Ensemble Architects’ and their architecture

Recently inscribed as a World Heritage Site by UNESCO, “Victorian Gothic and Art Deco Ensembles of Mumbai” is a collection of 92 buildings that together with the Oval Maidan and Wellington Fountain constituent the 66.34 hectares site with four different styles of architecture represented: Victorian Gothic, Indo Saracenic, Neoclassical and Art Deco. These architectural styles within the World Heritage Site represent a comprehensive narrative of transition seen within the architectural landscape of Bombay.

This article aims to explore the gradual but significant shift seen in the architectural practices established in India, especially Bombay, from late 19th century to early 20th century. It also introduces the key players: artists, architects, engineers and contractors, who shaped the urban landscape of Bombay while setting it all within the context of local events that occur simultaneously. While some context had significant effect on the larger context of the city, this article only focus on the key players, and events that influenced the development of the World Heritage Site.

Under the governance of the East India Company, Bombay, once a fortified center, exponentially grew to become the second city of the British Empire. In 1862, Henry Bartle Frere was appointed governor of the city. In the same year, he ordered the demolition of the fort walls opening up large tracts of land where new development projects could be realised. According to Frere, the city fabric at that time lacked urbanscapes with inspiring and invigorating features. A Gothic enthusiast himself, Frere commissioned the construction of a group of civic buildings, Victorian Gothic in style, that were meant to enhance the government’s image and essential for civil administration. This government’s commissioned developments were regulated and overseen by an official entity, Rampart Removal Committee.

The committee, invited established architects at the height of their profession to Bombay to advise and assist in planning of the city, an unprecedented move for its time. Among them, James Trubshawe and TR Smith arrived in Bombay and took charge of defining and detailing out the building development codes that were eventually followed to build in the city. Furthermore, TR Smith, an influential member of the Architectural Association, engaged in conversations with young promising architects – to assess them, and with influential practitioners – to encourage them, to participate in the city building project that was underway in Bombay. This persuasion encouraged many British architects such as Frederick W. Stevens, George Gilbert Scott, John A. Fuller, Rowland Mason Ordish, George Wittet and David E. Gostling, among others, to practise & work in Bombay, and play a significant role in shaping the skyline of the city in 19th century.

Frederick William Steven was a renowned neo-Gothic architect, responsible for building the majestic Chhatrapati Shivaji Maharaj Terminus (CSMT, formerly known as Victoria Terminus) that opened in 1888, an iconic structure in South Bombay. However, his first important commission was the Maharashtra Police Headquarter (formerly known as Royal Alfred Sailors’ Home), won due to the recognition he gained from winning numerous architectural competitions, and built in Victorian Gothic style of architecture. This building is one of his finest works with an outstanding architectural quality that later won him many more commissions including that of the railway station CSMT. Having worked with Ramparts Removal Committee on several proposals, he understood the pitfalls and process of construction work in the city. Within the UNESCO precinct, he was also responsible for the design of Western Railway Headquarters Offices (formerly known as Bombay, Baroda and Central Indian Railway offices), built in the Indo-Saracenic style of Architecture.

Later, F.W. Stevens partnered with David E. Gostling, a successful Bombay architect, to form the architectural firm ‘Gostling & Stevens’. This partnership, although short lived, was responsible for the design of Army Navy Building (formerly known as Army Navy Cooperative Society Store) and Standard Chartered Bank Building (formerly known as Grindlays Bank), built in the Neoclassical style of Architecture. With the passing of Stevens in 1900, the firm was dissolved, leading Gostling and Charles Frederick Stevens (son of F.W. Stevens) to establish their individual practices. Gostling established an architectural firm known as Gostling & Chambers in 1902, which by 1905 was known as Gostling, Fritchley & Chambers. C.F. Stevens established the architectural firm of Stevens & Co. which in 1907 listed its partners as C.F. Stevens, B.G. Triggs and T.S. Gregson. This firm in time finally evolved into a firm called Gregson, Batley & King; a prolific firm that shaped buildings and the minds of young architects within the city in early 20th century.

Another famous practitioner of Gothic architecture, especially in Britain, George Gilbert Scott was entrusted to design the buildings in the Mumbai University Complex: Convocation Hall, and University Library with Rajabai clocktower. He worked on the designs of the complex from Britain with assistance through correspondences from the University Registrar. Having never visited India, it was through these correspondences that he gathered information regarding the building requirements and developed a better understanding of climatic conditions in Bombay. In case of the University Library, he designed it based on his own ideas due to lack of detailed instructions. To ensure the buildings could be constructed within the government allocated funds, G.T. Molecey, and Walter Paris, assistant architects to Bombay government, were asked to adapt Scott’s designs. Molecey and Paris along with Fuller also adapted the design to Indian requirements and specified use of local materials. These local materials included a variety of stone such as Kurla stone, Pune red basalt, and buff-coloured Porbandar stone. Porbandar limestone was mainly used for the sculptural scheme of the complex, primarily sculpted by Indian craftsmen. Muccoond Ramchander, a local engineer, supervised all the stone carving work carried out at the complex, especially in University Library. The complicated commision was also executed with help from J. L. Kipling, and his students at the J. J. School of Arts. They accomplished exquisite results that significantly enhanced the visual appearance of the buildings. The fineness in Ramchander’s work won him numerous government commissions between 1870s to 1880s, so much so that he was temporarily appointed the executive engineer by PWD. The general charge of the construction of these buildings was entrusted to Lt. Col. John A. Fuller, Architectural Engineer to the Government.

John A. Fuller is well known as the architect who designed the Bombay High Court, the second largest public building of the city. He was a self-professed specialist in the Early English style, who submitted the designs in 1870 while on a leave of absence in London. Through his use of exaggerated massing in the building design, he has successfully been able to visually assert the importance of law and the judicial process in everyday life. He was also credited for designing David Sassoon Library (formerly known as Sassoon Mechanic’s Institute) with Cowasjee Murzban as his assistant, based on the two documented proposals submitted by the firm of Scott & McClelland.

Among the British dominated architectural landscape of Bombay in 19th century, Khan Bahadur Muncherjee Cowasjee Murzban was among the very few Indian architects/engineers who professional flourished and gained recognition for his contribution to the city. He began his career in the Public Works Department in 1857. Working at close quarters with Frere, TR Smith and working as J. A. Fuller’s special assistant enabled him to contribute to various building projects throughout the city, including some that are part of the World Heritage Site. He is credited for the design of the furniture, metal brackets, floor tile patterns and stone sculptural details of David Sassoon Library and Reading Room. He is also credited for designing and supervising the construction of Elphinstone College, built in neo-Gothic style of architecture and completed in 1888.

The turn of the century witnessed a significant change in the political environment of the country. This change also became evident in the architectural practice of the time. Architects experimented by using different types of building systems and material in construction, and later they also stylistic shifted from the way they designed buildings. It was around this period that studies were undertaken to better understand the early Indian architectural form and a new style of architecture was being explored, a style that embodied Indian characters. This lead to the introduction of Indo Saracenic style of architecture into the urban architectural landscape. One of the leading practitioners of the city, who employed this style in his buildings was George Wittet.

George Wittet was a Scottish born architect, who arrived in India in 1904 and assisted John Begg then the Consulting Architect to Bombay. Wittet had a flourishing career in Bombay where he worked on significant government and private commissions and also began work as the Consulting Architect of the Government of Bombay in 1907. Two of his works are part of the UNESCO precinct, the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS, formerly known as the Prince of Wales Museum) and the Institute of Science. CSMVS was his first major independent work where initially he was unwilling to adopt the Indo Saracenic style of architecture. He later revised his designs after travelling through Bijapur in Karnataka to study the historic buildings. According to Samuel T. Sheppard, he was also the greatest government architect, who was responsible for the execution of 95 projects including design and planning of Ballard Estate. He was also elected the first president of the Indian Institute of Architects (initially known as The Architectural Student’s Association).

A contemporary to George Wittet, Charles Frederick Stevens was the eldest son of F.W. Stevens born in Bombay in 1872. He joined his father’s architectural practice in 1892. While working there, he and Raosaheb Sitaram Khanderao Vaidya assisted his father with the work carried out at Western Railway Headquarters offices and later, supervised the construction of the Standard Chartered Bank Building, both part of the World Heritage Site. Like his father, Charles F. Steven’s portfolio contained projects that straddled architectural styles from two centuries: Indo Saracenic, Neo classical and Art Deco. Interestingly, it was Charles F. Stevens who designed Regal Cinema, the first Art Deco building of Bombay that was inaugurated in October 1933. Thereafter, numerous buildings are seen to adopt this style of architecture leading to the development of numerous art deco clusters across the city, especially the Oval and Marine Drive stretch that are part of the World Heritage Site.

The turn of the century saw the emergence of formal architectural education as a separate architecture department within the city’s art school, J.J. School of Art (formerly known as Bombay School of Art & Industry). Many Indian students enrolled into the art school especially to study architecture, and later worked as architects. The architecture department was led by many prominent architects such as Robert Cable, H.Foster King, Claude Batley, and C.M. Master, among others. Some others like D. W. Ditchburn joined the school as visiting staff and together they played a crucial role in shaping the mind of the young graduating architects. Other than teaching at the school, these architects also led thriving practices in the city, designing new buildings with modern aesthetic sensibility. Bombay, around this time, was also considered the heart of architectural thinking.

In 1917, alumnis from the architecture department of J. J. School of Art decided to come together to form an association that became an invaluable resource for the architectural community. Originally christened ‘The Architectural Students Association’, the organisation evolved to become the Indian Institute of Architects (IIA) in 1929. Through its various initiatives like journal publication, exhibitions, and annual conferences, the institution encouraged architectural discourse, helped generate interest in architecture and allied professions, and encouraged research that raised the standard of practice in the country. It also enabled to create a professional environment that was forward looking, supported experimentation, and led the country towards modernism. The practising architects were also responding to the socio-cultural and economic changes that emerged around them in the early 20th century. A dire need for spaces that helped cater to this new evolved social-order emerged within both private and public realm. To support this need and enlighten architects, and general public alike, IIA conceived, designed and organised ‘The Ideal Home Exhibition’ in 1937. In a pleasant and accessible manner, the exhibition showcased various building materials, spatial arrangements, and appliances that would help make homes feel more comfortable, modern and artistic. Simultaneously, the architectural discourse of the time focussed on locally centered issues such as style and climatic conditions, among others. An architect well-known to promote designing buildings that respond to local climatic conditions was Claude Batley.

Claude Batley, an English architect, was a practitioner, teacher and played an influential role in development of modern architecture in India in the first half of the 20th Century.He along with TS Gregson and H. Foster King led the architectural firm of Gregson, Batley and King. Some of the prominent buildings built by the firm, especially within the UNESCO precinct are Bank of India, Cricket Club of India and Windsor House. He also played a significant role in sculpting the minds of his peers and students, especially Gajanan B. Mhatre.

Gajanan B. Mhatre, a Bombay based architect, graduated from the Sir J.J. School of Arts before moving to London to qualify for the Associateship of the RIBA. After returning from London in 1931, he joined the firm of Poonegar & Billimoria and soon progressed to become their chief architect. Poonegar was a well established civil engineer who got many building commissions then, a time when few were given to Indians. This forming a bulk of Mhatre’s work between 1930-1940. After leaving Poonegar & Billimoria, he worked as a consultant with various other architectural firms before finally working on independent commissions. The design quality of his buildings were exceptional, but a large volume of his work didn’t bear his signature. This anonymity prompted Claude Batley to call him a ‘shadow architect’, others referred to him as ‘Consulting Architect’ names that stuck with him for the remaining part of his career. Some of the most significant buildings within the precinct that are an integral part of his portfolio are Sunshine, Palm Court, Empress Court, Rajesh Mansion, Sea Green Hotel, Soona Mahal, and Sunder Mahal.

In contrast to the 19th century, when the city’s architectural landscape was dominated by British architects, 20th century saw many more Indian architects and Indian led architectural firms practise and thrive in the city. Some of them are: P.C. Dastur know for designing the three identical buildings along Marine Drive: Keval Mahal, Kapur Mahal and Zaver Mahal; Sohrabji Bhedwar known for designing the iconic art deco cinema theatre along Oval: Eros Cinema and other architectural firms like Merwanji, Bana & Co. and Master, Sathe and Bhuta.

Sohrabji Bhedwar partnered with Jamshedji Pestonji Mistri to establish the firm Mistri & Bhedwar in 1890. The firm undertook a diverse portfolio of work including mills, religious buildings like temples, mosques and churches, cinemas, schools, office buildings and residential spaces, among others through the country. In Bombay, they were responsible for the design of 26 building projects in various neighbourhoods of the city, as Mistri & Bhedwar OR Bhedwar & Bhedwar. Some of the buildings within the UNESCO precinct credited to the firm Mistri & Bhedwar are Palm Court with G. B. Mhatre and Roshera, and the ones credited to Bhedwar & Bhedwar are Queen’s Court, Green Fields, and Eros Cinema.

After the demise of both the founding partner J. P. Mistri, his children, Minoo and Perin J. Mistri partnered with D.W. Ditchburn to form the architectural firm Ditchburn, Mistri & Bhedwar. Perin J. Mistri of this practice was the first-registered lady architect of the country. She was also a member of the entertainment committee that was responsible for the organisation of the Ideal Home Exhibition. The architectural practice of Ditchburn, Mistri & Bhedwar along with J.A. Ritchie and his partner L. Palfi are credited for the design of Hong Kong Bank building (formerly known as the Mercantile Bank of India).

Although not much is yet known about the architectural firm of Merwanji, Bana & Co., this firm was responsible for the design of five exquisite buildings that are part of the precinct: Shiv Shanti Bhuvan, Rajjab Mahal, St. James Court, and Framroz Court. The firm also designed Court View (formerly known as Rusi Court) in collaboration with Maneckji Dalal and G. B. Mhatre as consulting architect.

Another significant firm of the time was the first all Indian led architectural firm, Master, Sathe and Bhuta, in the city. Like many of their contemporaries, one of the partners, C.M. Master was actively engaged with the architecture department of the J.J. School of Arts. He served as the head of the architecture department from 1943-48. The firm was primarily known for large-scale commercial project commissions, ornamented with details that drew inspiration from the local context, however they also designed various residential buildings and apartment complex in the city. Sonawala Building is one such building within the World Heritage Site that was a design product of this architectural firm.

It is safe to say that the two waves of urban expansion from the late 19th century to 20th century played a crucial role in shaping the architectural landscape in the city of Bombay. Availability of new land propelled the government agencies to develop them, in turn, fueling the professional quest of the architectural community in the British Empire, encouraging young and established architects to participate in building the city. These building projects were primarily public administrative spaces, mainly commissioned to British architects and engineers with very few Indian getting the opportunity to participate. When they did participate they mainly got to work as craftsmen and support staff, with only a few who could contribute as architect/engineer, during this period. With the turn of century, the socio-cultural climate in the city evolved, improving access to architectural education in the city. This improvement also facilitated progress within the profession. More Indians began to study architecture and started to consider it as a viable profession. This drastically changed the professional practise in the city and a sudden increase was observed in the number of practising architects of Indian origin. These architects were the first-generation Indian architects practising in the city and shaping the urban landscape that would soon be part of an Independent India. Despite the significance of their contribution not much has been written about them or their practise. A gap that needs to be filled immediately as today their significant contributions are in dire need for conservation.

FOREIGN ARCHITECTURAL INFLUENCERS

19th Century

DAVID E. GOSTLING

FREDERICK WILLIAM STEVENS

GENERAL HENRY ST. CLAIR WILKINS

GEORGE GILBERT SCOTT

GOSTLING & STEVENS

HENRY BARTLE FRERE

JAMES TRUBSHAWE

JOHN A. FULLER

JOHN LOCKWOOD KIPLING

ROWLAND MASON ORDISH

SCOTT, McCLELLAND & CO.

T. R. SMITH

20th Century

CHARLES FREDERICK STEVENS

CLAUDE BATLEY

DAVID WILLIAM DITCHBURN

DITCHBURN, MISTRI & BHEDWAR

GREGSON, BATLEY & KING

GEORGE WITTET

JOHN A. RITCHIE

JOHN L. MULVANEY

INDIAN ARCHITECTURAL INFLUENCERS

19th Century

KHAN BAHADUR MUNCHERJEE COWASJEE MURZBAN

MUCCOOND RAMCHANDER

RAOSAHEB SITARAM KHANDERAO VAIDYA

20th Century

BHEDWAR & BHEDWAR

CONTRACTOR & KANGA

C. M. MASTER

GAJANAN B. MHATRE

JAMSHEDJI PESTONJI MISTRI

K. P. DAVER & CO.

MANEKJI DALAL

MASTER, SATHE AND BHUTA

MERWANJI, BANA & CO.

MINOO J. MISTRI

MISTRI & BHEDWAR

P. C. DASTUR

PERIN J. MISTRI

POONEGAR & BILLIMORIA

SHAPOORJI PALLONJI & CO.

SOHRABJI BHEDWAR

SURNAPATKI & VORA

SYKES, PATKAR & DIVECHA