In an essay “Architecture and Amnesia in Indian Modernity: Vernacular architecture remembers by forgetting; official architecture forgets by remembering,” Arjun Appadurai urges us to “understand modernity as a project and not simply as a period.” I think this is a good place for us to start when we visit not only Kala Ghoda, but as we take in all of Mumbai. When the Colonial Gothic structures of Kala Ghoda were designed and erected during the mid-twentieth century, they were a part of a project to make Bombay the ultimate modern, colonial city. When the Kala Ghoda statue, among other colonial-era statues, was removed from its original home in the mid-1960s as a patriotic gesture to cleanse the city of its colonial past, the country’s nationalists hoped to envision a new kind of modernity for India, one which glorified the city’s Maratha and Indian heritage in opposition to its colonial heritage.
The transformation of Kala Ghoda into a centre for Mumbai’s arts and heritage community has been described as an “upgrading” of the district. On one level, the revival of the district as an arts and heritage district can be connected to the district’s history as an intellectual node of Mumbai in the 1860s. Conservation of the Colonial Gothic architecture included signs and plaques that depict each buildings historical and architectural value. This “heritage” is being preserved in light of a new kind of architectural modernity making its into the Mumbai landscape.
India, and Mumbai seems to be no execption, architecture is heralded as a site through which India’s cultural greatness has been preserved for centuries, since before the colonial period. In an article, “Visual Anarchy,” printed in The Hindu on Novemeber 6, 2000, claims “CITIES WERE once celebrated because of their buildings. The architect was said to belong to a noble profession. Whole dynasties and historical periods were identified by their architectural style. The Chola period, for instance, is known to us chiefly on account of its splendid art and architecture”” Conservation of the Kala Ghoda district and other Colonial Gothic and Indo-Saracenic architecture is a resistance to the “visual anarchy” created by the post-modern craze. This same article congratulates the architects of the Jehangir Art Gallery in Kala Ghoda for keeping in mind the existing (Colonial Gothic) architecture and working AROUND it rather than AGAINST IT.
Kala Ghoda translates to “Black Horse” in Hindi and the district was cheekily named Kala Ghoda by Mumbaiites when the statue was erected their in 1876. Rather than honor King Edward VIII, the locals refer to the statue in terms of the horse, rather than the colonial ruler. The transformation of Kala Ghoda into a centre for Mumbai’s arts and heritage community has been described as an “upgrading” of the district. Surprisingly, the “upgrading” of the Kala Ghoda district pays homage to the colonial-era architects responsible for its architectural beauty. On one level, the revival of the district as an arts and heritage district can be connected to the district’s history as an intellectual node of Mumbai in the 1860s. On another, it can be read as a tribute to the colonial legacy. Conservation of the Colonial Gothic architecture included signs and plaques that depict each buildings historical and architectural value.In “Anchoring a City Line” The history of the Western Suburban Railway and its headquarters in Bombay” Sharda Dwivedi and Rahul Mehrotra and write “But what Bombay owes to [F.W. Stevens] is not merely these noble monuments as they stand, but the continuous lesson in art and beauty that their presence along our streets inspires – that insensible education of the public eye to the graceful form and fine proportion and glowing perspective qualities that have an adorning and harmonising influence on every nature above the level of the clod.” What is surprising about F.W. Stevens, and the interest in preserving Colonial Gothic architecture is that it seems to go against the grain of the very nationalist sentiment that removed the Kala Ghoda statue from its home in the 1960s. When the Bombay Muncipal Corporation building was being designed during the second half of the nineteenth century, R.F. Chisholm submitted a plan for a building built in Indo-Saracenic style, but the plan was rejected in favor of F.W. Stevens’ Gothic design (Appadurai 19). It seems like the interest in preserving the city’s colonial architecture is contradictory to the nationalism that has changed the city’s name from Bombay to Mumbai or that the Kala Ghoda district lies in between Mahatma Gandhi Road and Shahid Bhagat Singh Road, two of India’s most famous freedom fighters.
In addition to being Mumbai’s hub for all things artistic, cultural, and intellectual, the Kala Ghoda district is not just for the local Mumbaiiker, but a space through which Mumbai can claim a spot in the transnational art world. In an chapter entitled “Opening Up of the Symbolic Economy of Contemporary Mumbai” Andrew Harris writes, “With its pavement galleries, cultural performances and exhibitions, set in and around a bold ensemble of neo-Gothic colonial architecture, the organizers are eager to place the [Kala Ghoda] arts festival on a global continuum…With this Western orientation, the space of Kala Ghoda is a way for particular social groups in Mumbai to assert the globally competitive ambitions of the city” (Harris 2005 30). In this case, conservation of heritage in Mumbai, especially of colonial architecture is not only an effort to capture and preserve the city’s essence. These architectural preservation projects are involved in a “project towards modernity” that is different (not opposed) to the modernity projects of western-style highrises, skyscrapers, and shopping malls.
Most recently, heritage activists have been working towards the renovation of the Watson Hotel (Esplande Mansion). Designed in Britain and then constructed in Mumbai, the Watson Hotel was once the city’s “poshest hotel.” Once it stopped operating in the 1960s, the rooms were divided up into smaller subunits comprised of homes and offices. (If you’ve ever watched How I Met Your Mother, think of the Arcadian– architectural relic turned dilapidated, tenant-filled hotel). Coincidentally, the famous Esplande Mansion (Watson Hotel) also closed down in the 1960s, around the same time as the removal of the Kala Ghoda statue. At the time of its completion, the Watson Hotel was one of the poshest hotels in Mumbai and even hosted famous late nineteenth century celebrities like Mark Twain. After it closed down, a private owner divided the space into subunits of offices and homes. It has since become a dilapidated relic of the colonial past. In 2005, the Watson Hotel was placed on the Global Watch List of 100 World Endangered Monuments by the World Monuments Fund. In 2010, the Mumbai Heritage Conservation Committee approved restoration of the Watson Hotel.
In his essay, Arjun Appadurai looks back to his interaction with Mumbai’s architecture, surprised at his failure to acknowledge the built landscape surrounding him. “My ignoance of my built environment, my casual habitation of the glories of my small world in Bomba, were only a small absence in the larger pool of Bombay’s unknown, unbuilt and unrecoverable architectural possibilities. It is these possibilities which architecture erases, not because of some deliberate indifference to history or memory but because architecture as a practice, in the the end, needs to close many possibilities so that one of them can become fully real and realized” (Appadurai 21). I think it is vital for us to keep this in mind when we visit Mumbai’s monumental sites. Nationalism, colonialism, and even Marathi regionalism are responsible for their own erasures in Mumbai and all over India. The transformation of Kala Ghoda into an arts district, even in its preservation of the city’s architectural heritage, is involved in its own erasures, destructing in the process of construction.
Articles:
http://www.artistscentre.org/theartdistrict.htm