SEVA SADAN, MALABARI HALL ,

PROJECT DESCRIPTION | CONSERVATION PROJECT SERVING THE IMPOVERISHED

Background of the project: The early 20th century was an uncharitable and unjust period in India for disadvantaged women, who found it very difficult to survive the bigotry of Indian society. Widowed and destitute women were exploited, persecuted and made to live under the harsh conditions due to repressive social and cultural attitudes prevalent during the time. In the traditionally male-dominated Indian society, women in general and more so those, from impoverished communities, have long suffered gender discrimination, oppression and abuse.

The Seva Sadan Society, a century-old organisation was founded in the year 1908 in the Gamdevi precinct of then Bombay (now Mumbai), for the betterment of women who were exploited, abused, and mistreated by the patriarchal society. Fighting against these injustices were the Founders, social activists and philanthropists, Shri (Mr) Behramji Malabari and Shri Diwan Dayaram Gidumal, who were determined to emancipate and educate those unfortunate women who were treated as outcasts of society. The Seva Sadan Society was founded in Mumbai, on 11th July 1908 by Shri Behramji Malabari and Shri Diwan Dayaram Gidumal with the motto of liberating, educating and empowering underprivileged women. The former played a leading role in establishing Seva Sadan in order to make Indian women industrious and efficient. His stand was based on the principles of justice and humanity. He campaigned vigorously against enforced widowhood and child marriage, in India and England.

The Society was a safe refuge where impoverished and oppressed women of all communities could find a home where they lived a life of self-respect and dignity. They wanted to make women self- reliant and break the cycle of poverty and social deprivation, by empowering them with vocational skills to increase their employability.

The Gamdevi neighbourhood has always been historically rich, comprising a local community that is middle-class in nature. The buildings of the precinct, with their relatively subdued but distinct characteristic appeal, gave an insight into its political, economic, social, philosophical and cultural ethos. Over the last 2 centuries, the area has emerged from an organically grown neighbourhood to a precinct that sparked off a revolution of idealistic and reformative movements, which cannot be erased from the sands of time. The Society stands in this progressive neighbourhood that has harboured the spirit of upliftment of women.

Seva Sadan Society in Mumbai has been a sanctuary for marginalised girls for over a century. It continues to protect, nurture, and empower them with education, skills and opportunities not only for themselves but also for the betterment of their families. The Malabari Hall Building was constructed in Bombay during an era when colonial and vernacular architecture still had its roots embedded in reforming the city. This period notably was post the advent of the Victorian Gothic style in Bombay and before the arrival of Indo-Saracenic and Art Deco styles of architecture. It was one of the earliest multipurpose halls established within the Gamdevi locale that catered essentially to the emerging middle-class community, where women began to be recognised for their contribution towards the society.

THE SEVA SADAN CAMPUS:

The Society is fore fronted by the Pandita Ramabai Marg on the east side. The campus comprises an open courtyard space surrounded by buildings (Administration, Home and Malabari Hall) on each of its remaining three sides. This courtyard is used by the girls residing in the Home Building for various activities throughout the day; thus becoming a central part of their daily routine. The courtyard space has a physical connection with the resident girls and also provides a sentimental connect.

1. The Administrative Building on the ground floor houses the efficient administration staff that help run the Society with their utmost efforts each day. The upper two floors of the building comprise classrooms for the Seva Sadan School girls. 2. The Home Building, as the name suggests, is home to hundreds of abandoned or mistreated girls, who have now been imbibed into the Seva Sadan family. 3. The Malabari Hall Building, constructed in the early 20th Century, forms one of the core buildings of the Seva Sadan Society. The building is named after Shri Behramji Malabari to commemorate his ideologies and noble works.

Fig.02 Home Building Fig.03 Administrative Building Fig.04 Malabari Hall Building

Being a G+1 structure, the ground floor of the Malabari Hall Building comprises a Science Laboratory and a Computer Laboratory, that was set up in 2016, to explore the importance of technical knowledge in the ever-growing public domain. The Laburnum room adjoining the laboratories is used for hosting Society meetings and other miscellaneous activities.

Fig. 12 Science Laboratory Fig. 13 Computer Laboratory Fig. 14 Malabari Hall

The Malabari Hall, located on the first floor, was initially used as a Multipurpose Hall for the Seva Sadan School. It started being rented out from the early 2000s to the public, but retaining its original use of a hall. The green rooms, originally placed on either side of the stage in the Malabari Hall, were converted into toilets. A gallery overlooking the hall is on the mezzanine floor, comprising toilets which were added later.

The Malabari Hall building, together with the Home and the Administration buildings form the Seva Sadan Society Campus, which falls on the edge of the Gamdevi Heritage Precinct. The Malabari Hall building showcases various architectural elements typical to the buildings in the Gamdevi Heritage Precinct such as gabled roof, arched verandahs, etc. These buildings together showcase the local architecture unique to the early 20th Century Bombay, before the transformation of Bombay took place under the Art Deco Movement.

How the project conveys the spirit of the place:

The conservation works of the Malabari Hall building ensured the continuum of function and relevance of the built space. The society takes pride in nurturing the talent and capabilities of the girl child. The Malabari Hall has proved to be an abode for keeping this legacy alive in line with maintaining the sanctity of the ideologies of its founders. The conservation process ensured the longevity of built space and prevented the diminishing of the spirit of the place by the growing trends of modernisation. The Society stands as a strong testament to social communities that look after the well-being of the girl child. The built fabric of the Society had to be conserved not only for its comprehensible and obvious tangible value, but also for its extant, sensitive intangible value.

The statistics below, highlight the significant impact the Society has made on the upliftment of the lives of the women over the years (Seva Sadan Society, 2020). ⠂ A shelter provided for 10,000 girls equipping them with personal safety, health care and emotional comfort. ⠂ Providing education to 40,000 students through Seva Sadan Society run schools. ⠂ Facilitated to empower 2500 independent and empowered women.

The Seva Sadan Society’s Aim: Educate, Emancipate, Empower The project conserved all the core significant values in the Malabari Hall structure - embodied and abstract - by instilling a sense of pride, salvation and self-belief in the local community. This local community refers to the resident girls of the Seva Sadan Society, the Seva Sadan School children, the ever-active Committee members and also the residents in and around the neighbourhood who have been recipients of this sanctuary of socio-culturally meaningful heritage structures.

THE LOCATION WITH ITS NEIGHBOURHOOD:

The Seva Sadan Society, being located on the edges of the Gamdevi (or Gaondevi) Precinct of South Mumbai, is surrounded by areas of high historic significance and buildings named after several renowned Indian social reformers. The neighbourhood is named after its 200-year-old temple dedicated to goddess Durga, also referred to by its devotees as Lilavati “a graceful woman”.

Spanning less than 500 metres across in width and length each, Gamdevi is where Bollywood talkies originated, and Indian feminism shaped itself. It is also where Mahatma Gandhi, the father of the nation, lived for a few years. With politics, philosophy, arts, culture and education Gamdevi is a potpourri of the makers of Modern India, and their stories.

From spirituality to literature to feminism to reform, and importantly, politics - Gamdevi’s role in the creation of an independent self-ruled India is significant. In the north-west corner of the precinct lies the August Kranti Maidan (August Kranti ground). It is the site where Mahatma Gandhi made his Quit India speech on 8 August 1942 in which he announced that the British must leave India immediately or else there would be mass agitations. A couple of bylanes adjacent is a building named Mani Bhavan, the base for Gandhi’s political activities from 1917 to 1934. The pre-independence national movements, namely the Non-Cooperation, Satyagraha, Swadeshi, Khadi and Khilafat movements, were initiated within its premises. These movements shaped the freedom struggle of India breaking free its shackles from the tyrannical British rule.

Historically, Gamdevi was an active setting where social ideologies flourished, and modern movements were conceptualised. The Malabari Hall of the Seva Sadan Society was constructed in an era when political and social reforms were claiming a major foothold in shaping cultural mindsets in the city.

Location of the Seva Sadan Society with relation Map of Mumbai highlighting

the Gamdevi area to the Gamdevi area Being in the heart of Mumbai city, the Gamdevi Precinct is a listed heritage precinct. Since the Seva Sadan Society is not on the list of protected buildings, although it stands on the edges of this precinct, it becomes even more crucial to safeguard it. The Malabari Hall Building along with the cluster of its neighbourhood structures form a buffer zone that acts as a transitional space between the heritage precinct and urbanised parts of the city. It is, therefore, crucial to safeguard the integrity of the buffer zone as it helps in maintaining the character and heritage of the precinct.

The Malabari Hall building stands amidst a dense cluster of buildings that speak the same design language as its Gamdevi neighbourhood, such as the Gamdevi Police station with its arched colonnade and the ornately designed Mani Bhavan building with wooden balconies and sloping tiled roof (Clay tiles). These low height structures once formed the core of a socially and culturally reformed neighbourhood that shared principles, values and believed in progressive philosophy.

Mani Bhavan located on the Laburnum Marg August Kranti Maidan

Arya Mahila Samaj St. Columba High School

The Malabari Hall building exhibits diverse architectural features which were symbolic to the early 1900s. Some of these include the cross hipped roof, continuous band of chhajjas, pilasters, the two- storey high circular columns and pointed pediments. Being a G+1 load-bearing structure, the overall plan is symmetrical, with an entrance lobby on the south-east of the front façade along with staircases on either end of the building. The eloquently designed Malabari Hall, today, can accommodate around 250 people, with its high ceilings, beautifully patterned floor tiles and ample natural light.

Fig. 08 Triangular Pediment Fig. 09 Arched Verandah Fig. 10 Circular Columns

If restoration had not been carried out to upgrade and revitalise the structure, then this building would have remained neglected, and its condition would have worsened over time, due to lack of modernisation and outdatedness. Additionally, the conservation of this building has set a precedent for restoring small structures of heritage value in such dense agglomerations.

Previous condition of physical features, structure, finishes, layout, setting, etc:

The donations received from the Jones Day Foundation enabled the Seva Sadan Society to restore and repair the Malabari Hall. Receiving resources of this nature, which lay the foundation for restoration works, is not a very common practice in the field of conservation in India, even in today’s modern times. This donation for the conservation works heralded an important milestone for conservation, not only for the Seva Sadan Society but also for Gamdevi neighbourhood’s local unlisted heritage. This was followed by a site inspection in July 2018 by SNK. This site inspection provided an insight into the overall conditions of the building which formed a base for conducting building condition assessment. This, in turn, helped in proposing the contextual conservation solutions for the building. Upon repeated site visits, it was later discovered that walls were covered with several layers of paint; with a strong possibility of the presence of lime plaster underneath it. These site observations were carefully noted to understand the existing condition of the building.

Over the years, the visibility of the Malabari Hall Building has gradually subsided in its neighbourhood context, which is contrary to its prominent visibility upon construction in the early 1920s, when building heights were relatively lower. In today’s times, the footfall on the surrounding streets has drastically increased owing to the considerable increase in population, due to the demand for improved livelihood. This, in turn, has led to a dramatic change in the visual appearance of the streetscape adjoining the Pandita Ramabai Marg, with a large number of high rises breaking through the humane scale precinct. The Nana chowk roundabout lies adjacent to the building towards its North, having a cable-stayed footbridge, which connects the roundabout to the busy Grant Road Train Station. Apart from the overall condition of the building being in order, a lack of maintenance was visible. This was a major factor which led to the deterioration of the building. Additionally, factors such as insensitive intermediate interventions, biological growth, development of cracks on the facades, etc. were also responsible for the existing derelict condition of the building.

Daily activities carried out in various areas of the Society campus

Factors that were affecting the condition of the heritage property:

The following factors were conjointly responsible for the condition of the Malabari Hall Building before undertaking the conservation work: 1. STRUCTURAL FACTORS: a. Hairline cracks around windows on the first floor and mezzanine level were visible. b. Spalling of plaster at a few locations on the ground floor. c. Development of cracks at various locations on the facades, especially the North facade. d. Damaged flooring due to uneven settlement of the building foundation.

2. ENVIRONMENTAL FACTORS: a. Water seepage at the junction of the roof and the walls. b. Notable peeling of internal and external paint, plaster, from the circular columns predominantly on the east c. (front) facade.

d. Rising damp at the plinth level. Fig. 23 Spalling of plaster from the circular columns 3. BIOLOGICAL FACTORS: a. Development of moss and growth of algae on the ground floor level of the external facade. b. Water ingress marks and termite infestation was found at the junction of the roof and wall at various locations.

4. MANAGEMENT & INSTITUTIONAL FACTORS: a. The Malabari Hall underwent renovation & refurbishment works in the year 2000, wherein the structure experienced several ad hoc additions such as, a glass brick wall on the east facade, a toilet block adjoining the north facade, etc. b. Lack of general upkeep of the interiors, in terms of wall painting, furniture & sound systems. c. A small cafe was set up in the ground floor entrance lobby of the building interfering with the seamless circulation through the entrance lobby. d. The Malabari Hall has been used for various cultural Fig. 24 Microbial growth on the external facade activities such as dance and singing classes, artist

performances, cultural events, etc.

5. ECONOMIC FACTORS: a. The building showcased a lack of general care in terms of periodic maintenance which was predominantly due to the absence of necessary funds, owing to the Seva Sadan Society being a non-profit organisation.

CONSERVATION PHILOSOPHY: In most cases, the approach to heritage conservation is either material-based approach, which is an ideal representation of western-based conservation, or a value-based approach which explores the idea of living heritage and tries to establish its principles which are subjective to the project and its assessed conditions. The findings helped in choosing an appropriate conservation approach which is determined by taking into consideration the particular heritage site and its communities present. Based on these principles, a well-prepared conservation approach plan was formulated for the restoration work of this project.

Initially, a five-point criteria for the project was created, based on the brief provided by the client. This 5-point criteria included Preservation, Restoration, Retrofitting, Services upgrade and Interiors. The steps are as follows:

Stage 1: Building Documentation and Outline Conservation Plan This included a detailed analysis and research of the cultural significance of the place, initial visual survey, photo documentation, archival research, in-depth understanding of the client’s requirements, report submission and approvals for the work to begin. This helped the architects to understand the history of the building, its ideology and evolution. It also helped in understanding the nature of materials used and whether the structure had undergone any alterations.

Stage 2: Detailed Building Condition Assessment and Analysis This included the condition mapping survey and analysis, measurement survey, structural analysis, existing services analysis, conservation mock-ups, preliminary estimates and the project phasing. These played an important role in formulating the restoration works and understanding the durability and strength of the structure. This, in turn, helped the architects in prioritising the conservation and retrofitting works of the concerned areas due to budget constraints.

Stage 3: Detailed Conservation Plan and Proposal This stage comprised providing Conservation Solutions which included structural repairs, services up- gradation and interior refurbishments. This stage also included a detailed priority list and project phasing, costing and obtaining the necessary statutory approvals.

Stage 4: Preparation of Tender This stage included preparation, submission and floating of tender. Along with this, a Condition of Contract was prepared with detailed specifications and bill of quantities.

Stage 5: Selection of Contractor Based on this, three contractors were invited, out of which one was finalised on the basis of their technical and commercial expertise. It was clearly established that the finalised contractor had the knowledge and technical know-how of dealing with traditional materials like lime.

Stage 6: Site Execution This stage required preparation of execution drawings and approving mock-up samples of fixtures and finishes for obtaining shop drawings. The site execution involved weekly reviewal meetings,

supervision by Project Management Consultant and periodic inspection by the Architects. This ensured appropriate execution and a smooth function of the site.

Stage 7: Project Completion This was the last stage of the project which consisted of certifying bills, settlement of non-tender/extra items along with handing over the project completion certificates. The structural stability certificate was also provided by the Structural Consultant, after a thorough assessment of the building being safe for occupancy.

CONSERVATION GUIDELINES: “Conservation in India is heir not only to Western conservation theories and principles introduced through colonialism and, later, by the adoption of guidelines formulated by UNESCO, ICOMOS and international funding agencies, but also to pre-existing, indigenous knowledge systems and skills of building” (INTACH Charter, 2004)

The following International Charters were considered in formulating the project philosophy and conservation guidelines:

INTERNATIONAL CHARTER FOR THE CONSERVATION AND RESTORATION OF MONUMENTS AND SITES (THE VENICE CHARTER 1964) Before deciding the methodologies for initially analysing the extent of deterioration of the building, various testing methods like material testing, structural audits, mock-ups, etc. were adopted. The Venice Charter focuses almost exclusively on managing the building itself. The process of conservation of Malabari Hall Building was highly specialised, giving respect to the original material i.e. the new material used was based on the properties of the original material, replacing like materials with similar physical properties.

Also, the Seva Sadan Society fulfils the Article 5 criteria which states, “The conservation of monuments is always facilitated by making use of them for some socially useful purpose. Such use is therefore desirable but it must not change the lay-out or decoration of the building.” (Venice Charter, 1964, p. 2)

ICOMOS CHARTER - PRINCIPLES FOR THE ANALYSIS, CONSERVATION AND STRUCTURAL RESTORATION OF ARCHITECTURAL HERITAGE (2003) As per the Principles 1.1 and 2.1 of the ICOMOS Charter, the project entailed a multi-disciplinary team with specialised consultants for architecture, structure and services to address specific issues of who addressed specific issues related to the conservation of the property, efficiently working together from the first stage of the initial site survey to the last stage of implementation (ICOMOS Charter, 2003).

The project attempted to comply with Principle 2.3, wherein understanding the character of the building through its built structure and existing materials laid the foundation for ascertaining the conservation solutions (ICOMOS Charter, 2003).

In order to attain longevity of the life of the structure, the conservation techniques used were thoughtfully construed. A balance was maintained between traditional and innovative techniques of conservation, thereby ensuring the sustainability of the structure (ICOMOS Charter, 2003).

Key Examples of Traditional Techniques used: 1. The intent was made to retain the original roof Mangalore Tiles, wherein only the damaged tiles were suitably replaced and the remaining were restored to their original condition. 2. The clients were made aware of the authenticity of the original Hundi Lights which formed a part of the Malabari Hall before conservation. These light fixtures were however retained and relocated to the lobby areas of the building, thereby enhancing the beauty of these spaces. For increasing the viability of the project, materials were locally sourced. 3. During the roof repair works, the original waterproofing layer was replaced by a waterproofing membrane with similar properties.

Fig. 25 Repair of Mangalore Tiles

Key Examples of Innovative Techniques used: 1. Introduction of a GI gutter for channelling the rainwater to the down-take pipes. 2. The original handcrafted cement Tiles present at the site, which were broken during the inspection, were replaced with local cement tiles that were replicated, lacquered and stained at the site. 3. The roof wooden members were partially replaced depending on their existing conditions. In order to maintain the structural integrity and authenticity, the junctions of the original and new wooden members were kept intact introducing a bolted metal plate. 4. A breathable paint with a neutral pH value was applied on the external facades, in order to achieve similar results of a Lime Wash, due to the limited budget availability. Fig. 26 Installation of GI Gutter

THE BURRA CHARTER (THE ICOMOS CHARTER FOR PLACES OF CULTURAL SIGNIFICANCE, 2013) “The Burra Charter advocates a cautious approach to change: do as much as necessary to care for the place and to make it usable, but otherwise change it as little as possible so that its cultural significance is retained.” (Burra Charter, 2013, p. 3)

Based on this Charter, the conservation plan included consideration of factors affecting the future of the place such as the community's needs played an important role in upgrading the space of the Malabari Hall, as per modern-day needs. The interventions and alterations carried out were designed to minimally intervene with the structure, this resulted in causing minimal attrition to the original built fabric (Burra Charter, 2013).

All the interventions were a result of an overall integrated plan that gave priority in the following order: 1. Structural Stability 2. Services 3. Functionality 4. Aesthetics

Conservation Methodology: Seva Sadan Society is located in one of the historically and culturally rich areas of South Mumbai. Even though the precinct has undergone a considerable transformation over a span of more than a century, the buildings here have retained their original character which is a reflection of the colonial impressions as well as the local aspirations.

The initial methodology opted for, was based on the visual analysis (Condition Assessment) of the existing building conditions. After a thorough review, focusing on addressing the internal and external structural repairs of the building were given priority.

Given the nature of the project, understanding the requirements and priorities of the resident community was given special attention by SNK. The local community’s involvement in the affairs of the society was also taken into consideration. The information generated from this initial assessment was then bifurcated into ‘Essential’ (Heritage Value) and ‘Instrumental’ (Societal Value). The priority of conservation works was decided on the above mentioned factors, keeping the budget and the client’s needs into consideration.

After the visual survey, SNK raised concerns over the state of the plaster separation from the wall surfaces, formation of cracks in the facade, dampness in the walls at the junction of the roof and the walls, etc. The visual survey also revealed that the original roof was never thoroughly inspected and no major repair works had been carried out. During the initial visual inspection, a possibility arose of development of cracks on the internal face of the arched verandah. It was deduced that cracks were a result of the uneven settling of the foundation. Further analysis was carried out in order to ascertain the exact condition of the slab.

An outline Conservation Plan was formulated by SNK that incorporated the strengthening of the building along with plastering and painting works, roof repair works, interior refurbishment and signage design which were carried out in two phases. The limited economic resources were used in a manner in order to achieve maximum output in both the phases. The main objective was to do justice to the heritage value of the building and to use the skills of local craftsmen and artisans, thereby enhancing the quality of experience for the end-user.

The scale of the project and the availability of resources went hand in hand during both the phases. As the priority was given to the immediate repairs, the areas and elements which could not be accommodated in the available project budget, remained unaltered. The idea of finding local solutions for a number of complexities, during the course of the project was well agreed upon by SNK as well as the Seva Sadan Society, which was demonstrated in each step of the project.

The Proposal for the Malabari Hall Building was formulated considering the Client's vision, project challenges, financial constraints and other external factors. Project phasing played a crucial role while formulating intervention strategies for the efficient execution. Working within these boundaries the project was divided into two stages and the budget was allocated in parts, as per the scope of work being carried out during each phase. Phase - I entailed Structural and Civil repairs, Restoration, and External Painting. Phase - II entailed Interior refurbishment works, External façade lighting and Signage.

Phase 1: 1. EXTERIOR REPAIRS i. Superficial repairs: Superficial repairs such as hairline crack repairs were carried out in various locations of the building. For instance, a crack that appeared in the entablature on the east facade turned out to be a clear gap between two cantilevered stone beams, that were resting on the two circular columns. This gap was filled with lime mortar, without any structural stitching. ii. Plaster works: Slaked lime was procured in order to proceed with plaster repair works completely on the North façade and in patches on the East and South façade. The West façade on the contrary, comprised later interventions carried out in cement plaster. Since cement plaster adheres well with brick surfaces, the removal of plaster would have led to considerable damage to the brick wall. Therefore, the decision was taken to carry out plaster repair works on the existing cement plaster surface, so as to intervene minimally with the structure. iii. Façade painting: The initial suggestion for the façade finish was limewash, in order to complement it with the lime plaster as concluded from the conducted tests. Owing to the budget constraints, a paint finish compatible with lime plaster was finalised. This paint finish was applied only after the pH value of the lime plaster had been neutralised adequately. This intervention provided an extended guarantee of protective coat above the plaster finish, which would not be achieved by limewash.

Fig. 27 Lime Plaster Works Fig. 28 Grouting of cracks on Fig. 29 Neutralising the pH North Facade Value of Lime Plaster

2. INTERIOR REPAIRS i. Internal plaster and crack repair work: The areas with loose plaster were identified using the tapping method. The plaster was then removed, ensuring that suitable props were placed below the floor slab. These areas were then re-plastered in cement. The areas with hairline cracks were identified, inspected and thereby appropriately treated. One of the major areas addressed was the dome on the west facade which had hairline cracks running vertically. ii. Examination of cracks in the floor of Malabari Hall: The Malabari Hall had a separation joint in the floor slab which appeared to be a structural crack during the visual survey. Therefore, in order to analyse this further, the Structural consultant had demarcated two areas where the floor tiles could be removed in order to inspect the slab. Being an early 20th-century building, the floor tiles used (Bharat Tiles) were locally manufactured and handcrafted cement tiles. Since four tiles got chipped off, while removing them off the floor, they were replaced with local cement tiles that were stained and lacquered as per the original design. iii. Painting of lobby and staircase: The Entrance lobby area was completely painted from the ground floor up to the roof level. Additionally, the existing café on the ground floor, accommodated within the Entrance lobby space, was removed in order to revitalise the entrance to the Malabari Hall.

3. ROOF REPAIR i. Repair of damaged roof members: Due to seepage of water over the years through the roof, the wooden/metal members of the roof had become rotten/rusted. These members were appropriately repaired or replaced. The wooden end members resting on the walls had got rotten over a period of time. These end members were removed and replaced with equivalent wood. Metal plates were anchored on either side of the wooden members in order to provide the necessary support. ii. Waterproofing: Since the waterproofing membrane of the sloping roof was never replaced since the inception of the structure in the early 20th century, it had to be thoroughly inspected. The original waterproofing layer was removed and a new suitable APP (Atactic Polypropylene) membrane was laid above the wooden battens, below the Mangalore tiles. Additionally, cracks found in the China mosaic tiles on the roof of the Dome on the west façade were adequately grouted.

iii. Provision of G.I. Gutter: The roof did not have an outlet for the rainwater in the northeast direction. This caused seepage of water through the roof into the walls. Hence, in order to eradicate this problem from its roots, a G.I. gutter was introduced, after several feasible mock-ups were conducted.

Fig. 30 Repair of damaged roof members Fig. 31 Roof Waterproofing Fig. 32 Installation of GI Gutter

Phase - II of the project entailed Interior refurbishment works, External façade lighting and Signage. The Scope of work which entailed in the Phase – II of the project included:

1. MALABARI HALL PAINTING: The proposed colour scheme created a subtle ambience in the hall while highlighting its distinctive architectural elements such as the wooden railing running on three sides of the wall and the cement tiles. The sloping roof along with the metal trusses have been painted in a slightly subdued tone of the wall colour. The proposed colour of the roof helped in reflecting the light off the proposed hanging decorative light fixtures, thereby diffusing it evenly across the hall. 2. INTERIOR LIGHTING: The existing Hundi lights have been replaced by decorative hanging lights of a slightly higher wattage, in order to maintain the ambience of the hall. These decorative hanging lights have been manufactured using recycled glass. The lights on the mezzanine floor along with the hanging lights, enhance the atmosphere of the entire hall. The existing Hundi lights have been relocated to the ground floor lobby. 3. ADDITION OF STAGE PELMET: The proposed stage pelmet consisting of Seva Sadan Society’s logo has been highlighted as the focal point of the hall along with the curved wall (and the dome) behind it painted in a contrasting colour. 4. EXTERIOR FAÇADE LIGHTING: The external lighting on the East facade was designed in such a manner so as to highlight the prominent architectural elements. These elements include the circular columns and other prominent elements. The lighting fixtures used here are spotlights.

5. SIGNAGE: The font style of the signage has been designed so as to minimally intervene with the overall appearance of the East facade yet is prominently visible from the adjoining Pandita Ramabai Road. The material used for the signage is external grade stainless steel with brush finish that reads ‘MALABARI HALL’.

Fig. 33 Malabari Hall undergoing refurbishments Fig. 34 Lighting fixtures mock-up

While designing interventions during the conservation process, it was absolutely imperative to retain the authenticity and integrity of the structure. Interventions were also designed for minimal intrusion within the existing structure. Authentic elements and materials were restored and reused wherever possible. The mezzanine floor gallery, for instance, had its railing and balustrades covered in layers of paint. The original proposal included scraping off the paint from the surface of the railing and the balustrades in totality.

The spirit of the Malabari Hall lies in the elements that contribute towards shaping its built fabric. It is also deeply embedded in the collective memory of the people who have been at its receiving end, directly, those who used the hall when it was rented, and indirectly, those who benefitted from the value created by the use of the rent. During the course of the conservations works, immense care was taken to keep this spirit intact. Even though the physical elements were altered, the user experience remained unchanged.

To retain the spirit of the place during the conservation process in the project, local artisans and skilled craftsmen were deployed to use traditional techniques for construction. Local materials, having simple application techniques were sourced from the nearby areas, thus ensuring the project could tangibly and in-tangibly be in harmony with the surrounding locale and resident communities. The motto of the project was to make the structure humbly rooted in its century-old traditions and make it relatable to a varied group of diverse end-users. Enhancing the spirit of the place in the Malabari Hall building would also lead to a significant revival of histories and identities of the Seva Sadan Society as a whole.

The Malabari Hall building being an early 20th-century building, was perceived to have been finished in lime plaster. Therefore, an initial test was conducted on the samples of plaster extracted from the building. The results of this test proved that they indeed did contain lime plaster. Therefore, the re- plastering works were carried out in lime on the external facades to match the original condition. The paint was finalised on the basis of its compatibility with lime plaster and the extent of its breathability to assist the carbonation process.

Similarly, since the waterproofing membrane of the sloping roof was never replaced since its construction, it had to be thoroughly inspected. The original waterproofing layer was removed and an APP (Atactic Polypropylene) membrane, with similar properties as the original bituminous membrane, was laid above the wooden battens and below the Mangalore tiles. Additionally, cracks found in the China mosaic tiles on the roof of the Dome on the west façade were adequately grouted.

Such sensitive interventions were introduced in the structure which was not necessarily aesthetically visible but played an important role in facilitating the structure to endure modern-day wear and tear.

Fig. 40 Intangible heritage of the society being reflected Fig. 41 Women portraying traditional craft of through various activities Hand Block Printing

How the project addresses technical issues of conservation/restoration. Application of appropriate building, artisan, and conservation techniques, including traditional building practices:

During the Phase - I, urgent works such as, interior and exterior structural stability, civil works as well as roof repair works were given precedence. The bill of quantities played a crucial role in formulating the budget of the planned conservation works. In order to understand the nature of the original materials used in the building, various tests were expedited, owing to the availability of minimal information regarding the previous interventions being carried out within the structure.

For instance, after identifying the areas of the facade for the re-plastering works, various samples of the existing wall plaster were extracted and then tested in labs; the results of which confirmed that the lime plaster was originally used on the building. However, interventions carried out on the building over the years, at various places, especially on the west facade, were in cement. As a result of this, lime plaster works were carried out on all the facades, except on the west facade where cement plaster Fig. 48 Wooden Rafter Repair works were maintained.

Roof repair works were also carried out extensively during Phase - I of the project. On inspecting the roof, it was revealed that the roof had not been worked upon ever since the building was erected in the early 1920s, apart from periodic cleaning of gutters. Thus, addressing the defects in the roof was pivotal, which included replacing wooden/metal roof members that were rotten/rusted, redoing waterproofing works, rechannelling rainwater down-take pipes, etc. The individual elements of the roof were inspected to understand their conditions before interventions were worked upon.

The following were the conservation techniques used for various building elements in the structure:

1. LIME PLASTER: The re-plastering of all the facades in lime plaster was done in three coats using lime and sand in the proportions 1:3, 1:2 and 1:1 respectively. The lime and sand mixture was accompanied by red brick powder, jaggery water and waterproofing compound. The practice of using jaggery water is a very local technique to the , owing to its superior binding properties. 2. WATERPROOFING: The cross hipped roof of the Malabari Hall comprised the original layer of bituminous polypropylene waterproofing which was discovered to be in a poor condition upon inspection. During the conservation works, this waterproofing layer was stripped off, in order to be replaced with a new waterproofing layer of the same family called, Atactic Polypropylene membrane (APP).

3. CEMENT TILES: The Cement Tiles (Bharat Tiles) in the hall, which were removed for inspection (4 nos.) during the Phase - I, were replaced with local cement tiles. Upon fixing in their locations, these tiles were stained using three coats of enamel paint which was then sealed using PU coating. 4. INTERNAL PAINT: The Malabari Hall underwent painting during the refurbishment works of Phase - II, where care was taken to select an appropriate paint that did not drastically change the ambience of the hall. Emphasis was also laid on the undertones of paint colours which highlighted the decorative elements such as the beams under the mezzanine gallery, balustrades, stage trim, etc. Fig. 49 Staining on Cement tiles

During Phase - II of the project, materials were procured from local vendors. These mainly included the decorative and the technical light fixtures vendors. The electrical, civil, as well as carpentry contractor, were local craftsmen based in the Gamdevi precinct, well acquainted with the buildings in the Seva Sadan Society campus. The electrical contractor appointed for the Malabari Hall Building, also works as an electrician for all the Society buildings.

Quality control in the project was ensured by regular supervision of the Project Management Consultant, who updated the architects about the project progress on a daily basis, followed by a weekly report elaborating the direction in which the project was headed. Each and every minute detail was worked out to the architect and client’s satisfaction, thereby minimising risks and delays.

Application of appropriate materials: The materials used during the conservation process were based on the principle of like-to-like. The most crucial material used during the course of the project was lime plaster, which was found in a deteriorated condition on the external facades. These walls were redone in lime plaster, which was sourced from the neighbouring state of Karnataka by the contractor on site.

The glass brick facade which was added to the road facing the east facade of the Malabari Hall Building during an intervention carried out by the Society in the year 2000, was retained during the conservation works.

NEW MATERIALS AND ADDITION OF NEW ELEMENTS:

1. EXTERNAL FACADE PAINT: The option of coating the external walls with lime wash and a water- repellent coat had to be discarded, due to the inflationary cost of the water-repellent coating was exceeding the overall project cost. This problem was overcome by proposing a type of paint (pH neutral paint used) which was compatible with lime plastered surfaces, as it provided a breathable coating for the lime plaster. 2. WOODEN RAFTERS: The rotted portions of the wooden rafters in the roof were replaced with new rafters, wherever required. The areas where the rafters were partially replaced, the

proposed and the existing rafters had to be spliced using a metal plate, as proposed by the Structural Consultant. 3. G.I. GUTTER: The rainwater down-take pipe was rechannelled during the conservation works by proposing a galvanised iron (G.I.) gutter, on the east end of the Mangalore tile clad roof. A number of mock-ups were conducted before finalising the size and orientation of this gutter, keeping in mind the availability of space and depth. Galvanised iron was selected owing to its high durability as well as superior malleability. 4. WAITING AREA: The Society’s requirement included making provision of a waiting area adjacent to the stage in the Malabari Hall. This was achieved by deconstructing one of the toilets located beside the stage. The Cement tiles in the passageway were retained and reutilised in this waiting area. 5. PROPOSED DECORATIVE LIGHT FIXTURES: The existing decorative hundi lights were replaced by suspended decorative lights as per the client’s requirement. These proposed lights were sourced by a local vendor and manufactured out of recycled glass. The original hundi lights, however, were shifted and reused in the lobby spaces on the ground floor as well as the staircase mid landing. How well added elements or technical solutions respect and/or enhance the significance of the place: The technical solutions proposed during the conservation works were aligned to coalesce with the original fabric of the building. The added elements were integrated into the building setting without overpowering the existing building elements. The quality of the work, technique and workmanship along with its compatibility with the site were never compromised throughout the planning and execution phase of the project. The added elements also had to fit in the project budget allocated by the Society for each phase.

During Phase - I, a few functional elements were added to the building, comprising the G.I. gutter, APP waterproofing membrane, etc. The roof repair works catered to the wooden and metal elements which were in a deteriorated state and had to be either repaired or replaced with similar material such as roof battens, rafters, Mangalore tiles, etc. With the progress of the conservation works, several spaces in the building were opened up and replanned for varied functionality. This resulted in an increased user capacity of the Malabari hall.

During the Phase - II, the following elements were added: 1. STAGE PELMET: The existing curtain pelmet on the Malabari Hall stage was replaced by a Gypsum pelmet, which was painted to match the decorum of the refurbished Hall. The gypsum pelmet highlighted the intricate Art Deco style trim around the stage, which was earlier concealed due to the curtain pelmet. The exposed trim was highlighted with a golden hue that accentuated the subdued eggshell tone of the Malabari Hall.

2. SIGNAGE: A brass signage with the Seva Sadan Society logo of a ‘blooming lotus’ was added on the proposed stage pelmet. The exterior signage of the Malabari Hall, designed in exterior grade stainless steel, was proposed on the East facade adjoining the Pandita Ramabai Road. 3. EXTERNAL FACADE LIGHTING: The external facade lighting was positioned in the most minimalistic manner on the East facade of the building. The lighting fixtures were strategically located in order to accentuate the beauty of the architectural elements of the facade.

The elements used and technical solutions provided during the conservation of the Malabari Hall were not only aligned with the character of the built space but also were proposed to help the building adhere to the future needs of the users of the building within the given budget. The new materials introduced along with the conservation solutions adopted, ensured due respect to the authenticity and integrity to the original fabric of the structure. A balance was maintained between aesthetic visibility and functionality in order to complement the heritage significance of the Malabari

Fig. 52 Stage pelmet with Seva Sadan Society Logo Fig. 53 Proposed External Facade Lighting Scheme (Post Restoration) (Post Restoration) Hall Building. The interior works included the provision of better amenities within the built space. The Hall consisted of two toilets on either side of the stage on the first and the mezzanine floor. While redesigning the interior space to accommodate the proposed waiting area, which was required before all shows, the toilet on the south side of the first floor was converted into the backstage area. The original service lines of the toilet were kept intact in the proposed waiting area, thereby making the intervention reversible. The handcrafted cement floor tiles from the passage outside the toilet were carefully removed and reused to achieve a visually aesthetic pattern in the waiting area. The original lights in the Hall were replaced and a new lighting scheme which would enhance the charm of the Hall was proposed. The earlier unused gallery on the mezzanine floor was upgraded with ambient wall lights, to make the space more usable.

Significance of the place: The project specifically laid emphasis on the aspect of “Heritage access for all”. The concept of shared heritage was a combining factor for inscribing the image of the Malabari Hall building within its neighbourhood and the entire city in a holistic context.

Cultural events, exhibitions and programmes play a big role in the building being a part of the fabric of the local community as well as the diverse users that have experienced its grandeur and resplendence. Currently, there are no guided tours which include a visit to the Malabari Hall building, but it would be of great value as part of the history of Gamdevi and also, so as to further raise awareness about the heritage significance of the property as well as its contextual significance. Seva Sadan Society does undertake small scale advertising for the Malabari Hall and the rest of its campus, with a well-informed website and by placing signage outside the premises that inform people of the various facilities being provided by the Society, reiterating its impact on empowering the girl child.

Post restoration, an inauguration ceremony was held for the Malabari Hall building on the occasion of the Founder’s Day of the Seva Sadan Society. This event was a tribute to the founders and their aspirations for the Malabari Hall Building along with the rest of the campus. It is through such noble events that the local community can be made aware of the importance of restoring culturally and historically rich buildings like Malabari Hall, which have been offered no official protection status by the city legislature. These functions also bring to light the various social causes associated with the conservation of such indigenous heritage properties. In retrospect, these are small mediums through which the Society reaches out to the masses to help girls widen their horizons and provide them with greater opportunities.

Fig. 44, Fig. 45 Inauguration Ceremony of the Malabari Hall – Then and Now (1924 and 2019 respectively) (L-R)

IMPACT OF THE PROJECT:: A number of schools in India face a lot of issues for providing quality education to the students, due to the lack of teaching staff, poor infrastructure facilities and inadequate facilities. The students are neglected and thus deprived of their fundamental right to education. The girls who are a part of the Seva Sadan Society, are blessed with all the requisite amenities that are provided to them in the campus for better education and extracurricular activities as well Underprivilege Girls: The Local Community as professional counselling services for their of the Society mental health and well-being. The amenities provided are upgraded as per the evolving demands of the new age. The girls today have access to the in-house Science and Computer laboratories and a Multipurpose Hall (the Malabari Hall) which caters to their extracurricular activities. The hall being constantly used by the girls for multiple activities, has now been revamped with better amenities.

Various activities conducted by the Society ranging from singing, dancing to scientific experiments

The Seva Sadan community has responded with great enthusiasm to the conservation work carried out in the Malabari Hall Building. It has been an enlightening experience for the resident girls and the Society members to witness the upside of appropriately conserving a heritage structure that has offered them endless possibilities for securing a bright future. Committee Members of the Seva Sadan Society

Sustainable use and preservation of heritage place through appropriate use, adaptation, maintenance, and strategic and financial planning:

The Society, over the years, had established multiple employment facilities for the women. The Aahaar Café was one amongst these initiatives. During the conservation works, it was mutually decided to relocate the Café and reinstate the entrance lobby area back to its original glory, which would now be a gallery with archival photographs and paintings being displayed on its walls. These displays would be associated with the Malabari Hall and the Seva Sadan Society, for the users to learn and understand the historic importance of the property.

Fig. 22 Aahaar Café in the Ground Floor Entrance Lobby

The Society respected the original use of the space as the multipurpose hall and hence continued its use by upgrading the amenities and promoted it for temporary occupancies, that helped keep the Society functioning and the legacy of Behramji Malabari and Diwan Dayaram Gidumal alive. Minimal changes were carried out during the intervention of the Malabari Hall. The original intent of the building as a Multipurpose Hall was retained with up-gradation of few facilities catering to the growing needs of the users.

When the Hall was initially rented out by the Society in the early 2000s it saw a sizable growth of its users. This was a result of various collaborations with training institutes for dance, music etc. along with an addition of numerous cultural events and social activities. The capacity of the Hall in terms of visitor numbers is a maximum of 250 people.

The Malabari Hall built with a motto to educate and empower women and the girls of the society has continued the legacy of its founders. The stories and the memories associated with the Hall are a century-old and play an important role in establishing the cultural significance of the place. With the additional group of users introduced to experience the Hall and its facilities, a new set of intangible values have evolved over the past decade. Though the built aspect of the Malabari Hall i.e. its architecture has remained constant, the unbuilt aspect has evolved, assimilated in the memories of these groups of diverse users.

The spirit of the place in this context catered to both, the built and the unbuilt aspects of the Hall. The Malabari Hall with its splendid architecture, featuring the use of exposed truss, ornate wooden elements, and the handcrafted flooring tiles has an essence of the built fabric of the Colonial Architecture of Mumbai. The built aspect of the building was paramount while carrying out its conservation, and the proposed interventions were proposed and executed to restore it sensitively.

How the project contributes to the local community’s socio-economic wellbeing, cultural continuum, and development needs:

The Society’s dedication towards keeping itself functioning and continuing to serve its purpose towards safeguarding the lives of the underprivileged girls, helped them manage funds in the form of an international donation. The efforts taken by the society to conserve the building reflected their

Fig. 61 Glimpse of the Malabari Hall through its Entrance Lobby (Post Restoration) urge to protect their roots, which in future will help them gather more funds in order to carry out a strategic maintenance plan. The Society also has a dedicated network of individuals and organisations who donate regularly for its smooth functioning. These funds, with strategic financial planning, can ensure the periodic maintenance and conservation of the built heritage of the Society as a whole.

Due to limited resources being available with the Society, there was a restricted scope of improving the structure’s performance in terms of energy efficiency or mitigation of disaster risks. Conserving the building and safeguarding it from falling into a state of disrepair was the biggest challenge and the most environmentally friendly act carried out in favour of the structure. One of the most challenging decisions taken was to employ traditional techniques of construction and locally sourced materials that helped in achieving energy efficiency during the execution of conservation works, as opposed to utilizing their conveniently available modern equivalents.

THE HERITAGE:

Ever since the Seva Sadan Society was established, its local community has been thriving self- sufficiently by various means. For instance, in 1914, Pandita Ramabai Navrange Teachers' Training College was established as the first step towards empowering women to be employable. In 1944, a Marathi Primary School was established to educate underprivileged girls. In the 1960s, a Marathi High School was started, allowing Seva Sadan’s education initiative to impact a larger age group of girls. Later, a self-financed Pre-Primary Marathi School was started to promote early childhood education. Early 2000s saw an additional range of beauty courses to empower women. This brief history strongly proves that the Society majorly focused on educating the women - making them self-reliant and providing a sanctuary for their mental and physical well-being. Therefore, this project of conserving the Society’s built heritage plays an extremely important role in continuing the legacy of imparting

Fig. 66 Marathi Primary School established in 1944 Fig. 67 Laundry Services established to make the women self-reliant knowledge and empowering the women of the Society (Seva Sadan Society, 2020). With changing times, the Society kept introducing new courses to its vocational programmes, to keep it relevant. Each generation of women were trained in the skills which society demanded. The conservation works were additionally beneficial because of the viability of the Malabari Hall Building and its role in helping the community strive positively in their lives. Though not a listed heritage, this project can be considered as a catalyst for conserving the built environment at a micro- level because of its influence on the local community.

The restoration of the building led to its own prominence in the adjoining street and nearby precinct which saw many visible changes in terms of aesthetics showcasing its visually balanced, subdued and contextually harmonic colour scheme in terracotta red and grey. The introduction of signage and

lighting scheme on the external facade within a limited budget, created a statement in the streetscape.

The property does not dominate the streetscape but rather symphonises with its surrounding locale, whilst remaining salient with its prominent features. With the passage of time, the existing urban setting of a characteristic street with its architecturally analogous buildings has incorporated its past and present, in order to foresee a distinguished future. Being one of the very few exquisite multipurpose halls in and around the Gamdevi locale, the building stands out, not only because of its physical characteristics but also because of the way it has evolved. The Malabari Hall Building differentiates itself from other buildings not because of its architectural and social significance, but on the grounds of bearing resemblance to its traditions and exhibiting an important interchange of socio- cultural values with its physical emergence

How the project fosters local knowledge and living heritage:

The Society is an embodiment of certain core values which shaped the trajectory of the conservation works, instilling the concept of living heritage within it. The conservation of the Malabari Hall Building in the Seva Sadan Society acted as an impetus for similar conservation works in the precinct where the roots of the built environment were laid in their intangible cultural heritage. The impact of this successful conservation programme was not only limited to the local community in Gamdevi, but also awakened the professional community and authorities with its relevance. Fig. 68 Core Value: Promoting education for under privilege children

In the case of buildings like Malabari Hall, it becomes imperative to also promote and preserve the shared values, identities and practises, along with its built fabric. As long-term custodians of the built environment, the Society was able to promote its cause and spread awareness through the conservation works carried out in the Malabari Hall Building. By working at the grassroots level, the Seva Sadan Society is striving to work for charitable causes that enable economic prosperity and also enhance local community living.

The Malabari Hall, in its post conservation glory, stands as a renewed and a restored backdrop for various ceremonies, functions and other important events of the Seva Sadan Society and beyond.

Fig. 69 First Floor Entrance Lobby to the Malabari Hall (Post Restoration)

The influence of the project on conservation practice and policy locally, nationally, regionally or internationally:

The Malabari Hall Building of the Seva Sadan Society is a small-scale representation of a 20th Century building in Mumbai which thrives in its own ecosystem. The significance of building conservation needs to be brought to the forefront in a country like India where there is an abundance of rich inbuilt heritage, yet a visible negligence towards it due to various factors. One of the goals of SNK was to restore the building’s prominence on the streetscape of the densely clustered Gamdevi neighbourhood. Post-conservation the building has regained its former beauty providing the community with a renewed perspective of reimagining its legacy. There has been a constant pursuit to safeguard buildings with Outstanding Universal Values, such as the Malabari Hall Building which played a minor but vital role in defining the history of our city. In a historic city like Mumbai, which is rapidly undergoing the process of gentrification, it was a challenge to preserve the rich heritage of an often-undermined building like Malabari Hall. The conservation works carried out proved to be a fitting reply to the urban development pressures that tiny heritage treasures like the Gamdevi precinct, often fall trap to.

The building has raised awareness and made a statement at the local level and within the community of heritage conservationists in the city. There have been serious attempts to make the citizens understand that heritage conservation need not only be restricted to a monumental level, but it also needs to be at the community level with a significant neighbourhood building which is rich in its living heritage. The local authorities and the community have recognised the grassroots level effort towards restoring the building to its former glory. A small scale project like the Malabari Hall Building in the Seva Sadan Society is an example to bring to the forefront hidden gems to the living heritage of Mumbai which already boasts of an ensemble of buildings protected by the World Heritage Site status.

The Malabari Hall (Post Restoration)

REFERENCE LIST:

Burra Charter 2013, The Burra Charter: The Australian ICOMOS Charter for Places of Cultural Significance 2013, Australia ICOMOS 2013, viewed 10 May 2020, .

ICOMOS 2003, ICOMOS Charter - Principles for the Analysis, Conservation and Structural Restoration of Architectural Heritage (2003), ICOMOS, viewed 6 June 2020, .

INTACH 2004, INTACH Charter, Indian National Trust for Art and Cultural Heritage (INTACH), viewed 29 May 2020, .

Seva Sadan Society 2019, Impacting Lives, Seva Sadan Society, viewed May 2020, .

Venice Charter 1964, International Charter for the Conservation and Restoration of Monuments and Sites (The Venice Charter 1964), ICOMOS, viewed 5 June 2020, .