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{Replace with the Title of Your Dissertation} Selfsame Spaces: Gandhi, Architecture and Allusions in Twentieth Century India. A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Venugopal Maddipati IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Catherine Asher, Adviser May, 2011 @ Venugopal Maddipati 2011 i Acknowledgements I would like to thank the following institutions and people for supporting my work. I am grateful to the American Institute of Indian Studies in Delhi, The Center of Science for Villages in Wardha and Kumarappapuram, The Indira Gandhi Institute of Developmental Research in Mumbai, The Gandhi Memorial Library in Delhi, The Center for Developmental Studies in Trivandrum, The Kutch Nav Nirman Abhiyaan and the University of Minnesota. I would like to thank the following individuals: Bindia Thapar, Purnima Mehta, Bindu Rajasenan, Soman Nair, Tilak Baker, Laurie Baker, Varsha Kaley, Vibha Gupta, Sameer Kuruve, David Faust, Donal Johnson, Eleanor Zelliot, Jane Blocker, Ajay Skaria, Anna Clark, Sarah Sik, Lynsi Spaulding, Riyaz Latif, Radha Dalal, Aditi Chandra, Sugata Ray, Atreyee Gupta, Midori Green, Sinem Arcak, Sherry, Dick, Jodi, Paul Wilson, Madhav Raman, Dhruv Sud, my parents, my sister Sushama, my mentors and my beloved Gurus, Frederick Asher and Catherine Asher. i Dedication Dedicated to my Tatagaru, Surapaneni Venugopal Rao. Tatagaru, if you can read this: You brought me up and taught me how to go beyond myself. ii Abstract In this dissertation, I suggest that the Indian political leader Mohandas Karamchand Gandhi infused deep and enigmatic meanings into everyday physical objects, particularly buildings. Indeed, the manner in which Gandhi named the buildings in his famous Satyagraha Ashram in Ahmedabad in the early part of the twentieth century, makes it somewhat difficult to write, in isolation, about their physical appearance. Quite apart from considering what the buildings at the Ashram denoted physically, that is, architecture as shelter, one must also take into account what their names connoted. Writing a history of Gandhi‘s engagement with architecture must necessarily involve taking into account how he sometimes mythified architectural spaces into metaphors for other spaces. In this dissertation, then, I enquire into how Gandhi mobilized particular aspects of the physical appearances of the buildings that he lived in or considered between 1891 and 1930, as allegories. I also write about how Gandhi systematically infused allegorical meaning into his experiences of places by giving names to those places. Moreover, I consider how, in 1936, Gandhi explicitly emphasized the physical appearance of a hut that had been built in the village of Segaon by Mira Behn, the famous social worker. If Gandhi spoke at length about how Mira Behn had built that hut out of material that contingently became available to her in Segaon, he did so in order to emphasize life as the activity of making do with contingencies. To fully appreciate the purport of Gandhi‘s description of Mira Behn‘s hut, then, one has to read it primarily as an allusion towards a contrast between an inner life of equanimity and an outward life of coping with transience and contingencies. Indeed, on the one occasion Gandhi exclusively spoke about the denotative aspects of architecture, he did so in order to make those very aspects connote a deeper, more enigmatic spatial reality which he was always already familiar with. I derive, then, from Gandhi‘s reading of spaces as allegories for other intensely familiar spaces, or what I call self- same spaces, to write about Gandhian architectural experiments in post-colonial India. iii Table of Contents List of Figures ………………………………………………………………………………....vi-xii Chapter I: Introduction: An Enquiry into Habitude …………………………………………………………………………………. 1-31. Chapter II: The Hut and the Ashram. ………………………………………………………………………………... 32-81. Chapter III: The Signification of Pragmatism: Laurie Baker, Gandhi and Architecture. ………………………………………………………………………………... 82-121. Chapter IV: The Signification of Innovation: The case of the Wardha Whole Tumbler roofs. ……………………………………………………………………………….. 122-155. Chapter V: The Signification of Utopia: Charles Correa, Gandhi, Geometry and the Belapur Housing Project. ……………………………………………………………………………….. 156-177. Chapter VI: Conclusions: The Beginnings of Beginnings. ……………………………………………………………………………….. 178-194. Figures ……………………………………………………………………………….. 195-280. Bibliography iviii i ………………………………………………………………………………. 280-284. ivv i List of Figures Chapter I Figure 1.1: The Satyagraha Ashram at Kochrab. Photograph. http://www.gujarattourism.com/showgalleryphotos.aspx?contentid=141&webpartid =1713, (accessed 03/16/2011)…………………………………………………..195. Figure 1.2: Inside the Kochrab Ashram. Photograph. http://www.gujarattourism.com/showgalleryphotos.aspx?contentid=141&webpartid =1713, (accessed 03/16/2011)…………………………………………………..196. Figure 1.3: Hriday Kunj, Gandhi‘s Home at the New Satyagraha Ashram on the banks of the Sabarmati river in Ahmedabad. Photograph. http://gandhiashramsabarmati.org/visitor-information/ashram-tour-sites.html, (accessed 03/16/2011)…………………………………………………………..197. Figure 1.4: Mira Behn‘s hut in Segaon. Photograph. http://ruralreporter.blogspot.com/2009/11/bapu-kuti-sevagram-wardha.html (accessed 03/16/2011)………………………………………………………….198. Chapter II Figure 2.1: House at Gandhi‘s Phoenix Settlement. Photograph. http://www.flickr.com/photos/7440918@N03/4318094849/ (accessed 03/16/2011)…………………………………………………………………….199. Figure 2.2: The Satyagraha Ashram at Kochrab. Photograph. http://www.gujarattourism.com/showgalleryphotos.aspx?contentid=141&webpartid =1713 (accessed 03/16/2011)……………………………………………….....200. Figure 2.3: The Satyagraha Ashram at Kochrab. Photograph………………...201. Figure 2.4: The Crematorium also known as Dudeshwar No Aro. Drawing. http://www.ahmedabadmirror.com/index.aspx?Page=article&sectname=News%20- %20Fathers%20Day&sectid=68&contentid=201002262010022618280325185c960 a6 (accessed 03/16/2011)………………………………………………………202. Figure 2.5: Walls of the Sabarmati Jail Today………………………………...203. vi Figure 2.6: View from the Ashram towards the river today. Photograph. http://picasaweb.google.com/lh/photo/_9HTKCOx9f6OAw_ig0kagA (accessed 03/16/2011)……………………………………………………………………...204. Figure 2.7: Hriday Kunj, Photograph. http://picasaweb.google.com/lh/photo/yTuEN41cWzBKVgQci2L4Tg (accessed 03/16/2011)...........................................................................................................205. Figure 2.8: Greenlees, Duncan. Map of Sabarmati Ashram. Sketch. Palghat: Scholar Press, 1934………………………………………………………………206. Figure 2.9: Magan Niwas. Photograph. http://gandhiashramsabarmati.org/visitor- information/ashram-tour-sites.html (accessed 03/16/2011)..................................207. Figure 2.10: Nandini. Photograph. http://gandhiashramsabarmati.org/visitor- information/ashram-tour-sites.html (accessed 03/16/2011)..................................208. Figure 2.11: Udyog Mandir. Photograph. http://gandhiashramsabarmati.org/visitor- information/ashram-tour-sites.html (accessed 03/16/2011)...................................209. Figure 2.12: Greenlees, Duncan. Court of the Chatralaya. Photograph. Palghat: Scholar Press, 1934………………………………………………………………210. Figure 2.13: Court of the Chatralaya [As seen today and known as Somnath Chattralaya]. Photograph. http://gandhiashramsabarmati.org/visitor- information/ashram-tour-sites.html (accessed 03/16/2011)..................................211. Figure 2.14: Bapu Kuti [Mira Behn‘s hut]. Photograph. http://picasaweb.google.com/lh/photo/lEuU2NSrtEQJsUvCEiRTnA (accessed 03/16/2011)............................................................................................................212. Figure 2.15: Mud relief in Mira Behn‘s hut. Photograph from film clip. http://www.youtube.com/watch?v=5HKZMQ74Org (accessed 03/16/2011)…...213. Figure 2.16: Mud relief in Mira Behn‘s hut. Photograph from film clip. http://www.youtube.com/watch?v=5HKZMQ74Org (accessed 03/16/2011)…...214. Figure 2.17: Windows with bamboo frames and article case. Photograph from film clip. http://www.youtube.com/watch?v=5HKZMQ74Org (accessed 03/16/2011)………………………………………………………………………215. Figure 2.18: The bathroom floor in Mira Behn‘s hut, Photograph from film clip. http://www.youtube.com/watch?v=5HKZMQ74Org (accessed 03/16/2011)………………………………………………………………………216. vii Chapter III Figure 3.1: Baker, Elizabeth. Cover of The Other Side of Laurie Baker. Kottayam: DC Books, 2007………………………………………………………………………………217. Figure 3.2: Singh, Joginder. ―Baker's innovative use of discarded bottless, inset in the wall at Col. Jacob's residence in Thiruvananthapuram, creates a stained glass effect.‖ Photograph. http://www.frontlineonnet.com/fl2005/stories/20030314000906400.htm (accessed 03/16/2011)............................................................................................................218. Figure 3.3: Coventry Cathedral (Old) 1939. Photograph. http://www.panoramio.com/photo/5062090 (accessed 03/16/2011).....................219. Figure 3.4: Baker, Laurie. Ladies Hostel at Center for Development Studies, Photograph……………………………………………………………………….220. Figure 3.5: Baker, Laurie. Interior view of Hostel at Center for Development Studies, Photograph……………………………………………………………………….221. Figure 3.6: Baker, Laurie. The Center for Development Studies. Photograph. http://lauriebaker.net/work/work/pictures-of-buildings.html (accessed 03/16/2011)............................................................................................................222.
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