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  • Sense and Sensibility

    Sense and Sensibility

    KALYANI MAJUMDAR PRESENTS FIVE ARCHITECTURAL MASTERPIECES THAT

    SATISFY THE AESTHETE’S SEARCH FOR ARTISTIC INTEGRITY AND INGENUITY

    Published in India Today, Spice magazine | 2010

    Style before, after or alongside substance? While starchitect Louis Sullivan’s axiom ‘form follows function’ is the touchstone for many modern architects, Frank Lloyd Wright—who considered Sullivan his mentor—always believed that ‘form and function should be one, joined in a spiritual union’. Much like the Roman architect Vitruvius, Spice believes that a good building should satisfy the three principles of firmitatis utilitatis venustatis, i.e., durability, utility and beauty. Keeping that in mind, we traversed the globe to unearth some recent architectural gems that are in sync with Vitruvius’ principles and have become the landmarks of an urban landscape that is ever hungry for the nouveau. From reinvented old spaces to innovations in building materials, we found plenty to give us pause. Here are our top picks.

    Centre POMPIDOU, Metz, France

    Designed by architects Shigeru Ban and Jean de Gastines, the Centre Pompidou-Metz in France is a branch of the major French cultural institution—the Centre Pompidou in Paris. The roof structure was assembled by weaving six beams into a hexagon—an innovative benchmark concept in the construction world—covering a total surface area of 10,700 sq m, including 5,000 sq m of gallery space. The innovations do not end there; in order to protect the wooden frame from rain, sun and wind, the entire structure is covered by a textile membrane made of fibreglass and Teflon. The membrane is translucent, letting through 15 per cent of the light to reveal the hexagonal roof structure at night when the building is lit from the inside.

    Talk about a breathtaking view! The interior of the building opens up to vast, modular exhibition spaces whose mammoth dimensions can accommodate large installations and gigantic sculptures. Other areas such as the forum, the restaurant terrace and the garden provide additional arenas for exhibitions. The centre also has a studio for live performances, an auditorium, a resource centre, bookshop, a restaurant and a café. In time, the centre plans to become an art hub where visitors will be exposed to different forms of art, live shows, films and seminars along with the temporary exhibitions. At present, the Centre Pompidou-Metz is getting its finishing touches before it opens in May 2010 with a grand show. That done, Metz may just become the next Paris. Cheers à cette!

    Conga ROOM Los Angeles, US

    Designed by the award-winning Belzberg Architects and co-owned by a group of LA glitterati including Jennifer Lopez and Will. I. Am of the Black Eyed Peas, the Conga Room in Los Angeles is no ordinary nightclub. For over a decade, the club was a local cultural landmark and a centre for salsa and rumba. Then, in 2006, it closed down for two years before reopening in December 2008 in the new LA Live complex in downtown Los Angeles, with a grand show that reflected the vibrant energies of Barcelona and Mexico city. Clubbers entering the building at ground level and climbing up a staircase to reach the 1,500 sq m dance floor are greeted by a tornado-like cylindrical, acrylic structure that acts as both a spatial organiser and star attraction. In sync with the club’s Latin feel, the 20-foot tall  ‘tornado’ snakes its way up the floors to the club ceiling where it morphs into a diamond pattern that’s derived from the classic rumba dance step. The thousands of panels that come together to form the gorgeous ceiling work are not just for beautification but also to soundproof the room. To further intensify the experience, the room boasts an LED lighting system which changes the colour and atmosphere of the space at the push of the button.

    Hoto FUDO Mt Fuji, Japan

    Is it an igloo? Or is it an edifice from a sci-fi thriller? Neither, actually. It’s a noodle restaurant at the foot of Mount Fuji. Designed by Takeshi Hosaka Architects in 2009, Hoto Fudo serves quintessential Japanese cuisine alongwith food for the aesthetic soul. The curved organic shape of the one-storey building is formed by a steel rod frame reinforced with concrete. The free standing, cave-like structure is designed to stay open in all but the most extreme weather conditions, with rain falling at the edges of the interiors, fog entering through the large openings in the wall, and winds circulating through the concrete shell. Only on the coldest of days are the curved acrylic doors pulled shut. It’s not as bad as it sounds: 60-mm-thick urethane insulation on the outside of the reinforced concrete shell secures a stable temperature for the building. The lighting inside is simple and the interiors minimalist with fuss-free wooden furniture. The total built-up area runs to 734 sq m, with 530 sq m allocated for seating, 140 sq m for kitchens, and the rest given over to the restrooms. The USP of Hoto Fudo lies in its look and a location that flirts with the elements. Imagine the relish of a perfect bowl of noodles with the spectacular watercolour of Mt. Fuji in the background. There are some things that money can buy!

    Guangzhou OPERA HOUSE Guangzhou, China

    The high notes of Chinese opera will be reverberating across the Guangzhou night sky as the new opera house preps up to open before the Asian Games this November. The credit for the spectacular design of the opera house goes to Pritzker prize winning architect Zaha Hadid. Overlooking the Pearl river, the opera house lies at the heart of Guangzhou’s cultural site development. Its unique ‘twin boulder’ design seeks to enhance urban function by opening access to the riverside and dock areas and creating a new dialogue with the emerging new town. The total building area is 70,000 sq m, of which the opera house covers 42,000 sq m. The ‘larger boulder’ holds a theatre with 1,800 seating capacity and matching rooms for equipment, administration, recording studio and art exhibition hall while the ‘smaller gravel’ holds a 400-seat multifunctional hall. Not bad for a building which almost got destroyed in a fire in May last year.

    Fish MARKET Istanbul, Turkey

    Buying fish will never be the sameagain for the people of Besikta, in Istanbul, with the GAD (Global Architectural Development)designed, state-of-the-art fish market that has replaced the old market that was in a shambles. Completed in 2009, the structure is made of steel and concrete and is triangular in shape. The sea shell-like form covers the entire site of 320 sq m, with large openings at the street level. The sturdy concrete shell provides a column-free interior thus optimising the usage of space. Six stainless steel display stands of various sizes are illuminated by 150-watt Edison bulbs—commonly used in fish markets in Istanbul—suspended from the ceiling. The design of the market is such that both the underside and the top of the shell can be used for artistic interventions— some events are already being planned for this year. The Besikta fish market project is a community effort by the people of Besikta to revitalise and beautify their landscape. The timing couldn’t be better since Istanbul has been selected as the 2010 European Capital of Culture by the EU council. Kemal Pasha would have been pleased!

  • Art Couture

    Art Couture

    THE COMMEDIA DELL’ ARTE CHARACTERS HAVE NEW CLOTHES, COURTESY 16 TOP DESIGNERS. KALYANI MAJUMDAR HAS THE STORY.

    Published in India Today, Spice Solo | 2009

    When you think of couture, the name Porzellan ManufakturNymphenburg does not naturally leap to mind. But with the Commedia Dell’Arte Couture Edition 2008, this company from Munich has definitely figured out the changing appetite of collectors, and fashioned its figures in a brand new way. To celebrate 260 years of making pristine porcelain, CEO Jorg Richtsfeld enlisted the help of the fashion world to design new clothes for the 18th-century Italian sculptor Franz Anton Bustelli’s 16 Commedia dell’Arte figurines.

    The original story began in 1759-60, when Bustelli, the famous Rococo model maker, was so inspired by the colourful characters of the Italian Commedia Dell’Arte that he moulded the characters into a series of figurines that have become the highlight of the Nymphenburg Porcelain Works’ history. In the 21st century, 16 of the world’s top fashion designers have given a contemporary interpretation to these characters. Colombine, the clever partner of Harlequin, has been dressed in black-on-black checks by Dutch designers Viktor & Rolf as she holds up a mask.

    Christian Lacroix has given the lovely Julia, whose hand gestures brush off the advances of the lecherous Pantalone, a black-and-white floral gown worthy of the Paris runways, and yellow gloves and scarlet handkerchief that make a definite style statement.

    The character of the dynamic Capitano, dressed in geometrical shapes by Gareth Pugh, has been transformed into an abstract work of art. The designer says he reflects “the struggle between light and darkness,” which is central to Pugh’s designs.

    A limited-edition Collector’s Book by photographer Florian Bohm accompanies the figurines, which are currently on show at Palais Beauharnais in Paris. Each figurine has been reproduced in a limited edition of 25 and the entire set of 16 retails for €160,000 (Rs 1 crore). Those who don’t want so much history to haunt the contemporary, can shell out €13,600 (Rs 8.7 lakh) for a single piece.

  • Emerald Haze

    Emerald Haze

    From being an artists’ muse to earning an infamous reputation, absinthe has had an eventful history. It is time to delve into the chequered past of this mystical and legendary green elixir.

    Text by Kalyani Majumdar | Published in Liquid magazine | 2011

    Originally used as a medicinal elixir to cure various ailments during ancient times, absinthe quickly grew in popularity as the favourite alcoholic beverage among the aristocrats in France. Affectionately called La Fee Verte by the French, it soon rose to fame across the channel and came to be known as The Green Fairy in England. By the 1870s, France was drowning in the green muse. Artists believed that this potent drink was stirring their minds and inspiring deeper creativity and many became absinthe connoisseurs — legend has it that Van Gogh cut off his ear under the influence of absinthe, and famous writers like Oscar Wilde and Ernest Hemingway mentioned the drink in their literary works.

    With an alcoholic proof ranging from 45% to 75% and the presence of wormwood in the spirit, which is derived from the essence thujone, absinthe soon gained notoriety among drinkers. The ‘Fairy’ was associated with transformation, a freer state of mind and artistic expressions. In 1893, Edgar Degas painted L’Absinthe, portraying a French actress drinking absinthe in a Parisian café. The artwork was too nouvelle for England’s straightlaced Victorian taste and was, as a consequence, removed from the Christie’s auction. The tide began to turn against absinthe, and it was suddenly being associated with society’s evils.

    Interestingly, it is believed that the 1870s blight in France led to a wine shortage and resulted in the popularity of absinthe, and by the end of the 19th century, France was gulping down more than two million litres of the spirit. This popularity, however, ended in the 20th century when the Belgians, the Swiss and then the French banned the alcohol. Absinthe was a great leveller in society, as it was popular across all classes, but the notorious legends attached to it, coupled with the global temperance movement — a social movement urging the reduced use of alcoholic beverages — instigated the ban.

    Adding fuel to the fire was the bad press that was generated when a Monsieur Lanfray from Switzerland killed his entire family while under the influence of absinthe. However, the fact that he had also consumed several litres of wine and brandy was overlooked. This was the last blow to the already bruised reputation of the green fairy. After enduring an almost 100-year ban, this elusive green elixir is back on bar tables all over the world. Christophe Clement, a celebrated freelance bartender in France, comments, “It is not an easy drink to mix, and only a few chosen ones have the passion and the guts to make good and innovative cocktails with absinthe.” When asked about the popularity of absinthe among regular drinkers, he said, “I think people are not scared to try absinthe anymore as it is very safe, and every bar should have a bottle of absinthe on its shelves because it is one of the legendary alcoholic beverages.”

    Making an absinthe drink is considered an art. Absinthe is elegantly served with a sugar cube sitting atop a slotted silver spoon. Water is then slowly poured onto the sugar cube, which slides through the spoon and mixes into the absinthe, creating a misty jade drink – a magical ritual indeed! Traversing from the bohemian bars of Paris, absinthe has made its way to India and is gaining popularity here. The familiar flavours of aniseeds — often chewed as a palate cleanser between meals — also find adaptability with the taste profiles in the country. “Absinthe has just been introduced in India, hence there are few takers. But, the good news is that, we have tried two recipes, Long Island Iced Tea with absinthe and Absinthe Bull, and both have received great response,” said Leorith Ashtamkar, a freelance bartender in India.

    The Green Fairy Absinthe Company (TGFAC) imports absinthe in India from the Pontarlier district of France – the holy grail of absinthe. Initially, TGFAC was importing Green Fairy absinthe by Liqueurs de France (LDF), but now it has been replaced by Enigma, also a product by LDF. Both are distilled absinthes, prepared in the traditional way with the herbs that give absinthe its unique flavour. This year, TGFAC has also introduced another product in the Indian market called Nemesinthe. It is a developed quality oil-mix priced at R3,300. It is much lighter on the wallet compared to the classic distilled high quality Enigma, which is priced at Rs 5,200.  Farrokh Maneckshaw of TGFAC says, “We think that this will be a popular and affordable drink for the club-goers, and looking at the response in Goa, I can clearly say that absinthe is already a very popular drink among young Indians.” So, next time when you go out drinking, order a glass of absinthe and experience the legend in every sip of this enchanting green spirit. Sante!

  • A cooperage dynasty

    A cooperage dynasty

    The heritage of Tonnellerie Demptos (the Demptos Cooperage) is nothing less than a magical tale, of how a simple piece of oak becomes the keystone in the magnificent story of wine. And, the Demptos family has been intimately involved with this magical journey for nearly two centuries, as the knowledge of coopering passed on from father to son. Hence, it was no surprise when Francois Witasse, the President of Demptos Cooperage shared his passion and insight about the effect and added value that oak provides to wines as well as spirits at an event in Mumbai at the Four Seasons Hotel, the magic of oak unfolded in every sip of wine.

    Francois Witasse Interviewed by Kalyani Majumdar | Images courtesy: Tonnellerie Demptos | Published in Liquid magazine

    Kalyani Majumdar: Could you briefly take us through the magical journey of Demptos and its worldwide recognition? Also do tell us how a piece of oak becomes the keystone in the magnificent story of winemaking.

    Francois Witasse: Tonnellerie Demptos is a 200 years old cooperage, based in Bordeaux, France. Through a strategy of implantations worldwide and a strong Research programme on oak quality and interaction between oak and wine/spirit, Demptos became year after year a real partner in the “wine ageing” field.

    KM: Please tell us about your journey so far with Tonnellerie Demptos. How did it start for you and what is your experience with the brand?

    I joined the company 20 years ago, after finishing my master’s degree in Agricultural Sciences, as an export manager for countries such as Chile, Argentina, Uruguay, Spain, Italy, and Greece. I then leaded the project of Demptos in Spain, building a cooperage in Rioja and lived there for 7 years. I finally came back to Bordeaux to become General Manager of Demptos. I think that the brand has a fantastic balance between traditional know-how, innovation, Research, worldwide network and implantations (we produce barrels in 5 countries). Demptos is proud to serve the finest winemakers in more than 30 countries.

    KM: Please take us through the barrel-making process at Demptos. And, how oak can influence a particular wine?

    FW: Oak is a fascinating material and combines greatly with wine as an ageing tool, providing tannins, aromas, oxidative evolution, clarifying the wine, delivering them roundness, mouthful and balance, stabilizing their structure and infusing them with a better resistance to time! Our job is to control and fine tune our selections to match every enologist’s ageing ‘goals’. From the log to the stave, from the stave to the barrel, our barrel making process is dedicated to the user.

    KM: How do the experts at Demptos judge that it is the right moment to start making the oak planks for barrels?

    FW: We actually buy raw material from auctions. The ONF, French Administration of Forest Management, organises the oak market. We then split the logs in our stave mills and let the oak planks (staves) season for a minimum of two/three years.

    KM: How does wood grain affect the character and expression of the wine stored?

    FW: Oak growth speed (grain) has direct consequences on oak porosity and chemical composition. French forest management is based on high density forest principle and mostly provides tight grain. We harvest 180 to 230 year-old trees. While some wine would take more benefits from a very tight grain, porous and flavourful, some wines structure will require a stronger content of elagitannins. An ‘open grain’ will then work better.

    KM: Do explain how Demptos fine tunes their barrels to the personality of each wine?

    FW: Due to the different effects of ageing and the multiple combinations, we obviously see our work as a partnership with our clients. Understanding the winemaker’s ageing strategy is the only way to reach, year after year, the best marriage of oak and wine. Also, ways to offer the best return on invest, using the most accurate tool in every situation. It is amazing how many ageing strategies exist in the world.

    KM: Is French oak the first choice all over the world for the way in which it conserves and improves wine? And, if it is the first choice then why and if not, then which one would you consider as the most suitable oak or the first choice for any winemaker?

    FW: French oak represents today a little more than 50% of the wine barrels. It is very hard to define what is right or wrong and what is better or not. In Demptos we believe that the success is to help winemakers to reach their goals. When looking for high content of lactones (sweetness), American oak would then be the first choice.

    KM: Is there any particular season that is preferred for harvesting oak trees for barrel-making? What are the precautions you take while seasoning the oak staves before turning them into barrels?

    FW: Oak trees should be harvested at sap-going-down season, mainly winter time. The logs will be then processed into staves within a one year period. The process of seasoning starts only after that, when the piles are stored with about 20 per cent of air to help natural ventilation and moisture diffusion. The Aurelio Basilium pullulans and Trichoderma—are the two microorganisms that are responsible for the chemico-physico transformation of oak. They have been identified by Dr. Nicolas Vivas, Director of Demptos Research Center. They do their job by transforming some phenolic contents of oak into more compatible ones with a wine ageing profile. The green and rough tannins turn into smoother ones.

    KM: Please point out the observations you made while visiting the Indian vineyards that you think needs improvement or are already at par with the worldwide standards.

    FW: I would certainly be very humble in providing recommendations. In my point of view, the level of protection of some Indian wines should be a point of attention. When it comes to exportation, resistance to oxygen will be a key. In some countries the wines are drunk after several years in the bottle. If the wine structure is not compatible with this time, the wine will oxidate or/and alter. I realised that Indian bottles are opened ‘young’ and the bottles are opened soon after their release in the domestic market. Anyway, SO2—Sulphite is an antioxidant that protects wine—is not the only way to protect wine. I detected that this level of protection on Indian wines is not high, but fits the consumption mode. A good balance between colour material and tannins also brings stability. Oak is a fantastic tool to work on the density and expression also. I met some enologists who feared the use of lees in red wines. In some cases, it is a free natural ‘treatment’ that could be used a little more…

    KM: What is your take on the wine market in India, anything you have noticed about the Indian palate? Also, in tune with the last question, do you think oaky wine would work better for the Indian palate with its hot and spicy food?

    FW: I have been very interested about how the wine industry fits well with Indian taste and gastronomy. I would say that Indian wines have their own identity, definitely at world class standards. However they do adapt to Indian taste-buds, offering roundness and a little bit of sweetness. I realize that astringency is considered as a strong default and that a little oxidation is not necessarily rejected… My belief is American oak, rich in lactones, would complement nicely Indian wines and would underline the “sweet sensation” that is appreciated. However, French oak tannins would work well on the structure and stability. The level of “mix” should be adapted to every wine and winemaker’s style. I don’t think that the general level of grape extraction right now is adapted to age in 100% new oak, but definitely there is room for more “ageing” process and work.

    KM: In terms of wine and barrel markets, which according to you is the most exciting country and why?

    FW: USA is the biggest market for oak barrels, but any new challenge is exciting! The success is not only the number. If we can help a winemaker to reveal his terroir and participate in the added value of his wine, we are happy. The star is never the barrel, always the wine !

    KM: What according to you is a big barrel making no-no?

    FW: In my opinion, reducing barrel ageing to its flavouring impact is a big mistake. A barrel producer who would build a barrel in that direction will not succeed. Selection, patience, control, harmony and users’ feedback and understanding are the only way.

    KM: What are the trends in the Indian wine and spirits market that you would cite as key, in so much as defining your current and future strategy? Which are the Indian wine brands that are ageing their wine in oak barrels?

    FW: Few wineries already age some wines in barrels but most of them already get benefits of oak through other modalities (like oak infusion for example). The education of the audience is the real key. Wine quality is worldly linked to its density, its expression, its resistance to time… All these aspects are improved by the ageing process. Demptos strategy is and will always be the same and that is to be a partner to the industry, creating added value, sharing experiences, offering adaptability and competitiveness… That is how we became the “ageing” world leader.

    KM: How good or large is the Indian market for oak barrels?

    FW: India is a little market still… A very small proportion of wine is aged in oak barrels. But remember that only 2% of wine does worldwide! It is important for us to be here early.

    KM: What are the key challenges that you think your product will be facing in the current scenario of the Indian market?

    FW: Year after year, the different trials and experiences will fine tune barrel selection and use in the Indian industry. I am sure this is going to happen. I don’t know how much time it will take… But we have been making barrels for 200 years now, and we will be there in another 200!

    KM: In India since the market is price-driven, what do you think is the future of wine ageing in oak barrels as it is after all an expensive affair? Could you also give a rough estimate of the price difference of a wine that has been aged in oak barrels and a wine that is flavoured by oak through, staves and cubes?

    FW: Oak in wine treatment might cost from Rs 2 to Rs 15 a bottle; ageing wine in barrel will cost from Rs 60 to Rs 150 per bottle. Expected values are also very different. If the audience values the quality, they will ask for more ageing. But we also will be happy to support the benefits of oak in any wine segment…

    KM: Is there anything you would like to suggest to a winemaker in terms of what kind of barrel must s/he select and what vital points should be kept in mind before selecting the barrels?

    FW: There is no general rule. I would suggest any way to do an initial diagnostic of the phenolic balance of the grapes and then define a real strategy to age wine. Result of ageing not only depends on the barrel selection, but also on the maturation of the grape, extraction during maceration and lees management… Considering a barrel as a ‘magic box’ will always lead to problems. Percentage of new oak, doing the malolactic in barrels or not, racking management and time of the process should also be seriously considered and adapted to the objectives of the winemakers. We as coopers are here to serve, not to impose our point of view!

  • Discussing Indian Cities

    Discussing Indian Cities

    Text and Photo by Kalyani Majumdar | Published in Domus India | 2013

    The rapid growth of cities has led to increasing demand for more residential, office, commercial and retail spaces and the core area of older town and mega cities are saturated, it is estimated that more than half to 95 per cent of the new buildings will come up in resource stressed suburbs and new townships, not to forget that the lack of sound infrastructure and planning coupled with ad-hoc construction in Indian cities have taken its toll. A workshop organised by Centre for Science and Environment (CSE) on Urbanscapes: How sustainable are our buildings and cities, stressed on issues of affordable housing and the notion of what is a sustainable building. According to the 2013 Union Ministry of Housing and Urban Poverty Alleviation (MoHUPA) the number of obsolescent dwelling units (excluding those that are less than 40 years old and those aged 80 years or more) was estimated to be 2.27 million in March 2012.

    Mega cities such as Mumbai, Delhi, Hyderabad, Kolkata, Bengaluru and Chennai have seen maximum urbanisation and that is effecting water, land and other natural resources. Creation of new towns in green areas have further accelerated the perils of striking a balance between demand and supply. With changing lifestyles, cities are and will use up more and more of precious water and energy and will generate massive amounts of waste. So what is the way forward? How do we provide a city that has sustainable housing which works on a two-pronged manner in serving the needs and comfort of the city dwellers on one hand, and not creating pressure on the environment? What are green buildings and are they really a solution? These are some of the questions that surfaced at the workshop. CSE executive director (Research and Advocacy) Anumita Roychowdhury, took the example of traditional Chettinad homes which have sufficient cross-ventilation with big verandahs and courtyards as common feature in most traditional homes in Chennai, as the climate there is hot and humid and hence, it does not require air-tight glass buildings. However, quite a few tight glass buildings in Chennai are being constructed.

    City planners and architect need to look back at traditional wisdom and techniques to find design solutions for modern Indian cities. She also added, “What is worrisome is that Indian cities use more of precious water and energy and generate massive amounts of waste. The construction boon can be a bane as unfettered growth can have a damaging impact. In India, buildings are responsible for 40 per cent of the energy use, 30 per cent of the raw material use, 20 per cent of water use and 20 per cent of land use. At the same time, they generate 40 per cent of carbon emissions, 30 per cent of solid waste generation and 20 per cent of water effluents. With almost 70 per cent of the building stock in India yet to come up, the country is looking ahead to a critical situation.” Sunita Narain, the director general of CSE, cited a very valid problem in terms of the certification of a building being green when she pointed out that there is no clarity on the parameters for a building to be a “green building” also, how do we retrofit modern innovations to an already existing building? These were some of the thoughts to ponder upon.

    Kalyani Majumdar

    www.cseindia.org

  • THE SPACE AROUND THE CORNER

    THE SPACE AROUND THE CORNER

    Text by Kalyani Majumdar | Published in Domus India | 2014 | Photos & Drawings by NilaA Architecture & Urban Design

    Understanding the immediacy of a built form and the need of the place and the area around is the idea behind KONA — a cohesive and dynamic space in the heart of Delhi — that demonstrates a design solution for urban spaces in cities where ambitions and aspirations can be merged.

    Is architecture limited to the built form? What is the fundamental task of architecture? Is it not connected with all the aspects of a human life; how we eat and live? Can architecture provide an inspiring experience for people inside and outside of it, and is it not responsible, at the very least, to its immediate context and inhabitants? These are some of the questions that are tenaciously revisited as the discussions continue globally on the concept of a ‘human city’ in relation to megacities.

    In the last decade Delhi has transformed into a megacity with endless construction of new buildings, shopping malls and offices. With new development ventures such as the ongoing metro project, Delhi is more connected now from all directions than ever before. But this extreme pace of urbanisation of Delhi has thrown open pressing questions and discussions revolving around the role of architects and urban designers to design spaces that are holistic; in other words, something that is sustainable and cohesive.

    With new structures coming up everywhere, what happens to the abandoned buildings that were built once, and now the city has forgotten about? And even as the city struggles to accommodate more people, there are buildings that lay abandoned in prime locations and otherwise; what is the fate of those modern ruins in the present context?

    The exterior view of the corner block that has been converted into KONA

    1, Jor Bagh Market in centralDelhi makes a plausible example in this context. ‘Kona’ in Hindi means corner, and that is precisely the location of this two-storeyed gallery space above a public corridor, in a prime central Delhi location with neighbourhoods such as Golf Links and Lodhi Garden surrounding this quiet and posh residential area. Designed by Delhi-based architect Nishant Lall of NilaA Architecture & Urban Design, KONA was an abandoned space in the corner block of Jor Bagh Market. And now it has been transformed into a community space for collaboration of design, art, architecture and organic farming, thus providing an informal space in the heart of the city that is accessible to all. While there are many examples in the city where abandoned properties have been transformed into commercial setups, those are strictly gentrified. But, not this space. KONA is supported by Inderpal Kochhar of Sewara Group, who is also the owner of the abandoned site that houses this space, and wanted the disused space to cater to creative pursuits of people from across India, and thus KONA came into being.

    For people who grew up in Delhi, Jor Bagh Market in central Delhi needs no introduction as it is known for its book shop, fashion boutiques and shops selling furniture, art ware, handicrafts and collectibles. Jor Bagh residential area was developed around the 1950s and the 60s and KONA is housed in a 1950s era local convenience centre built by the government. 1, Jor Bagh market is a two-storeyed corner block and had a famous restaurant called Mini Mughal and a halwai; both have shifted now to other localities. The ground floor had eight shops, of which only three are presently functioning, and the shopkeepers had living quarters on the first floor. But it has been around five years that the top floor and the terrace have been vacant and have been lying disused, in a dilapidated state. So, when Kona gallery was opened up on the first floor, it was a blank canvas ready to be rethought and revisualised. The structure was upgraded using micro concreting and carbon fibre strengthening of beams; the raw walls have been preserved in their natural state for aesthetic reasons for the pop-up art shows. In fact the ruggedness and raw-look works well for the space, as in an area like Jor Bagh, it stands out amongst the other built forms around. The abandoned shops on the ground floor have been turned into a gallery space along with the first floor. The six interconnected rooms on the first floor that were once living quarters have been connected and redeveloped into smaller gallery spaces. The toilet has been converted into a media room.



    Recycled wooden crates have been used as display props for an exhibition in the L-shape gallery space.

    Recycled wooden crates were used as props for display purposes during the exhibitions and later used as book stacks. The wall space is available to be used as a visual gallery and is open for experimental works in the future.

    The rear screen was made out of cement bags.
    Artists making graffittis on the terrace walls
    The once disused terrace space has been converted into an organic farm

    The space opened in January 2013 with an interdisciplinary pop-up art show. The events and talks are curated by one of the KONA members, Sonya Fatah. In April 2013, a multidisciplinary pop-up art exhibition titled Lateral was curated by Heidi Fichtner with site-specific artworks, painting, sculpture, video, photographs, drawing and a sound installation by artists across three generations. The corner space is largely a platform to promote dialogue amongst professionals from different fields and think, discuss and provide ideas that would act as catalyst in the near future for a new ways to live in urban India. Innovation in the form of juggad (making do) technology can be seen at every step as the exhibition space was refurbished with recycled materials such as the rear screen was made out of cement bags, and bubble wrap was used as screen wrap for uniform lighting for the galleryspace during the shows, and was later used to pack the artworks.

    The space on the first floor above the public corridor is an L-shaped gallery space. And the entrance to the gallery space was renovated with leftover building materials as stone slabs and crushed bricks gravel beds. The entry to the gallery on the first floor is from rear of the building and the entry court acts as visual connector between all the floors. The first floor also has an interactive open space. The terrace of the corner block has been converted into a space for organic farming. Every Sunday, KONA is turned into a space for organic farmers’ market and apart from selling organic fresh farm food, KONA is also aiming at helping horticulturalist from the city to convert their balconies or gardens into small-scale vegetable beds.

    Sketches by the architects.

    The corner block in Jor Bagh market is a perfect illustration of how a modern ruin need not be erased; rather, it can be remodeled and reused. The architect manages the challenging task of not overdoing and has exercised restraint throughout the design intervention, as there was an original context already existing and to rebuild upon it was more like recycling an architectural space to provide alternative experimental platform. KONA is indeed a unique participatory space and is housed in a posh area, yet from the outside it is unintimidating. However, the challenge for the sustainability of such projects is entwined with economics, as even the most innovative ways to display, design and organise an interactive and creative space would cost something, no matter how inexpensive it might seem at face value. But, for now, this space in Jor Bagh is a stepping ‘corner’ for a design and lifestyle revolution in the megacity, Delhi, and bringing it closer to the concept of a “human city”.

  • An anthology on women in Indian photography

    An anthology on women in Indian photography

    By Kalyani Majumdar; Published in Domus India magazine; News section; 2014

    Group Portrait, circa 1875

    The advent of photography brought many changes especially in terms of how we document the historical, social, gender and political aspects of a society in which the image stems from. Prior to photography, it was only painting of portraits that could capture an aspect of a person or place or culture that was closest to what reality was, but it was nowhere close to the accurateness of photographs. As it provided a real-time image, it was more objective than subjective, and many preferred the exactness of science.

    The British in India introduced many important technological/scientific innovations and photography was one of them. In fact, as early as the 1850s photography was available in India. In a recently held exhibition by Tasveer in collaboration with Saffron Art threw light on an absolutely rare aspect of Indian photographs — the women. Aptly titled Subjects & spaces, women in Indian photography showcases rare photographs taken from the 1850s to 1960s, of women from different backgrounds posing for the latest device of that time — the camera.

    The reclining lady, c 1870

    Initially photographs were mostly clicked by the British for archiving purposes, and some photographed as amateurs for their personal albums to take back to England as memories of India and its people. Mostly the portraitures were clicked inside studios with elaborate backgrounds of architectural elements and the postures were mostly a reflection of Western style and design. These images were meant for displaying at home or private spaces rather than for public display. The collection shows an interesting aspect of how these women interacted with the camera with a stranger behind the lens clicking those photographs, especially during the 18th and the 19th century Indian society, where women were mostly behind veils and were not accustomed to meet or talk to strangers, let alone pose for the camera. But, in the image titled Group portrait, c1875 showing a group of presumably Marathi women is quite interesting, as the subjects defy any form of femininity in their posture or even the way they look at the camera, rather they exude dominance and power. It takes a while to spot the little boy standing next to them. Also, one must remember that in the 19th century, it was extremely difficult to photograph large groups of people, getting them to stay still for the long exposure time. A photograph titled Palanquin with bearers; c1860 is an interesting one, as these were the carriages that women used to travel in, so that no one could see them in public spaces. Another image that draws attention is The Reclining lady; c1870 shows an Indian woman posing in a sensuous manner but her face holds a blank expression. Since it has been clicked in a studio, one can see in the background the column and the posture has a hint of Western influence in the photograph.

    Ladies in a bathing ghat, c 1870

    Other works such as a scene from the movie set Dahej, 1950 shows women performing their respective roles in the household; another scene from Boot Polish, 1954 portrays the woman as a mother. Also, a photograph worth mentioning is a demure image of Maharani Gayatri Devi, c 1945 that reflects the image of a woman that was acceptable to the Indian sensibility of the mid-20th century society in terms of her expression and attire. Looking at the group photos; Ladies in a bathing ghat, c1870, Group portrait, c1880 and First lady cyclist, 1920 describes the country and its people in real time and makes one wonder how life in those days was for the women of India. The images from this exhibition are for sale, and are sold as a limited edition boxed folio of Archival Pigment Prints. (www.tasveerarts.com)

  • Art of Living

    Art of Living

    WITH ORIGINAL ARTWORKS AND INTRIGUING HISTORIES TO MATCH, THESE ARE
    THE MOST UNIQUE ART HOTELS AROUND THE WORLD, SAYS KALYANI MAJUMDAR.

    First published in India Today Spice Trove

    PALAIS COBURG’S HISTORIC CASEMATE, NOW USED AS A VENUE FOR EVENTS

    There’s an interesting story about a £200,000 (Rs 1.5 crore) work by Turner-prize winning artist Douglas Gordon displayed on the wall of a restaurant in Glasgow. Attempting to show how real life mirrors cinema, the artist put a neon ‘Empire’ sign in the artwork with a light bulb that was deliberately poorly wired to keep the letter ‘P’ blinking, like the one at Empire Hotel in Alfred Hitchcock’s 1958 film Vertigo. Then, one day, real life intervened and a repairman fixed the flickering bulb, not realising its valuable contribution to art. Mercifully, such a travesty can never be committed in a hotel, where art is the only permanent resident. Welcome to their world.

    THE PALAIS COBURG, VIENNA

    Imagine standing on the same spot in The Palais Coburg hotel where, centuries ago, music composer Johann Strauss performed with his orchestra; such is the glorious history of this hotel that spans six centuries and stands witness to some major events in history. Art, culture and technology cohabit gloriously at The Palais Coburg Hotel Residenz in Vienna, which looks more like an art museum than a hotel with a gleaming neoclassical building and plenty of restored gilt and marble dating back to the mid-19th century. Each of the 35 suites is individually furnished and designed to look traditional but with a contemporary twist replete with antiques, oil paintings and crystal chandeliers. The structure was built in 1840-45 by Duke Ferdinand of Saxe-Coburg and Gotha (1785-1851) on the Brown Bastion—a part of the city’s defenses dating back to the 16th century. Owing largely to the superior construction, a large part of the Renaissance fortification, in particular the casemates, have been preserved for posterity. As you walk through the corridors, the canvases imbue colour to the grand architecture that has been superbly preserved. Where history stands guard, a date with the past is a present for the future.

    BYBLOS ART HOTEL

    SALVADOR DALI’S WINE RED BIG KISS SOFA BYBLOS ART HOTEL AT VILLA AMISTA, VERONA

    Nestled amid the luxuriant expanse of a 20,000 sq m park, the Byblos art hotel Villa Amistà is located just minutes away from the old town of Verona. Two distinctive architectural and decor styles reside at this property. If the classical building is a perfect example of 15th century baroque style; inside breathes the very modern design of architect Alessandro Mendini. Much like a museum, Villa Amista hosts works by brilliant artists from around the world, artists like Mimmo Rotella, Anish Kapoor, Peter Halley and David Tremlett, to name a few. The hotel offers 60 rooms, all piquantly filled with futuristic design furniture and antique-style headboards, accessorized with full-length mirrors with neon-orange and pop-art green insets. The central hall—the most monumental part of the villa–is traditional and dominated by a Venetian chandelier; other rooms beg to copy its elaborate ceiling decoration and murals. Below, however, sit pop art in the shape of poufes and tables. The spa is designed to evoke ancient Pompeii, while the wine cellar is furnished with classical furniture and coordinated with design components and works of contemporary art.

    HENRY JONES ART HOTEL

    A CORRIDOR OF THE HENRY JONES ART HOTEL EXPRESSES DISTINCTIVE AND AVANT GARDE ART WORKS

    Fancy waking up to the sound of clattering boat masts or listening to stories of early settlements as you sip your freshly- brewed Java? Try the Henry Jones art hotel in Tasmania—it’s jam-packed with history and littered with contemporary art. It stands in the very spot from where the town of Hobart began sprouting 200 years ago; a row of historic warehouses from the 1820s and a former jam factory have come together to be transformed into Australia’s first art hotel. An abundance of contemporary Tasmanian art relating to the settlement years in a setting of great historic value allow guests to linger in an era long past. The Oriental and Art installation suites, the restored machinery from the jam factory, the magnificent all-glass atrium get you tripping to another era altogether. The Peacock Terrace, the original home of jam factory founders George and Margaret Peacock, even houses Tasmania’s oldest spiral staircase. On your next visit to Australia, check out the Sydney harbour bridge and Opera House if you must, but don’t forget to check into the Henry Jones Art Hotel.

    ABBEY DE LA BUSSIÈRE, BURGUNDY

    THE HALLWAY AT THE ABBEY DE LA BUSSIÈRE WITH ITS ENDLESS ARCHES

    If the very Monet-like look of Abbey de la Bussière, with its 15-acre park around a pond, weren’t enough, the property also boasts an interesting history. Turns out that it was founded in 1131 by an Englishman named Stephen Harding, who was the third Abbot of Cîteaux, as a spiritual retreat for religious groups and pilgrims. Some 874 years later, another Englishman called Clive Cummings bought it and decided to turn it into a luxurious hotel. The first round of renovation inside the building revealed gorgeous frescoes that have since been meticulously cleaned and restored by experts. The old monks’ cells have been transformed into junior suites and luxury bedrooms, all appropriately named after the greatest Burgundian ecclesiastical monuments. Each room is packed with antique furniture, art and artefacts picked up from auctions. Occasionally, the old abbey also acts as a venue for art classes. Not surprising when you consider that it is situated in an art hub: bang in the heart of Burgundy with its abundant vineyards, chateaus and monasteries and at a half-hour’s drive from the historic towns of Beaune and Dijon, with their medieval cathedrals and art galleries.

    ARTE LUISE KUNSTHOTEL, BERLIN

    THE FACADE OF THE ARTE LUISE KUNSTHOTEL

    From the sculptures that greet you in the lobby to the imaginatively-designed rooms, Arte Luise Kunsthotel is a repository of surprises. Situated near Berlin’s historic Reichstag building, the Spree river and the Brandenburg Gate, this neo-classical residential palace (circa 1825) used to be an artists’ club during the GDR period. In 1994, it was converted into an art hotel. Today, each of the 50 rooms in the hotel—often referred to as a ‘gallery in which you can spend the night’—is an original work of art. That’s because over 50 artists have worked on these rooms, on the invitation of the hotel, creating scenarios that ‘reflect the time, place and situation of the traveller’. The artists receive approximately 5 per cent of the profit from ‘their’ room as payment as well as a number of free night stays. Each room is recommissioned every two to five years. The lobby has eye-popping sculptures by Hans van Meeuwen and a wall piece by Markus Linnenbrink. Profound graffiti in vivid colour illuminates the walls of the stairways. On the ground floor stands an art and events gallery where the hotel hosts readings as part of the International Literary Festival and fashion shows.

    (I wrote this article originally for India Today Spice Trove, special issue, published in 2010.)

  • Elvis Presley birth anniversary: Rocking tribute to the King

    Published in Free Press Journal; Date: 07.01.2018

    As a teenager, Elvis Presley used to hang around at the iconic Beale Street, the hub of the music scene in Memphis. Little did he know then that in few years he would become not only Rock ‘n’ Roll’s biggest star, but also a cultural force of the 50s. Kalyani Majumdar pays tribute to the King.

    Even today Elvis Presley’s soulful voice evoke the same magic that made him a star when the audience heard him on air for the first time. His music, dance moves and persona was something of a shock for the conservative 50’s American society, and it is safe to say that he did pave the way for the rock ‘n’ roll stars of the 60s. “Before Elvis there was nothing,” said John Lennon. That is just how big the Elvis phenomenon was.

    A humble beginning

    Elvis Presley was born on January 8, 1935 in Tupelo, Mississippi to Gladys and Vernon Presley. He had a twin brother who was still born. His parents did several day jobs to get by. On his eleventh birthday he wanted a bicycle and apparently his second choice was a rifle. The bicycle was too expensive and the gun obviously was a bad idea, so his mother got him a guitar instead. In 1948, the family moved to Memphis, and it was here that young Presley got his music influences from. During his teenage years he spent his free time at the black part of Memphis. Beale Street was known for its Blues and Jazz clubs. He would regularly go there to listen to B.B King and other popular black artists of the time. He finished his schooling from Humes High in 1953. He took up a job as a truck driver, but he never quit singing.

    Meteoric rise of Elvis Presley to stardom

    Elvis Presley performing Jailhouse Rock

    In 1954, DJ Dewey Philips played Presley’s version of That’s All Right on his radio show for the first time. It was recorded at the legendary Sun Studio situated at downtown Memphis. After the song was aired the phones won’t stop ringing. The listeners were ecstatic and numerous requests poured in to play the song again. This was only the beginning of Presley’s popularity. In 1956, Presley became a national star. His songs, Heartbreak Hotel, Don’t Be Cruel, Hound Dog, Love Me Tender were all chart toppers. He was unstoppable.  He made his TV appearance with the Dorsey Brothers’ Stage Show and then on The Ed Sullivan Show. After conquering the radio and television, it was his turn to light up the big screen. Love Me Tender released in 1956 did not do that well. However, Jailhouse Rock in 1957 made an impact on the big screen. It had a strong storyline, fantastic songs along with Presley’s signature dance moves. One could even say that the title track of this movie was perhaps the first music video ever made.

    Elvis, the cultural movement

    It was the 1950s when Elvis Presley arrived in the music scene. The American society was conservative then. The demarcation between Black and White people was very stark. Cultural biases were very evident. However, Presley managed to blur that colour line between what was considered Black music and White music. No one before Presley had ever blended African-American R & B with country blues and gospel music, let alone a white Southerner. Unknowingly, he had broken the racial barrier through his music. His dance moves were considered provocative and he exuded sex appeal. He was not conventional and his music did not conform to the norms of that time. He was shaking and stirring the American society. His distinct edgy hairstyle and clothing were becoming a fashion statement for the teenagers. His fame was a clear sign that the youth wanted a change and he was epitome of that change.

    His dance moves were considered provocative and he exuded sex appeal.

    The King had arrived

    People would either like or dislike him, but no one could ignore Elvis Presley. Initially, the popular family television programme, The Ed Sullivan Show had announced that he would not feature Elvis Presley on his show because his music and dance was considered vulgar and was posing a threat to the American society, especially the youth. But seeing the viewership ratings for other shows featuring Presley, Ed Sullivan could not ignore him anymore. However, Presley was shown performing waist up and even then the viewership was phenomenal for that particular episode. Never before had the world seen such hysteria at a music concert. His good looks coupled with his voice made women go frenzy at the sight of him. Teenagers were tattooing his name. America didn’t know what to make of it. Elvis Presley was a phenomenon and was creating the same magic internationally too. Presley was nominated 14 times for Grammy and had won the Grammy three times and was also the recipient of the Grammy Lifetime Achievement Award. He is believed to have sold more than one billion records worldwide, and his American sales alone had earned him gold and platinum awards.

    The U.S Army and Personal Life

    He was at the pinnacle of his music career when in 1958 he had to join the U.S Army. He served his country till 1960. It was also at that time that he met his future wife Priscilla Beaulieu. Post his stint in the army, Presley continued to give hits such as Are You Lonesome Tonight in 1960 and Can’t Help Falling In Love in 1961 to name a few. He married Priscilla in 1967, however the marriage didn’t last long and they divorced in 1972.

    If I can dream

    In 1968, Presley came out with his comeback special with a soul searching and socially conscious song, If I Can Dream. Till this day, it is one of the most powerful and emotional performances by him. It was recorded two months after Martin Luther King Junior’s assassination and it made the lyrics and the song even more relevant for the time.

    Graceland

    In 1957, Presley bought the stately mansion, Graceland. It is now Elvis Presley museum and is one of the most visited houses in the United States. Millions of fans from all over the world visit his house which is now a pilgrimage of sorts. Elvis Presley was known for his kindness, humility and generosity. He would often give money to strangers and was always dedicated to his fans.

    On August 16, 1977 he was found dead by his then girlfriend, Ginger Alden in his bathroom in Graceland, reportedly of a heart attack. He was only 42.

    Play it again, Elvis

    While we may or may not see the ghost of Elvis walking in Memphis, he surely comes alive the moment his deep and heartfelt voice floats from the speakers and we can’t help falling in love with him all over again.

  • The French connection in Bengal

    The French connection in Bengal

    Nestled along the Hooghly River is a tiny town just 35 kilometres from Kolkata that is steeped in history and is definitely worth exploring, writes KALYANI MAJUMDAR.

    Published in Free Press Journal; Date 21.05.2017

    Clock Tower; Image credit: Kalyani Majumdar

    A gentle breeze welcomes you as you step on the Strand. The beautiful promenade along the Hooghly River is a lovely stretch and across it stands a row of beautiful French colonial buildings.  Wait, French? Yes, you read it right! It is a general perception for most that in India the French existed only in Pondicherry. In fact this quaint place called Chandernagore was and still is, the La petit French—the little France—in West Bengal and is only 19 square kilometres in total area. Chandernagore might be a small town but its historical significance cannot be trifled with.

    A town with many names
    The name of the town itself has many derivatives. Some say that the bank of the river forms the shape of the moon—chandra—inBengali; others say it is named after the oldest temple of Goddess Chandi. According to some it was believed to be a centre for selling sandal (chandan). The best way to explore this lovely town is to walk it.

    The advent of the French
    Chandernagore became a French colony in 1673, wherein they established their trading banks, and it became a permanent French settlement by 1688. After the 1757 war with the British the town changed hands a couple of times between the British and the French. However, from 1816 it remained with France till 1950. Although Chandernagore was a French colony, it had a strong convergence of the French and Bengali cultures as many Bengali merchants flourished and played an important role in development of the town.

    Institute de Chandernagore – Dupleix Palace ; Photo credit: Kalyani Majumdar

    Institute de Chandernagore – Dupleix Palace
    In 1730, Joseph François Dupleix was appointed governor of Chandernagore. It was during his time that the town became the main center of commerce in Bengal. The Fort d’Orléans, was also built during his time. Today the reminiscence of Dupleix’s glorious years in Chandernagore is housed in the Institute de Chandernagore that stands in a grand manner located on the Strand commanding a view of the Hooghly River. It is a French colonial building with spacious verandahs enveloping the entire building supported by columns. A flight of steps take you to the entrance to the museum that showcases artefacts, old photographs and Dupleix’s personal belongings. You can spend a good few hours strolling in the garden or sit in the verandah and enjoy the scenic view.

    Every building has a story
    Built in 1904, the Patal Bari (underground house) on the Strand is worth a visit as its lowest floor is submerged in the river. Some very prominent personalities have resided in this house during their visit to the town including Rabindranath Tagore. A clock given by Joseph Daumain sits on the tower facing the promenade reminding everyone of the times that this town has seen. The other grand building on this stretch is the sub-divisional court of Chandernagore. However, it was not always a court. It was the Hotel de Paris. You could very well imagine the spacious verandahs and gardenslit up for the typical Parisian evening soirees. The road off the Strand takes you to Sacred Heart Church. This Roman Catholic Church was built around 1875 and has beautiful stained glass paintings. As you continue walking past the church you come across shops, and old houses competing with new buildings.

    Nandodulal temple ; Photo credit: Kalyani Majumdar

    The temple that withstood cannon fire
    This town played a pivotal role in the famous Battle of Plassey in 1757 when Robert Clive destroyed the Fort de Orleans along with houses and places of worship. There are few buildings that still stand as mute witnesses to Clive’s cannon balls. The temple that still exists from that time is the Nandodulal temple. Built in 1740, it is believed to be the largest dui chala (double-sloped roof) temple in Bengal. Located on a picturesque landscape with a little pond on the rear, the wall still carries theimprint of Clive’s cannon balls.

    Refuge for Indian freedom fighters
    As you peel one layer of history of this town you unravel another layer beneath.  Since Chandernagore was a French colony during the same time when Calcutta was under the British, many freedom fighters from British Bengaltook refuge in French Bengal. The most famous name is of Sri Aurobindo Ghosh. The house where Sri Aurobindo went into hiding and used the space to make bombs still stands. In fact many brave hearts such as Kanailala Dutt and Rajbihari Ghosh that fought for the Indian freedom against the British hailed from this town. You can visit the Prabartak Ashram that was established by Motilal Roy. It used to be a safe haven for freedom fighters.One should not miss the Laldighi on the Grand Trunk road, the cemetery across it, and the old library building not very far from there.

    Local flavour
    Although most of Chandernagore’s identity comes from its French association, but one that continues to have the local Bengali flavour is the Jagaddharti Puja. It is celebrated with much fervor. After a heavy duty history tour one should not miss the lovely evenings at Strand. It looks like the entire town is on the promenade. With shopping carts and ferries on either side of the Strand selling trinkets, street food, icecream carts. Music floating from the Rabindra Bhawan across the street and the sight of old people discussing politics and Tagore on the same breath is quiet a sight, not to be missed by anyone. Albeit, officially Chandernagore merged with West Bengal and became part of India in 1951, the vestiges of the Liberty gate on the south of the town acts as a reminder of the French connection with the inscription sayingLiberté, égalité, fraternité—Liberty, equality, fraternity—the three pillars of the French revolution. We tip the hat for those lovely words that continue to give us hope.