Metro rail moves closer to Ripon Buildings

A recent newspaper report reveals that Chennai Metro Rail Limited (CMRL) has moved its barricades 1.5 metres closer to Ripon Building. This in effect means CMRL has taken land over and above what was allocated to it by the Government. While the procedural aspects may get sorted out, what is clear is that Metro work, including drilling and tunnelling, will be much closer to Ripon Building and neighbouring Victoria Public Hall than what was planned earlier. The impact of such work on these two heritage structures is yet to be assessed.

In 2010, the State Government allotted 4500 sq m of land on the Ripon Building campus to CMRL. The Corporation Council gave its assent subsequently. In 2011, 1964 sq m was taken from the Victoria Public Hall campus for the same purpose. The Corporation took umbrage over CMRL boards being put up all around Ripon Building claiming that the area belonged then to CMRL. These were hastily removed. But another request from the Corporation is yet to be paid heed to. This pertains to the impact of tunnelling on the two heritage structures. The Corporation had in October 2012 asked CMRL to begin submitting monthly assessment reports. CMRL is yet to do so.

Earlier this month, the barricades on the erstwhile grounds of Ripon Building moved 1.5 m closer to the structure. CMRL now needs additional land for traffic diversions and has taken over the extra space it needs without the Government permitting it to do so by means of a GO. The Corporation Council’s assent has also not been sought. All this perhaps has something to do with the judgement concerning the land belonging to the Raja Sir Savalai Ramaswami Mudaliar Choultry located opposite Central Station. That space, with its heritage building, was being eyed by CMRL which put up barricades along the property. But with the Court ruling that the takeover can happen only if proper compensation is paid, it is probable that CMRL has given up that plan and opted to take more land on the northern side, from Ripon Building and VP Hall.

The taking over of space is however only a temporary facilitation with CMRL intending to return the land to the two precincts once it completes its work. But what is worrying is the silence regarding the impact of underground work. The same question has been raised in connection with CMRL’s activities near the LIC Building on Mount Road and the Law College near Esplanade. In all cases CMRL has stonewalled beyond a general assurance that all would be well.

The continuing activity near Ripon Building and VP Hall has also put the restoration of these two structures on the backburner. This being Ripon Building’s centenary year, it was hoped that the Rs. 7.7 crore restoration project would be completed in time for a grand celebration. That does not appear likely now. Similarly, VP Hall is being renovated for over four years now, at a cost of Rs. 3.5 crore. That too has slowed down considerably. These structures are clearly not the focus and all resources including land are clearly to be harnessed for a speedy completion of the Metro.

While that is all to the good, it is to be hoped that heritage is not sacrificed in the process.

Is conservation on the right track?

It cannot be denied that there is considerable heat and dust being generated on heritage in our State at the moment. On the one hand, the Legislative Assembly has passed the Heritage Conservation Commission Bill and it has received gubernatorial assent. And thanks to a High Court judgement, several heritage structures that would have otherwise vanished are clinging on, though without any maintenance. The question that stares us in the face, however, is, given that heritage structures will be listed and protected, are we geared for conservation and restoration in a scientific way? Or are we going about it in the usual fashion – full of good intentions but completely clueless on execution? The few restoration projects that are ongoing would indicate that the latter is sadly true, welcome though the fact that some attention is being paid to them.

Take for instance the restoration of Victoria Public Hall and Ripon Building. Both these projects are ostensibly being done under the guidance of an expert panel drawn from various institutions. But we understand that the panel is hardly ever consulted and most of the work is being undertaken by the PWD and State Government agencies who have no expertise in heritage conservation. It is also reliably learnt that even though some of the constituent experts have protested about some of the methodologies adopted, the work has continued on its own way, regardless. Is this scientific conservation? Not at all.

Internationally, it is understood that heritage conservation, if it is to follow the principles in letter and spirit, should involve original material, function and design as much as possible. This includes the use of timber, clay, lime and stone. It is highly unlikely that this is being followed in the case of the two examples cited above. In the case of VP Hall, it is said that the original staircases have been removed. In the case of Ripon Building, it is understood that pillars are going to be encased in synthetic material to make the structure earthquake-proof. It is learnt that experts have pointed out that such synthetic protection is required for multi-storied buildings that use cement concrete and pile foundations, both of which are not used in Ripon Building. Such protection is superfluous and there is no knowing what its impact will be on the pillars, which, being lime-coated, need fresh air to breathe.

The rampant adoption of air-conditioning is yet another case in point. Traditionally, heritage structures with their high ceilings and air vents are meant for air to circulate freely with no necessity for artificial cooling. But the new trend is to close all openings and provide for air-conditioning. This has three major attendant problems. Firstly, it involves the introduction of false ceilings, which completely hide the real ceiling from view and, therefore, prevent access to it for routine maintenance. Most old buildings have wooden beams and rafters, which need to be periodically inspected for signs of stress and failure. False ceilings prevent this. Secondly, most old buildings are built using lime mortar. Air-conditioning has a major impact on such cases, as the resultant moisture is absorbed by the hygroscopic lime, resulting in seepage and eventual flaking of plaster. The third is increasing fire hazard as the additional electric wiring increases the danger.

Many of the so-called restored buildings use vitrified tiles instead of traditional stones for the flooring. This again is contrary to accepted practice. There is also the recent trend to cover open courtyards to make for additional living space. This cuts off all scope for natural ventilation and results in several new problems.

One of the reasons for such short cuts is that heritage conservation is by no means a cheap exercise. On the other hand, use of modern material is inexpensive in the immediate short-term but takes its toll on heritage buildings in the long run. Unfortunately, very few people have the vision to foresee this. Even in the case of buildings that have been splendidly restored, there is complete ignorance on how they ought to be maintained after that. Senate House and the old block of the Connemara Library are two cases in point. Both were renovated in complete compliance with conservation principles but locked up thereafter. Senate House was later opened to house an exhibition of rather doubtful value, but the years of being closed had taken their toll on the walls. Connemara Public Library’s old block has not been opened in the last three years.

All this goes to show that even though we have as a State have come to recognise the need for heritage conservation, we are yet to evolve a proper methodology to go about it. Will we improve with time and experience?

Whither VP Hall restoration?

Will it ever be like this again?

It is now three years since the restoration of Chennai’s historic Victoria Public Hall began. Since then several dates have been announced for its re-dedication to the public and all of them have gone by. The last missed deadline was end-June. There has been no official announcement since then and the only news item is disturbing – a few tiles fell off the roof very recently probably owing to vibrations caused by the Metrorail construction work. What exactly is happening within those stately interiors?

The Chennai Corporation, which took possession of VP Hall following a prolonged tussle with the erstwhile Trust that governed it, announced a Rs. 3.39 crore restoration programme in 2009. This was to be financed by the Jawaharlal Nehru National Urban Renewal Mission (JNNURM). It is worth pointing out here that one of the conditions for State Governments to access this fund for civic projects is a commitment to restore heritage – both built and natural.

The Corporation had announced that the restoration would be monitored by a team comprising, among others, representatives of INTACH, the School of Planning and Architecture and IIT Madras. As to whether these members are actively involved is not known, but certain aspects of the restoration would appear to indicate otherwise. Chief among them was the haste with which the staircases of the building were all removed followed by a statement to the effect that these would be replaced with new ones.

Though we have had assurances to the effect that only traditional construction techniques would be used, it cannot be denied that the work is -completely in the hands of the Government machinery. Their record in heritage restoration is not exactly glorious. A recent example is the restoration of the Madras GPO where, in the name of security, circular stairways were removed and access to certain parts of the building were permanently cut off. All this in the name of restoration.

Reverting to VP Hall, it was first estimated that work would be completed by early 2011. This was then extended to May and later to September 2011. The change in regime did not exactly help either and deadlines were further extended to May and later to June 2012.

In the midst of all this came an announcement that a sound and light show was being planned within the compound. This was touted as a grand tourist attraction which would document the history of the city. But the Metrorail soon put paid to that. A part of the compound was taken over for storing construction material and drilling work began a few feet away. Plans for the show were shelved. It is also to be noted that despite several assurances from Metrorail that it would be careful in handling the heritage precinct, among the first acts was the shifting of the historic Trevelyan fountain from the building front to one of the sides, a process in which some of its ornaments were damaged.

Authorities are also silent on what they plan to do with VP Hall once it is restored. Will it in true Chennai tradition be kept locked after its renovation as seen in the cases of the Connemara Library, Rajaji Hall and Senate House currently there are some vague noises being made about the first floor of VP Hall possibly being let out for events. But with no parking space in the vicinity and no proper access at least till Metrorail completes its work, hosting any event here is bound to be a challenge.

And so, that is where matters stand at the moment. Watch this space for further developments.

When Madras opposed the budget

Trevelyan Memorial fountain at Victoria Public Hall

Trevelyan’s fountain has vanished,” said my informant, “gone to make way for Metro Rail.” It was late at night but I drove down to Victoria Public Hall to see for myself. I found that it had been thankfully not been demolished but merely shifted to one side; now facing a lane instead of Poonamallee High Road. In the shift, one of its ornaments had been broken but at least the structure had been saved. Central to it is a medallion, commemorating Sir Charles Trevelyan, the Governor of Madras Presidency who opposed income tax.

On Friday, the Union Minister for Finance presented the Budget and Chennai absorbed its impact along with the rest of the country. That was not the case when the first-ever budget was presented on February 18, 1860 in the imperial capital of Calcutta. Fighting the Mutiny of 1857 had caused a deficit, which needed controlling. Among the various proposals that James Wilson, the Finance Member in Viceroy’s Executive Council, made was “the temporary imposition of an income-tax on all incomes above Rs. 200 a year, but with a reduction for those not exceeding Rs. 500 per annum.”

Thanks to the telegraph, the budget proposals reached the rest of the country almost within 24 hours. In Madras the imposition of income tax met with spirited protest. Henry Nelson, chairman of Parry & Co and chairman of the Madras Chamber of Commerce, led this. Public meetings were held, most of them at the Pachaiyappa’s Hall in China Bazar (now NSC Bose Road). The protestors had the enthusiastic support of The Madras Mail and Sir Charles Trevelyan, who was something of a finance man himself. Trevelyan was of the view that Madras need not be dominated upon by Calcutta. He also felt that the tax was unfair on Madras as it had not faced the Mutiny. Lastly, he questioned as to how people who had no representation in the Legislative Council could be taxed. This was dangerously close to the logic on which the American War of Independence was fought — no taxation without representation. When Trevelyan chose to express his feelings in an open telegram to Calcutta, he was at first censured and later recalled. That ended his tenure as Governor.

Matters then took a curious turn. Wilson died of dysentery, his last words to his successor Samuel Laing being — “Take care of my income tax.” In 1862, the Government requested London to send a man of known financial ability who could effectively impose income tax. Ironically, that job fell on Trevelyan! He made a success out of the tax.

While Governor of Madras, Trevelyan gave the city People’s Park, a vast green lung, which we unfortunately did not care to retain beyond a small fraction. Among the various buildings constructed on it was Victoria Public Hall. Fronting (or rather now beside) it is the fountain that was built to commemorate Trevelyan, the spirited Governor who fought income tax and later implemented it!

This article appeared in The Hindu – Trevelyan’s fountain has vanished,” said my informant, “gone to make way for Metro Rail.” It was late at night but I drove down to Victoria Public Hall to see for myself. I found that it had been thankfully not been demolished but merely shifted to one side; now facing a lane instead of Poonamallee High Road. In the shift, one of its ornaments had been broken but at least the structure had been saved. Central to it is a medallion, commemorating Sir Charles Trevelyan, the Governor of Madras Presidency who opposed income tax.

On Friday, the Union Minister for Finance presented the Budget and Chennai absorbed its impact along with the rest of the country. That was not the case when the first-ever budget was presented on February 18, 1860 in the imperial capital of Calcutta. Fighting the Mutiny of 1857 had caused a deficit, which needed controlling. Among the various proposals that James Wilson, the Finance Member in Viceroy’s Executive Council, made was “the temporary imposition of an income-tax on all incomes above Rs. 200 a year, but with a reduction for those not exceeding Rs. 500 per annum.”

Thanks to the telegraph, the budget proposals reached the rest of the country almost within 24 hours. In Madras the imposition of income tax met with spirited protest. Henry Nelson, chairman of Parry & Co and chairman of the Madras Chamber of Commerce, led this. Public meetings were held, most of them at the Pachaiyappa’s Hall in China Bazar (now NSC Bose Road). The protestors had the enthusiastic support of The Madras Mail and Sir Charles Trevelyan, who was something of a finance man himself. Trevelyan was of the view that Madras need not be dominated upon by Calcutta. He also felt that the tax was unfair on Madras as it had not faced the Mutiny. Lastly, he questioned as to how people who had no representation in the Legislative Council could be taxed. This was dangerously close to the logic on which the American War of Independence was fought — no taxation without representation. When Trevelyan chose to express his feelings in an open telegram to Calcutta, he was at first censured and later recalled. That ended his tenure as Governor.

Matters then took a curious turn. Wilson died of dysentery, his last words to his successor Samuel Laing being — “Take care of my income tax.” In 1862, the Government requested London to send a man of known financial ability who could effectively impose income tax. Ironically, that job fell on Trevelyan! He made a success out of the tax.

While Governor of Madras, Trevelyan gave the city People’s Park, a vast green lung, which we unfortunately did not care to retain beyond a small fraction. Among the various buildings constructed on it was Victoria Public Hall. Fronting (or rather now beside) it is the fountain that was built to commemorate Trevelyan, the spirited Governor who fought income tax and later implemented it!

This story appeared in The Hindu -http://www.thehindu.com/todays-paper/tp-national/tp-tamilnadu/article3008622.ece

Robert Chisholm – the Indo Saracenic Man

If Paul Benfield gave the world its first example of the Indo-saracenic style of architecture with Chepauk Palace, it was Robert Fellowes Chisholm (1838-1915) who made it a complete form and the true architectural statement of the British Raj. Chisholm’s finest works survive in two cities in India – Madras (Chennai) and Baroda (Vadodara).

Not much is known of Chisholm’s early years, though it is certain that he was born in London. By the early 1860s he was in the employment of the Government of Bengal, being Executive Engineer, Puri Division, Bengal Department of Public Works. It was around this time that the Government of India was pressing ahead with the spread of education on Western lines. Universities had been set up in Bombay, Bengal and Madras and it was felt that buildings suitable to their stature ought to be constructed. In Madras, land for the Presidency College and a University Senate House was allotted by 1865. But two years prior to this, the Government of Madras had, for the first and only time in its history, announced an architectural competition for the design of these two buildings. With Rs 3000 being the prize money, it was a prestigious affair and by 1865, 17 designs had been received. The best of the lot, as per the committee that sat in judgement, were those of Chisholm.

He was accordingly transferred to the Madras Government in 1866, his arrival in the city coinciding with that of the new Governor, Lord Napier. The two were to become close friends though in private the Governor was to refer to Chisholm as a “clever little cockney” even while accepting his being “crammed with high art.” Napier was to make Chisholm’s transfer to Madras a permanent one, getting the Government of India to sanctioning a new designation for him – Consulting Architect to the Government of Madras. It was rather significantly, the first time that the word architect was being used in Government circles, at least in the city.

Napier was a man with a high imperial vision and in Chisholm he was to find someone who could translate his schemes into reality. To Napier, the Chepauk Palace, recently acquired in full by the Government from the Nawabs was a symbol of the times when the English had been subservient to the natives. No doubt the palace, rising in all its glory on the beachfront irked him and so among Chisholm’s first contracts was the building of the offices of the PWD, on the eastern face of the Chepauk Palace, hiding it from public view.

Revenue Board building rear, designed by Chisholm

It is significant that none of Chisholm’s early works in the city or in the Presidency, were examples of the style for which he would eventually become famous. In his early years he experimented with the Scottish-baronial (the PWD building), the severely classical (the Madras Club buildings as they stood till recently on Express Estates and the gates of the Buckingham and Carnatic Mills at Pulianthope) and the Italianate (Presidency College and the Lawrence Asylum which later became the Lawrence School at Lovedale, Ooty). He was asked to convert the old police courts at Royapettah into Amir Mahal, a suitable residence for the Prince of Arcot and this he did in the style of the Italian villa, copying the design of Queen Victoria’s Osborne House on the Isle of Wight.

Then came two projects that would transform Chisholm’s ideas forever. The first was a commission from Napier to restore the Tirumalai Nayak Mahal in Madurai. Chisholm was to grumble about the heat and dust of travel by bullock cart but when he arrived at the site, he was to fall in love with the place. Back in Madras, he was to rework his ideas for the University Senate House, incorporating into it several elements from the Mahal. He was to also add ideas and designs that had inspired him in other places such as Bijapur, Mahabalipuram and Ajanta. As a consequence, Senate House, completed in 1878, emerged as a curious but beautiful amalgam of various styles and became a new genre by itself – the Indo Saracenic. A smaller example of this, built at around the same time when Senate House was being constructed, was a tower that connected the two wings of Chepauk Palace – the Humyaun and Kalsa Mahals.

The Tower between Humayun and Khalsa Mahals, built by Chisholm

To fill the interiors of Senate House, Chisholm began working on a bewildering variety of stained glass, mosaics and painted canvases. These were all done at the Madras School of Art (now the Government College of Arts and Crafts, Poonamallee High Road) of which Chisholm became Principal in 1877. He probably lived on the campus from then on and one of the buildings there is said to be his work.

Yours truly leading a heritage tour of Senate House

In 1872, Napier sent Chisholm to Travancore where a museum was to be built. There he saw the Travancore style of roofing and concluded that it was “a very beautiful form of domestic art.” Even as he designed the Napier Museum in Trivandrum he began work on a General Post Office for Madras and this was to incorporate his new fascination – the Travancore roof. The GPO on First Line Beach was completed in 1884.

By this time Chisholm was a very busy man, designing jails, court houses, offices and much more. Some of the other buildings in the city that bear his stamp are the Victoria Public Hall (1887-9), the tower of the Central Station (1880s) and the main offices of P Orr & Sons. Napier had long left the city and Chisholm was to work with his successors. He became a Fellow of the Royal Institute of British Architects (RIBA) and whenever he went home on leave, he was asked to address the Institute. Chisholm was an avid painter as well and some of his watercolours are at the RIBA while others are in the Madras Museum.

Chisholm left Madras in a huff. He had been lobbying for being made the Superintending Engineer of Madras Presidency but the Government was not keen. There were charges against him of irregularities in accounts. In 1887, he resigned and after completing some more of his private projects in Madras, he moved over to Baroda. The British architect in charge of building Lakshmi Vilas, the grand palace of the Gaekwar, was another master of the Indo-Saracenic – Major Mant. He unfortunately lacked Chisholm’s breezy confidence and obsessed by the fear that the palace would collapse he went mad and committed suicide. Chisholm stepped in to complete Lakshmi Vilas and stayed on till 1902, working on several buildings there.

Then he retired to England, where he passed away in 1915. He was largely unknown in his home country. Indeed, of his works, just two or three are outside India. One is a church in Rangoon and another is a church in London, which has recently been converted into a concert hall. But by the time of his death, his style was all the rage in the entire sub-continent. All the Raj edifices would follow the path he had laid. The construction of New Delhi was to be its grand finale, climax and apogee. But rather ironically, it also marked the end of the British Raj.

This article appeared on XS Real’s blog -http://xsreal.com/blog/?p=133