traveling freely with a hand-held camera, photographing, as he said, "the rhymes and rhythms in my viewfinder". In the mid-50s he set off for India in a specially converted Land Rover. This vehicle he bought from Magnum founder George Rodger, and drove all the way from London to Calcutta, he tells me. The journey took six months, and on his arrival he stayed with friends in India for a year, before deciding he wanted to venture still further East.

In 1955, he crosses Middle-East and Afghanistan to reach India, where he remains one year. He then heads toward China for a first stay in 1957. After three months in USSR in 1960, he follows the independances movement in Algeria and Western Africa. Between 1968 and 1969 hes one of the few photographers allowed to travel in South and North Vietnam. In 1976 he becomes president of Magnum and resigns three years later reflected back on his life's work and the path it took him on. "Taking pictures," he said, "is like savoring life at 125th of a second." xxx
http://www.icp.org/museum/exhibitions/magnum-contact-sheets

Magnum Photos is a prestigious international photographic cooperative founded by Robert Capa, Chim, Henri Cartier-Bresson, William Vandivert and George Rodger in Paris in 1947. It is wholly owned and controlled by its members. They select its staff, establish its business practices, and share in its profits. Magnum Contact Sheets reveals how Magnum photographers have captured and edited their best shots from the 1930s to the present. The contact sheet, a direct print of a roll or sequence of negatives, is the photographer's first look at what he or she has captured on film, and provides a uniquely intimate glimpse into their working process. It records each step on the route to arriving at an imageproviding a rare behind-the-scenes sense of walking alongside the photographer and seeing through their eyes. Including both celebrated icons of photography and lesser-known surprises, the exhibition functions as an "epitaph" to the contact sheet, now rendered obsolete by digital photography. Through these fascinating and usually private images, the exhibition celebrates what and how photographers saw for nearly a century. Coinciding with the publication of Magnum Contact Sheets (Thames & Hudson), edited by ICP Curator Kristen Lubben, the exhibition includes a selection of some of the 139 contact sheets in the book.

Man walks in a straight line because he has a goal and knows where he is going [...]. The pack-donkey meanders along, meditates a little in his scatter-brained and distracted fashion, he zigzags in order to avoid the larger stones, or to ease the climb, or to gain a little shade; he takes the line of least resistance. [...] The Pack-Donkeys Way is responsible for the plan of every continental city. Le Corbusier: The City of Tomorrow and its Planning - 1929 There is no need to acquire great areas of land and property in order to drive straight roads through the city [...]. This is unskilful and costly and takes no account of the inhabitants and their trades which are displaced. It takes away the characteristics of the city and causes hardship. Careful observation on the ground will show the town planner many cases where he can acquire property cheaply from which he may form chauks and connecting streets running, like a string of beads, along the lines of least resistance. Basil Martin Sullivan: A note for the use of the Lahore Improvement Trust Committee when formed, with special reference to the city of Lahore inside the walls', Lahore: Punjab Public Works Department - 1928

The Pack-Donkey's Way? - Rambles about Lahore and Chandigarh

William Titley's photography taken during his dual exploration of Pakistani Lahore and Indian Chandigarh was part-funded by the The Juliet Gomperts Trust, a charity established to allow selected artists the benefit

of wider travel and perspective. Set up by friends and family of Juliet, the Trust celebrates the memory of this young artist who had been studying observational drawing at the Lahore School of Art, before she was tragically killed in 1989 aged just 23 on the infamous Khyber Pass. (+80 = 80) William had first been drawn to visit just Chandigarh because of his curiosity in Modernist architect Le Corbusier's 1950s modular city planning with designs at contrast to any previous Indian or Colonial vernacular. Following encouragement from his funders, he later agreed on a broader scope and expanded his perspective to include Lahore in Pakistan, where he also linked up with The National College of Arts there. As the two reciprocal capitals for the Pakistani and Indian Punjab, the two cities provided him a unique opportunity to contrast: on one hand, the eclectic urban expansion of the ancient and cultured fort city of Lahore (as the old 'Paris of India'); and on the other, the overlaid utopia and new town edicts of Chandigarh (the modernist 'City Beautiful'). That they are popularly know also as 'City of Gardens' and 'Garden City' respectively also provided the opportunity to compare their green synergies as well. http://www.projectlahore.com (+97 = 177) My own assignment from William as part of all this was to help him contextualise his final selected collection of photographs, by also comparing the two cities "architecturally, aesthetically, politically or culturally". Having never visited India or Pakistan myself, let alone Chandigarh or Lahore, I decided that to stand any chance of doing this justice, I needed to embark virtually on a bit of a learning journey myself (a bit like actor William Hurt's reluctant 'armchair' travel writer from the 1988 film 'The Accidental Tourist'). My architectural degree from long ago would doubtless come in handy to recall the foibles of old-friend Le Corbusier at Chandigarh, but I needed much more to get to grips with a totally unknown Lahore and historical Punjab. Before I could realistically attempt to understand and interpret either place, I felt I needed to try and understand how this bi-polar region could ever have come about in the first place. Further to this I wondered, realistically what (if any) urban influences might exist to ever compare them from any common ground of planning and urban design. I wasn't sure any of this was at all possible, but it was clear I needed to go back to school (aka internet) to try and find out. What follows is a highly abridged summary of my personal research. I make no apologies about the fact it is written in loose chronological order and from the limited perspective of armchair tourist. However, whilst certainly not a definitive account, and with a whiff of dilettantism about it, it is still an honest attempt at a personal snap-shot to try to understand and contextualise a very complex place and people. Back to school then.(+261 = 452) Lesson 1: History Constant contradictions and re-inventions appear as you begin to explore the legacy and quixotic ego of the two Punjabi halves. Theirs is a recurring love-hate relationship born from a dichotomy of conflict that has ebbed and flowed along the ancient silk routes of this delta plain for centuries. The Punjab (Persian for 'land of five rivers') have been in a constant state of flux since even before Alexander the Great briefly conquered it midway through the 5th century BC. But for centuries before and after that, a mad and fluctuating power play between Hindu, Muslim and then Sikh dynasties has muddied the regions cultural pedigree - along with it's propensity to deliver saints and fighters in equal measure (and sometimes even simultaneously). In more recent times, this innateness was fuelled via the Imperial 'divide and rule' ethic, that orchestrated historical events as evocative as the annexation of Punjab by the East India Company in 1849 to form the 'North West Frontier'; dissolution in favour of British Crown rule following the Indian Mutiny in 1858; religious carve-up of Punjab as part of the 1947 post-war Partition; and the resulting two Indo-Pakistani Wars of 1947 and 1965. Today, the muscle memory on the severed halves of this 'Greater Punjab' still appear to rankle and itch. This appears particularly so when viewing the exaggerated pantomime of the gate-closing ceremony in Wagah every sunset. Here, positioned on the ancient route of the Grand Trunk Road, the gateway is set on the only road border crossing between India and Pakistan. Like two-faced Janus, Latin god of beginnings, transitions and gateways, the gateway's perspective projects back both ways from the major fault-line that is the so-called 'Radcliffe Line' of demarcation of 1947. Post-Partition, add to this the trauma of a 'reorganisation' of the three linguistic cultures of Indian Punjab in 1966 (the wonderfully described 'Trifurcation'); as well as the Indian Government's storming of Sikh

separatists holed-up in the 'Golden Temple' of Amritsar, and the Delhi riots of 1984, and you begin to realise that Partition was not the cure-all panacea, but just another seismic shifts that had been shifting the power base in the Punjab for millennia. Ongoing separatist revolt in neighbouring Kashmir and the constant threat of al-Qaeda terrorism add even more uncertainty to it's present future. (+370 = 822) Lesson 2: Geography Geographically, for over 4000 years, the Grand Trunk Road has been one of the most important routes for both trade or troups, snaking as-it-does for 2500 miles from Afghanistan through the Kyber Pass and onwards towards modern Bangladesh. This, along with the key irrigation from it's 'five rivers' enabled the Punjab to develop as the historic bread basket for India. Attracted to this, nomadic tribes, speaking Sanskrit (from the family of Indo-European languages that include Persian & Latin), descended the route to settle on the alluvial plains of the Indus valley here. Unsurprisingly, it's resulting civilizations are one of the oldest and richest on earth, with Persians, Greeks, Huns, Turks, and Afghans all leaving their indelible trace on the regions formative culture, language and sense of place. Lesson 3: Sociology In terms of what first established the historic precedent for what might be called a more urbane society here, the greater Indus region was actually home to one of the largest of the four ancient urban civilizations (that is, Egypt, Mesopotamia, China and South Asia). The Pakistani Punjab in fact sits within what was previously the heart of the 'Harappan' civilization, where a sophisticated urban culture existed from early on. Flourishing from the fourth to the second millennium BC, the twin cities of Harappa and Mohenjo-daro, like Lahore and Chandigarh today, provided a dual counterpoint for their region and culture. Harappan archaeology was actually not discovered until as recently as the 1920's. Incredibly, though now a site of UNESCO world importance, most of it's ruins still remain to be excavated. All the settlements were found built of modular-sized alluvial mud and fired bricks and chiselled stone. Sadly, thousands of these were removed by the British East India Company in the 1850's, to be used unceremoniously as railway ballast for the Lahore-Multan railroad. Since then, it is reported that a significant part of what was left has also been impacted upon or lost by subsequent irrigation or ground sallination. If they still had a voice, the ancient Harappan's would doubtless take a dim view of the lack of respect afforded their proud urban legacy, but sadly even that remains lost, with their ancient Indus scripts still un-deciphered to this day. What is known of them is a clear existence of a theocratic and authoritarian structure overlaying a sophisticated society. This is evidenced by the presence of large and well-fortified citadels in each of the two capitals. Both were built to a strict planning template of a mile square, with defensive outer walls, and they were sub-divided into lower dwellings with the more central Citadel housing important civic buildings. The citadels always faced west and served as sanctuaries for the cities` populations in times of attack and as community centres in times of peace. At Mohenjo-daro, a remarkable complex of buildings also exist that are focussed around a great bath and large rectangular pool. Lesson 4: Geometry

Le Corbusier, separately identified that the ancient defensive cities founded by military colonisers like the Romans were of similar rectilinear plan, so that it should be clear and well-arranged, easy to police and to clean, a place in which you could find your way about and stroll with comfort".

Lesson 4: Design & Technology The attempt to compare Lahore and Chandigarh masterplanning and culture are perhaps not quite as tenuous as one might first think. A remarkable feature of the large urban settlements of Harappan civilization was the regularity and order in the town planning and consideration given to the civic amenities, the sewerage system and drainage. The main streets of the cities at both Harappa and Moenjodaro were

generally oriented from north to south, with connecting streets running east to west, The streets of major cities such as Mohenjo-daro and Harappa were also laid out in a perfect grid pattern, The street layout showed an understanding of the basic principles of traffic, with rounded corners to allow the turning of carts easily. These streets divided the city into 12 blocks. Even the size and proportion of the bricks remained the same everywhere with a set ratio of brick size of 1:2:4. Both shared a vision of garden cities further

Chandigarh was designed by the uncompromising visionary architect and urbanist Le Corbusier. In Chandigarh, Le Corbusier and his team established during the 1950's a modernist new town and provincial capital of the Punjab for Jawaharlal Nehru's newly partitioned India. Plans for Chadigarh started with town planner Albert Mayer's fan-shaped masterplan, with a capitol complex, designated quarters and city centre placed in the middle, with two linear parklands acting as green belt. Mayer had been an army engineer stationed in India at the end of WWII and Here, Le Corbusier saw a golden opportunity to implement his principles of his 1935 Ville Radieuse (Radiant City) as a blueprint for social reform, and which was linked to urban studies undertaken in the 1930s by the Congrs International d'Architecture Moderne (CIAM).These same principles were later incorporated into Le Corbusier's 1943 Athens Charter. Key to his proposed utopian principles were the call for a division of urban functions, anthropomorphic plan forms, and a hierarchy of roads and pedestrian networks. These same principles of the Charter of Athens would go on to influence Lucio Costa and Oscar Niemeyer's designs for Brazilia in 1956. The city of Chandigarh is planned to human scale. It puts us in touch with the infinite cosmos and nature. It provides us with places and buildings for all human activities by which the citizens can live a full and harmonious life. Here the radiance of nature and heart are within our reach. Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep. Barbel Hogner's 2011 Book, Chandigarh - Living with Le Corbusier, also explores and documents such contradictions between the legacy of modernism and the daily rhythm and vernacular of Indian life, but concludes with a personal view that these have been largely successfully dealt with and appropriated. There is little doubt that such populist appropriations would meet Le Corbusier's strict Edict for Chandigarh, but with Le Corbusier acting as Knight Errant Don Quixote (the ego), whilst the combination of Camillo Sitte, Albert Mayer and Nek Chand a triplich of Sancho Panzas (and conscience) perhaps this gradual reversion towards empowering the common man is not to be wholly unexpected.

LessonY: Maths
The number 10 was thought perfect because there are 10 fingers to the two hands. The number 6 was believed perfect for being divisible in a special way: a sixth part of that number constitutes unity; a third is two; a half three; two-thirds (Greek: dimoiron) is four; five-sixths (pentamoiron) is five; six is the perfect whole. The ancients also considered 6 a perfect number because the human foot constituted one-sixth the height of a man, hence the number 6 determined the height of the human body.[8] Le Corbusier developed the Modulor in the long tradition of Vitruvius, Leonardo da Vinci's Vitruvian Man, the work of Leone Battista Alberti, and other attempts to discover mathematical proportions in the human body and then to use that knowledge to improve both the appearance and function of architecture.[1] The system is based on human measurements, the double unit, the Fibonacci numbers, and the golden ratio. Le Corbusier described it as a "range of harmonious measurements to suit the human scale, universally applicable to architecture and to mechanical things."

With the Modulor, Le Corbusier sought to introduce a scale of visual measures that would unite two virtually incompatible systems: the Anglo Saxon foot and inch and the French Metric system.[2] Whilst he was intrigued by ancient civilisations who used measuring systems linked to the human body: elbow (cubit), finger (digit), thumb (inch) etc., he was troubled by the metre as a measure that was a forty-millionth part of the meridian of the earth.[3] In 1943, in response to the French National Organisation for Standardisation's (AFNOR) requirement for standardising all the objects involved in the construction process, Le Corbusier asked an apprentice to consider a scale based upon a man with his arm raised to 2.20m in height.[4] The result, in August 1943 was the first graphical representation of the derivation of the scale. This was refined after a visit to the Dean of the Faculty of Sciences in Sorbonne on 7 February 1945 which resulted in the inclusion of a golden section into the representation.[5] Whilst initially the Modulor Man's height was based on a French man's height of 1.75m it was changed to six feet in 1946 because "in English detective novels, the good-looking men, such as policemen, are always six feet tall!" The dimensions were refined to give round numbers and the overall height of the raised arm was set at 2.26m.

Lesson X: Art You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say: "This is beautiful. That is Architecture. Art enters in". Vers Une Architecture: Le Corbusier, 1923 William's odyssey started first in Chandigarh (in XXXX 2010), where after following the usual tourist track for the first few days, he began to find himself moderating his approach as he became what he described as more "absorbed in the relationship between the architecture, my camera and my wanderings", with the "architecture telling me how to take the picture". Here it seems he began to hone his artistic belief that by staying in one place long enough, he would get bored sufficiently to reach a deeper understanding of the 'place'. This in-turn he felt would then influence his ongoing city navigation as well as any chosen subject matter. Thus, rather unintentionally perhaps, was born his serendipitous maxim that at once reminded me of the 1971 cult novel 'Dice Man' by George Cockroft. Here, our bored and unfulfilled hero, psychiatrist Luke Rhinehart, begins making all decisions about what to do in his own life based on the random roll of a dice. Thus it was that William Titley's own die was cast onto the streets of the two Punjabi cities, allowing him free artistic licence to wander aimlessly and soak up and record his experiences of both. Practically though, to wander around in this way would be an arduous task for anyone not familiar with either capital. Add to this his not being genetically built for their hot and humid climates, and forgoing the luxury of an air conditioned motor vehicle (be that artistic choice or wallet), then the task in hand begins to take on the look of almost deliberate self-punishment as part of a personal pilgrimage. William has likened it since to his fellrunning training and preparation, with it's need to take on board constant hydration and salts to stay the pace. No gain without pain. The irony from this with regards to Chandigarh at least was that it was not envisaged by Le Corbusier as a city to walk in any way other than along a straight path. Anything other than this, he believed was the 'Pack-Donkey's Way' and played into the hands of the 'Law of Beauty' that had become an unfortunate religion and design manifesto for places like Marienberg in Germany as a result of Camilllo Sitte and his City Planning According to Artistic Principles published in 1889. This book was a criticism of nineteenth century planning practices that advocated for symmetry, grandeur, and formality at the expense of liveability. Sitte criticized these plans for failing to create urban spaces appropriate to the scale of people, and suggested that planners should look to medieval cities with their sublime examples like the Piazza del Campo in Siena for their inspiration instead. Le Corbusier saw this movement as simply an aesthetics one. He believed it to be an "appalling and paradoxical misconception in the age of motor cars" How this would be applied in his mind to Chandigarh is not clear, but with India apparently 127th in the world list of countries by vehicles per capita ratio (with only 15 cars per 1000 population according to statistics from 2006 World Bank data) it seems a difficult one to square for the bulk of the population. That said, the more modern phenomena of The Geri route, a set of streets in Chandigarh on which the youth, especially young couples, regularly drive cars, seems largely generated by the street plan. The word geri means "rounds", and thus the name derives from the "rounds" that people make through the route. The

route, which travels mainly through Sectors 10 and 11 of the city, has been used in this manner since the 1970s.

However, there is more to it than this

A replica of the Lahore Fort was used to represent the Pakistan Pavilion at the 2010 Expo in Shanghai, China

Despite this almost constant state of flux, both cities covet the bones of their cultural and architectural legacy. They have been both essentially forged from the visions of a procession of rulers or colonisers and their public servants. Whether seen in the more concentric and organic layering of Mughal, Sikh or the British Raj's 'Mughal-Gothic' architecture in Lahore; or the much more instantaneous and legible modular mapping overlaid on a new Chandigarh for Jawaharlal Nehru's post-war India by Le Corbusier in 1955; the respective style and planning history still remain. They are a product of the prime driving force of their particular point in time - be that war, religion, language, politics, trade or high culture.

Barbel Hogner's 2011 Book, Chandigarh - Living with Le Corbusier, also explores and documents such contradictions between the legacy of modernism and the daily rhythm and vernacular of Indian life, but concludes with a personal view that these have been largely successfully dealt with and appropriated. There is little doubt that such populist appropriations would meet Le Corbusier's strict Edict for Chandigarh, but with Le Corbusier acting as Knight Errant Don Quixote (the ego), whilst the combination of Camillo Sitte, Albert Mayer and Nek Chand a triplich of Sancho Panzas (and conscience) perhaps this gradual reversion towards empowering the common man is not to be wholly unexpected.

Lahore Model Town, established in 1921, was the fruition of Dewan Khem Chands lifelong dream to see the establishment of such a Garden Town and a belief in the values of self-help, democracy, equality, equity and solidarity upon which the principles of a co-operative societies was founded. Model Town remains a co-operative society, but the owners of it's spacious houses, remain retired judges, rich businessmen, traders and upmarket store-owners. Basil Martin Sullivan the author of a 1928 planning report, was Superintending Architect and Town Planner to the Punjab Government and highlighted that the expansion of the city and its future potential, emphasizing the need for coordinated planning policy to preserve its original character. Lahore, Pakistan, 02 July 2007 The Aga Khan Trust for Culture (AKTC) joined the Government of the Punjab and the World Bank today in support of a project for the regeneration, renewal, and conservation of Lahores Walled City. The programme has been launched by the Government of the Punjab with the assistance of the World Bank. In June 2006, the World Bank released funding for the current Punjab Municipal Services Improvement Project being undertaken by the Government of Punjab, including a significant Cultural Heritage Component. This programme represents an unusual opportunity to apply the best practices of urban regeneration and conservation planning in the context of historic cities in Punjab, starting with the Lahore Walled City project as a base case. The Government of Punjab, in view of growing realization that there should be separate agency for municipal development in the province, established Punjab Municipal Development Fund Company (PMDFC) with the technical and financial assistance of the World Bank in 1998. PMDFC-registered under

the Companies Ordinance 1984 as an independent entity-is a vibrant civil society organization working for the improvement of municipal services in Punjab province.

In December 2011, 40 km of the 85km proposed Lahore Ring Road LRR had been completed and operationalized, whereas 45 km was under construction.

Immediate analogies come to mind of a two-faced Janus, Roman god of beginnings, transitions, gates and doors because of these recurring contradictions and about-turns: http://thecityfix.com/blog/indias-urban-future/

Indias Urban Future India is one of the few remaining large countries of the world yet to experience the urbanisation of its population. In most regions from the US, to Europe and Latin America more than 75% of people live in urban areas. By contrast, only 31% of Indias people live in cities. This, however, is set to change dramatically in the coming decades. By one estimate an additional 250 million people equivalent to 80% of current population of the United States will call Indias cities home by 2030. The number of cities with more than 1 million people will increase from 42 today to 68. For the cities themselves, this demographic transition means that the demands on already stressed urban transport systems will grow significantly. Other convergent trends suggest an even greater increase in urban travel demand than urbanisation alone would predict. Rising incomes mean that the number of leisure and recreational trips per capita will increase. Additionally, the increasing involvement of women in the formal workforce will further increase urban travel. In the next two decades, therefore, Indian cities face both a great challenge and a great opportunity decisions about urban transport investments made today will resonate for the next generation and beyond. If they are to remain vibrant and dynamic engines of economic growth while also providing a high quality of life for its citizens, they will need to develop transport systems that can provide affordable, safe and equitable access to the economic and social opportunities, minimize travel times, reduce local air pollution and also mitigate the growth of carbon emissions. EMBARQ India believes that following the principles of sustainable urban transport can help achieve these goals. This involves three main aspects promoting the development and use of high quality public transport, promoting urban development of a type that promotes non-motorized forms of travel such as walking and cycling, and preventing private motor vehicles such as cars and two-wheelers from becoming the predominant mode of travel.
user generated cities http://urbz.net/about/people/