Author: Charles Correa Foundation

Charles Correa Foundation is a not-for-profit organization dedicated to education and research in human settlements.

Cities & Ideologies: How Political Ideologies Shape The Public Spaces Of Indian Cities

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“The city is a product of a state of war between political and economic forces that shape and re-shape the urban landscape.” – Mike Davis 1

Cities are often perceived as consequences of planning, geography and economy. We perpetually criticise our cities, in search of more inclusive spaces, but rarely do we acknowledge the powerful role of ‘political ideologies’ in shaping them. To substantiate this statement, we will take two contrasting cities – Kolkata (an old metropolis politically rooted in communist values) and Bengaluru (an emerging metropolis driven by neo-liberal growth), to depict how political worldviews manifest in the urban fabric.

The CPI(M)’s (Communist Party of India-Marxism-Leninism) thirty-two-year rule in Bengal created lasting impacts on the city’s core ideologies. A few of the positive core beliefs which people of Kolkata grew into were ‘sensitivity towards class issues’, ‘preaching for equality’, and ‘active civic participation’. On the other hand, Bengaluru’s neo-liberal transformation started with Sir M. Visvesvaraya’s address to the Bangalore Literary Union in 1953, where he said:

“What makes Americans long-lived, progressive and prosperous”, he continued, “is the planned, disciplined lives they lead. Our activities on the other hand are unplanned, and our behaviour unplanned and inactive.” 2

This comparative statement, along with his appeal to the citizens to see themselves as ‘stockholders of the city corporation’ 3 in every municipal engagement, sowed the seeds of the present neo-liberal growth of Bengaluru, inspired by the West.

The Left Front in Kolkata actively resisted the privatisation of urban land, enabling the survival of expansive green spaces like the Maidan, accessible at all times. Its porous edges were a result of ‘proletarian power’, dismantling boundaries and ensuring equal spaces for all. 

In contrast, Bengaluru experienced a surge of rapid, unregulated urbanisation, unlike Kolkata’s slow-paced growth. To manage this, the city adopted quick fixes which included – gated parks, walled/fenced green spaces and controlled access points with regulated timings and activities.

Left Photo Credit: S. K. Dinesh Lalbagh’s Boundary Wall- Non-porous and greenery unseen to the public

Right Photo Credit: Google Earth

Urbanisation brings unique challenges for the city’s residents. In response, residents engage, express, and reclaim space to shape and survive the city. Thus, protest becomes a huge outlet for people in voicing and asserting their rights. Protest needs to be witnessed so that every citizen can comprehend and hold hands in the process of justice. 

The strong Marxist-Leninist influence is the sole reason why protest is inscribed into Kolkata’s urban fabric. Protest and dissent is viewed as a ‘civic responsibility’.The R.G Kar Protest stands as a testament to this city-wide procession for women’s rights, driven not by propaganda but by a shared sense of justice.

On the other hand, Bengaluru’s Town Hall, once home to powerful public gatherings echoing with resistance songs, has moved towards restraining dissent. After the city-wide protest of Anganwadi Workers and Devanhalli Farmers 4, the Bengaluru Police Commissioner issued an order strictly containing all protests at Freedom Park, in a designated parking lot far from the public sight. Outside this zone, protest is classified as ‘civil disobedience’, drawing swift police response. Shaped by the priorities of neo-liberal governance, a city once with a vibrant political voice now struggles with a silenced public sphere.

Left Photo Credit: Bhanu S Citizens of Bengaluru protesting against confining protests to Freedom Park

Right Photo Credit: The Hindu R.G Kar ‘Reclaim the Night’ city-wide protests for women’s safety and rights

Though a riverine city, Kolkata never initially prioritised greenery due to its early urbanisation. Instead, its communist egalitarianism helped make the old streets the citizens’ ‘third space’ 5. Every space available in the exterior capable of holding people (footpath, steps of an old house, underneath a flyover, etc) becomes a place of social exchange. In Correa’s words:

“They have raised disintegration to the level of high art.” 6

The larger question which currently arises is: To what extent can you romanticise the past? This is the dilemma Kolkata is facing in shaping its public spaces for future generations. Spaces once celebrated require thoughtful revival.

In contrast, Bengaluru has been the ‘City of Lakes’ adorned with greenery, formed by encompassing two hundred villages, whose reminiscence is still present in its place names ending with ‘halli’ (village in Kannada, eg., Marathahalli, Baiyyapanahalli, etc). The rapid shift from a low-rise settlement to a high-density urban sprawl, along with the diminishing greens and lakes, makes the future of free public spaces extremely uncertain.

Left Photo Credit: X/@sahana_srik Bizarre restrictions in Public Parks of Bengaluru

Right Photo Credit: Sanat Kr Sinha Hawkers occupy the entire stretch of the footpath – no pedestrian pathways in College Street, Kolkata

A shift in political ideology exposes huge vulnerabilities in its civic spaces. The ongoing tension of the Left versus Right creates a state of duality with disjointed experiences in the city of Kolkata. Whereas, unchecked rapid neo-liberal expansion is eroding equity in Bengaluru’s public spaces.

Thus, the design of our cities cannot remain apolitical. Political indulgences are necessary to create rooted spaces which are inclusive, honouring the past, responding to the present, and accommodating the future of our cities.

– Written by Anwesha Saha, Research Fellow

Footnotes:

  1. Davis, Mike. City of Quartz. 1990. ↩︎
  2. Nair, Janaki. The Promise of the Metropolis. 2005. Pg-14 ↩︎
  3. Nair, Janaki. The Promise of the Metropolis. 2005. Pg-14 ↩︎
  4. Bangalore Mirror:
    https://bangaloremirror.indiatimes.com/bangalore/others/karnataka-anganwadi-workers-demand-wage-hike-and-job-recognition-amid-protests/articleshow/118227037.cms

    The Hindu:
    https://www.thehindu.com/news/national/karnataka/leave-us-and-our-land-alone-why-devanahalli-farmers-have-been-protesting-for-over-1180-days-against-karnataka-government/article69743773.ece ↩︎
  5. Homi K. Bhaba ↩︎
  6. Correa, Charles. The Times of India. Oh Calcutta. Bombay, 1975. ↩︎

City on the Water – Density, Growth and Development

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“Half a million people arriving every morning … nobody leaving” 

With this line, Charles Correa’s film, ‘City on the Water’1, sets the stage for a city that is reaching its limits and builds a case for its solution. Correa made this film exactly 50 years ago, in 1975, as part of a larger effort to bring out the urgent need for expansion to the city’s authorities. The proposal was for a new city across the harbour, designed to relieve the intense pressure on Mumbai, to be called Navi Mumbai. But the questions the film highlights go far beyond the proposal. How long can a city keep absorbing people without confronting who has the right to the land resource and dignity? 

The aerial shots present throughout the films show a city squeezed between water and demand. Correa points out that the real edges of the city are not drawn by nature, they are drawn by policy, power and money. Mumbai or Bombay in the 60s, was the ‘nerve centre of the Indian economy’, an attraction point for new technology for India, generating nearly half of the entire revenue of the government of India.

A city born out of migration, Bombay’s growth showed no signs of slowing down. As a city, Bombay was a place where, every day, tens of thousands arrived with hopes in their pockets, only to find that the city was both generous and cruel, a contrast that is represented through the film. This brings forth important questions: Are our cities physically capable of absorbing endless demand? Or are we merely redistributing scarcity by squeezing more people into less space, eroding both the environment and the quality of life? A recurring image in the film shows trains spilling out waves of people into the city. These are not just commuters; many are migrants searching for work, shelter and survival. Where does this endless tide of people live?

Result of an overcrowded city with people occupying the streets and pavements.

The camera moves towards the overcrowded pavements, congested chawls, and temporary shelters folded into the city’s cracks and margins. Through this, Correa questions “what is worse, the temporary slums or the permanent ones?” This wasn’t just about Bombay. This is yet the defining crisis of every rapidly urbanising city today. 

Long after Navi Mumbai has been built, the core tensions that he outlines – between migration and exclusion, between geography and inequality – still remain unresolved. One of the film’s sharpest insights is how building heights are directly linked to land prices. As land gets scarcer, buildings grow taller, and rather than solving the problem, this ends up raising the price of the land. To address this, he proposed to add more land to the residential pool by decentralising Bombay and expanding to New Bombay.

Graphical representation for the expansion of residential areas by showing two cases: increasing building height vs increasing land area.

Land in the city is not neutral. It is hoarded, speculated on and made into a commodity. It makes it less about living on it and more about trading, leverage and wealth expansion. The URDPFI (Urban and Regional Development Plans Formulation and Implementation) has set a target of 10 to 12 sqm of open space per person in India. However, according to the survey conducted by Project Mumbai in 2021, Mumbai currently has 1 sqm of open space per person2 3. Planning decisions about zoning, density and infrastructure are not just technical; they are deeply political acts that determine who gets to belong and who gets pushed to the edge. Are we building cities for people, or as a commodity? In his book, “The New Landscape”, Correa argues that failure is not technical; it is political4. When more than half of the city’s population lives without formal access to land, basic services, or security, can we still call it a “good” city? 

Behind the words “density,” “growth,” and “development” are real and lived experiences of the people. When a city can not offer any more shelter, it does not stop people from migrating to the city; it redistributes them into scarcity. A child growing up on the pavement, a family living in a one-room rental without water or light, and workers commuting 3 hours each way just because the city does not have space to accommodate people near their workspaces. These are not normal circumstances, even if we have learned to cope with them. It is just part of a system that accepts exclusion as a byproduct of urban success. If survival itself becomes the primary occupation of so many, what does it even mean for a city to be “functional”?

Rough proposal plan for New Bombay.

City on the Water leaves us with the thought that cities will continue to grow. But the growth itself is not the crisis. The crisis lies in whether that growth is inclusive or whether it survives by pushing more people into the margins. When a city floats between hope and neglect, whose responsibility is it to keep it from drowning?

To watch the film, click here.

– Written by Dainty Doe Justin, Fellow

Footnotes:

  1. Correa, C. M. (Director). (1975). A City on the Water [Film]. Film Division. ↩︎
  2. Virani, S. (2021, November 17). Mumbai has less green than what masterplan shows: just 1 sq m per person. Citizen Matters. ↩︎
  3. Gokarn, S. (2024, May 31). Pockets of greenery and recreation: How Mumbai is claiming its open spaces. Citizen Matters. ↩︎
  4.  Correa, Great City … Terrible Place from The New Landscape, pg 86 ↩︎

Photo credits: From the Film ‘City on the Water’

Australian architect Peter Stutchbury delivers keynote at eighth Charles Correa Memorial Lecture in Kolkata

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NorthEast Herald I Published on: July 3, 2025

This year’s keynote was delivered by the Australian architect Peter Stutchbury, who is known for his environmentally responsive design philosophy. In his address, Stutchbury paid tribute to Correa’s influence on not just him but many around the world, describing him as a “philosopher of space”.

“It’s an immense honour to deliver the 8th Charles Correa Memorial Lecture in the very city where a part of his extraordinary vision came to life,” said Stutchbury. “Charles Correa was not merely an architect; he was a philosopher of space…”

Read the full article here Australian architect Peter Stutchbury delivers keynote at eighth Charles Correa Memorial Lecture in Kolkata

Unspoken Agreements

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“The street is a room of agreement.” 1 Kahn’s quip at his AIA Gold Medal acceptance speech holds as true today as it did in 1971. 

The quintessential Indian street is methodical madness personified. Heisenberg’s (1927)  ‘Atomic Uncertainty Principle’ largely extends, in hypothesis, to the moving elements of the streetscape – we cannot accurately predict, at any one given moment in time, its exact nature. The street itself is occupied and claimed by numerous other independent actors and self-made processes.2


Unlike the European street model with crystal cut demarcations for motorists, cyclists, pedestrians, HMVs, etc., the Indian street also accounts for variables that cannot be monitored so closely. Livestock, street performers, street vendors, rickshaws, automobiles, pedestrians, and the like, all exist in harmonious disarray, moving at mismatched paces. Their coordination is unpractised and indeterminate, yet unanimous and accommodating.

 “….there is nothing simple about that order itself, or the bewildering number of components that go into it. Most of those components are specialized in one way or another. They unite in their joint effect upon the sidewalk, which is not specialized in the least. That is its strength.” 3 

Herein lies the unspoken agreements of the spaces they intend to occupy to perform their individual process. In this context it’s important to recognise that rules need not be written, nor do they result from formal legal procedures (with respect to informal interactions and space usage).4 When you enter a street, you are inevitably a part of this agreement. Fractional decisions – to swerve, to avoid, to give way, or to participate, exist in the background, and the result of these instantaneous decisions, culminate in the foreground. 

The entropy of this “room of agreement” can also be observed over a larger timeline. For instance, over the course of a year, the Indian street transforms from a place of congregation, to annual festival celebrations, mourning, religious processions, etc., on a cyclical timeline. 

Man in any civilization, age old, has been either actively or passively contesting for space with his neighbor. Streets are not “public goods” but “rivalrous goods.” Everyone is competing for their own space. This has transformed the Indian street into spatial slices with multiple users at any given moment in time.

How do we account for these known unknowns? The very concept is a paradox! Do we consider these minute interactions on the drawing board when we plan our cities, structure our roads and build our private homes? Are you able to recognise the unspoken agreements that you are a part of?

– Written by Ankritya Diggavi, Research Fellow

Footnotes:

  1. Kahn, 1971 ↩︎
  2. Palgrave handbook of Bottom-up urbanism – Arefi and Kickert ↩︎
  3. The Death and Life of Great American Cities – Jane Jacobs, 1961 ↩︎
  4. Angela Jain and Massimo Moraglio, 2014 ↩︎

Public and Private in a Heritage precinct

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Fontainhas, Goa

Fontainhas is a unique case where boundaries between private and public are blurred due to various spatial and social factors. Accredited as a UNESCO Heritage Zone in 1984, the area is known for its colourful Indo-Portuguese houses, narrow lanes, and pedestrian-friendly scale that evoke a ‘slice of European charm in India’. Fontainhas’ charm lies not only in its architectural quality but also in its scale and rhythm of everyday life. What used to be a quaint residential area with 4-5 tourists strolling reflectively is now crowded with 25-40 people at once. Tourists have increased significantly in recent years, transforming the everyday spatial interactions of the area. This contrast of everyday lived-in experience with a curated heritage image for tourism is transforming the area’s public and private boundaries. 

Whether privately or publicly owned, spaces tied to heritage hold public significance, but scholars such as Kohn (2004) and Madanipour (2003) challenge this rigid binary of public and private space, suggesting instead a spectrum, where quasi-public spaces emerge1. This is defined as a privately owned area that is designed and managed to function like a public space. Streets and pathways are open and publicly accessible, yet deeply embedded in the private lives of residents. The hidden layers – stepped pathways, sloping alleys, and informal routes known only to residents add to the space’s charm. Small hawkers selling fruits and ice cream crowd the touristy lanes as residents walk to their everyday tasks. This shared use adds to the complexity of the space. According to MoHUA, in a heritage precinct, the legal status of private property can be transformed by designation, effectively making private spaces accessible to the public or subject to public oversight and regulations2. 

Tourists in Fontainhas do not engage with private homes directly but through visual means by photographing thresholds and facades, and spatially by loitering outside Balcãos and doorways. The ‘public’ and ‘private’ here become extremely hard to define, but at its core, it’s different user groups’ demand for inclusion in the same space. It becomes necessary to regulate heritage areas towards harmonious and sustainable development3. What is everyday spatial interaction for residents becomes a tourist attraction through its shared but distinct use, transforming private facades into public spectacles. The everyday practices of some residents, like maintaining outdoor gardens and pathways, become an integral part that adds to the publicness of the area. While the public enjoys the aesthetic of the space, the burden of upkeep and inconveniences, such as blocked roads or loss of privacy, falls solely on residents. No incentives are provided to the owners of the heritage houses for maintenance and repairs4. This poses a larger question of who benefits from the heritage. If private spaces are put to public use without public rights and freedom, is it still a public space?

As heritage increasingly narrows its focus on tourism, space risks being frozen in time. This raises critical questions: Who is this heritage for? How does heritage blur the boundary between public and private spaces? The case of Fontainhas highlights the complex interplay of public and private realms. As urban heritage continues to expand, the balance between preservation, public enjoyment, and private life demands thoughtful governance. One that responds both to the rights of residents while acknowledging the cultural value these spaces offer to the wider public. What we need is people-first, adaptive heritage thinking5. We must advocate against freezing places in time. This means recognising that heritage values and contemporary needs are not in conflict, and in the blurring of public and private, it’s the people who make the space. 

– Written by Ashmita Gupta, Senior Fellow

Footnotes:

  1.  Li, Juan, et al. “Defining the Ideal Public Space: A Perspective from the Publicness.” Journal of Urban Management, vol. 11, no. 4, Sept. 2022, https://doi.org/10.1016/j.jum.2022.08.005. ↩︎
  2.  Chapter-8 Conservation of heritage sites including heritage buildings, heritage precincts and natural feature areas. ↩︎
  3.  Conservation of Heritage Areas in the City of Panaji: A Case Study of Fontainhas Area by Shaikh Ali Ahmed, Dr. B. Shankar, IJMER, vol. 2, no. 2, Apr 2012 pp-442-446 
    ↩︎
  4.  The Goa (Regulation of Land Development and Building Construction) Act, and The Goa Land Development and Building Construction Regulation, 2010 
    ↩︎
  5.  Conservation and the Indian city: Bridging the Gap, edited by Poonam V. Mascarenhas & Vinayak Bharne
    ↩︎

Photo credits : Ashmita Gupta

India’s cities are collapsing — why Gen Z must rediscover Charles Correa’s forgotten blueprint

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The Telegraph India I Published on: June 29, 2025

Charles Correa

It’s been 10 years since Charles Correa’s passing in 2015, but his relevance in today’s urban debates has only grown stronger. At a time when Indian cities are buckling under unplanned development and the effects of climate change, Correa’s work and writing offer a counterpoint — one that privileges human-scaled, and environmentally responsive architecture.

Read the full article here India’s cities are collapsing — why Gen Z must rediscover Charles Correa’s forgotten blueprint

When politics takes the stage, art pays the price

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Goemkarponn I Published on: June 23, 2025

Should only artists head institutions like Kala Academy and Ravindra Bhavan? It’s a question that resurfaces every few years in Goa, often sparked by controversy, corruption, or sheer frustration from the artistic community.

Read the full article here When politics takes the stage, art pays the price

Ten years since Charles Correa’s passing, his buildings remind us that he was ahead of his time

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Scroll.in I Published on: June 16, 2025

Image credits : Scroll.in | The famed architect’s work revealed a deep understanding of space as traditionally built and used in India.

It is ten years since architect Charles Correa passed away on June 16, 2015, at the age of 84.

The day after he died, The Indian Express carried a front page photograph of the Champalimaud Centre for the Unknown, a major medical and research institute in Lisbon. Although this iconic building was designed by Correa, the article was not a recognition of his passing.

Read the full article here Ten years since Charles Correa’s passing, his buildings remind us that he was ahead of his time.

Shab-Parak: Night fliers of Delhi bus that’s a community

Posted on Posted in Nagari, Nagari 2024, News, Events & Press Release, Urban Documentation

Question of cities I Published on: May 30, 2025

Image credits : Shab-Parak, Nagari Short Films 2024

As India’s national capital sleeps, night buses keep the city connected and their commuters find the true meaning of accessible and affordable public transport. Shab-Parak, a short film which won the silver at the Nagari 2024 awards, captures the story of Delhi Transport Corporation’s Bus 0543A from Anand Vihar Inter State Bus Terminal to Kapashera border, its tired but pleasant driver who commands his bus like a community, and its commuters many of whom are at their workplaces as the city awakens.

View the short film here and read the full article here : Shab-Parak: Night fliers of Delhi bus that’s a community

Know what is ‘Supari Andolan’ to save Goa’s Kala Academy

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Gomantak Times I Published on: May 24, 2025

Image credits : Gomantak Times | ART OF THE MATTER : Goa’s Kala Academy is in they eye of the storm following a controversial remark by Goa’s Art and Culture Minister

‘Supari Andolan’ is a creative protest by Goan artists reclaiming a slur to defend the iconic Kala Academy and preserve Charles Correa’s legacy, demanding accountability, transparency and cultural respect.

Read the full article here Know what is ‘Supari Andolan’ to save Goa’s Kala Academy

Nagari FAQs

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Q. Is it mandatory to have an architect, urban designer or a social scientist in the team?

No, it’s not required, but we strongly encourage it. Including an architect, urban planner, or social scientist can greatly enrich your project’s narrative and depth. You’re welcome to apply with your existing team, and you’ll have the flexibility to add members later if needed.

Q. Can beginners/film students apply for the competition? Asking this as the form states that one of the participants has to be an experienced filmmaker.

Yes, film students and amateur filmmakers are welcome to apply. If you check the form it mentions “prior filmmaking experience”, we have permitted entries from amateur filmmakers and film students, provided they have some experience in shooting, editing and producing film.

Q. Would we have to pay or spend from our side? If yes, then how much would that be?

Nagari provides a grant of 75,000 to each selected team. The management of costs under or beyond this grant is the responsibility of the team.

Q. How many ideas can one team apply for?

Each team is encouraged to submit only one idea. If you have more than one concept, you may submit them as separate entries.

Q. Is there a suggested or ideal number of collaborators?

It’s ideal to have one primary contact person to streamline communication and logistics. We recommend 2–3 collaborators per team. Additional team members can be brought in as needed throughout the process.

Please feel free to post your queries in the comments section below or mail us at nagari@charlescorreafoundation.org.  

Those responsible must pay for crippling our Kala Academy

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O Heraldo I Published on: May 18, 2025

The once regal Kala Academy, which has hosted many a celebrity and has been the venue of numerous big-ticket events, including the international Film festival of India, has now been reduced to a joke, or rather, a comedy of (contractual) errors.

Just days after the media reported that Kala Academy was likely to be closed for two whole months for ‘rectification’ work, the state government was slammed for continuing to delay the upgrade of the iconic centre of the arts. But what probably evoked widespread public ire was chief minister Pramod Sawant recently saying that the current contractor will complete repairing the rectifications themselves at no additional cost, in keeping with the Kala Academy’s task force suggestion, and complete the work by October this year, in time for IFFI. “Once that is done, the contract will be terminated and the contractor will be blacklisted,” Sawant is reported to have told the media. If this was not enough to enrage citizens, Sawant went a step further by blatantly declaring that new tenders will be floated for additional works that were not covered in the original contract.

Read the full article here Those responsible must pay for crippling our Kala Academy

Controversy Erupts Over Renovation of Goa’s Kala Academy

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Devdiscourse News Desk I Published on: May 16, 2025

The Goa government has blacklisted contractor Techton Buildcon Pvt Ltd due to renovation flaws at the iconic Kala Academy. Critics, including political opposition and artists, raised concerns about light and sound issues. The government canceled the contractor’s annual maintenance contract and a task force will implement remedial recommendations.

The Goa government has taken decisive action by blacklisting Techton Buildcon Pvt Ltd, the contractor responsible for renovating the iconic Kala Academy. This decision follows persistent flaws in the renovation work, which have drawn widespread criticism from opposition parties and local artists.

Chief Minister Pramod Sawant announced that the contractor has until October to rectify these issues at their own expense. Furthermore, plans for a four-year annual maintenance contract with the contractor have been canceled. The decision came in response to disruptions experienced at the 1,000-seat Deenanath Mangeshkar auditorium, including light and sound problems.

Read the full article here Controversy Erupts Over Renovation of Goa’s Kala Academy

Kala Academy renovation glitches Goa govt takes action against contractor

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PTI I Published on: May 16, 2025

The Goa government on Friday said a contractor had been blacklisted for flaws in the renovation of the iconic Kala Academy building here. Chief Minister Pramod Sawant said contractor Techton Buildcon Pvt Ltd has been given time till October this year to rectify the flaws at its own cost.
The government has also cancelled a proposal to sign a four-year annual maintenance contract (AMC) with the contractor, Sawant told reporters. The BJP government in the state had come in for criticism from opposition parties and artistes after glitches were observed in the newly-renovated Kala Academy complex, including light and sound disruptions at the 1000-seater Deenanath Mangeshkar auditorium.

Read the full article here Kala Academy renovation glitches Goa govt takes action against contractor

Kala Academy Task Force Identifies 20 Faults; CM Sawant to Meet PWD, New Tender Expected

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OHeraldo I Published on: May 08, 2025

Image credits: Herald Team

The task force constituted to assess and recommend improvements for the Kala Academy’s infrastructure has submitted its final report to Chief Minister Dr. Pramod Sawant. A meeting with the Public Works Department (PWD) and other relevant authorities to review the findings is scheduled for Friday, May 9, 2025.

Speaking at Mantralaya in Porvorim on Thursday, CM Sawant confirmed the submission. “The Task Force on Kala Academy has submitted its report today. I will hold a meeting on this tomorrow. I haven’t gone through the report yet,” he told reporters.

The task force, chaired by renowned theatre artist Vijai Kenkre, was formed in response to mounting concerns from Goa’s arts community, who criticised the ongoing renovation work at the state’s premier cultural complex as haphazard and unstructured, despite substantial expenditure.

Read the full article here Kala Academy Task Force Identifies 20 Faults; CM Sawant to Meet PWD, New Tender Expected

Nagari 2025

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NAGARI 2025 aims to capture the essence of public spaces in Indian cities. Public space is defined as places that are open and accessible to everyone – this usually includes maidans, gardens, waterfronts, etc. The Indian city often broadens this definition of public space, due to its high density, to include streets, footpaths, markets, alleyways, transport infrastructure, among others. Thus our public spaces are layered by use, scale and activity, varying across days, seasons, groups, and movements. This is the public realm. It is “where a city’s culture is expressed most freely and openly, and it is where the city is at its most democratic, honest, and energetic” (Martin, 2017).

Keeping public space as the central focus, Nagari will examine the complex interactions between people from different castes, classes, age, and gender, as well as address an important question – What are the layers that constitute the public realm in urban India?


Nagari 2025 attempts to address:

-Livelihoods in public spaces
-Informal use in public spaces
-Making the public, private
-Civic engagements in public spaces
-Public spaces at night
-Transient public spaces
-Barrier free public space
-Gendering in public space
-Social accessibility in public space

Applications for Nagari 2025 are now closed!

Public Realm in Urban India

Click on the image above to learn more about the final films

Click on the image above to learn more about the shortlisted entries

Mentors

Deepa Dhanraj
Pankaj Rishi Kumar
Jabeen Merchant
Bina Paul
Sourav Sarangi
Rajula Shah

Resource Experts

Kiran Keswani

Parul Kumtha

Ashwini Deshpande

Avijit Mukul Kishore

THE PUBLIC REALM IN HERITAGE PRECINCT

Whether privately or publicly owned, spaces tied to heritage hold public significance. Fontainhas becomes a unique case where boundaries between private and public are blurred due to various spatial and social factors.

UNSPOKEN AGREEMENTS

In this blog, we explore the quiet accommodations we actively make for each other, out on the Indian street, battling for space.

CITIES & IDEOLOGIES

Cities are often perceived as consequences of planning, geography and economy. We perpetually criticise our cities, in search of more inclusive spaces but rarely do we acknowledge the powerful role of ‘political ideologies’ in shaping them.

Nagari 2025 Mentors

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Deepa Dhanraj

Deepa’s documentaries and writing that span a period of forty years, engage with questions related to women’s status, political participation and resistance. Her films have been screened and awarded at national and international film festivals, and she has also served on the Jury at National and International film festivals.

Pankaj Rishi Kumar

After graduating from FTII Pune, India, in 1992, with a specialisation in Film Editing, Pankaj was assistant editor on Sekhar Kapur’s ‘Bandit Queen’. He made his first film ‘Kumar Talkies’ in 1998. Pankaj has become a one-man crew- producing, directing, shooting and editing his own films under the banner of Kumar Talkies. His films have been screened at film festivals all over the world. Pankaj also curates and teaches.

Jabeen Merchant

Jabeen Merchant is a film editor trained at the FTII Pune, with a wide experience in the mainstream industry as well as independent, art house cinema. She also teaches filmmaking and consults on scripts. Her work, which includes fiction features, documentaries, web series and short films, has been seen in countries across the world, in festivals and movie halls.

Bina Paul

Bina works mainly in Malayalam-language films. She has over fifty editing credits. Bina won her first National Film Award for Revathi’s ‘Mitr, My Friend’, which had an all-woman crew. She has been the artistic director of the International Film Festival of Kerala and in 2017 she was appointed as one of the heads of “Women Collective in Cinema”.

Sourav Sarangi

Sourav Sarangi is an award-winning film maker from India.
He put down his geologist’s hammer to pick up a camera and tell stories. Stories that entertained and informed us, stories that transformed our views.
His journey began from Kanthi, a small town in South Bengal, to become a fellow of the Film Independent, LA, in collaboration with The U.S. Department of State’s Bureau of Educational and Cultural Affairs.
National and international film festivals in Berlin, Sydney, Dubai, Locarno, Nyon, Yamagata, Guangzhou, Moscow, Goa, Thessaloniki, Busan, Toronto and many more have premiered and awarded his films. Broadcasters and academic institutions found him a large global audience.
“I don’t follow stories, they live in me,” says Sourav.

Rajula Shah

Rajula completed her diploma in Film Direction from FTII, Pune. She holds a masters degree in English Literature. She has been producing/ directing short films since 2000; has worked extensively in film and video, exploring the boundaries of fiction/ non-fiction, photography, video essay, & New Media Practice.

Congress Demands Minister Gaude’s Resignation Over Kala Academy Failures

Posted on Posted in CCA Projects, Exhibitions and Museums, Media Coverage, News, Events & Press Release, Save Kala Academy

OHeraldo I Published on: Apr 22, 2025

Image credits: Herald Team

Delegation demands minister’s resignation over recurring technical failures and derogatory remarks

In a scathing attack on the State government, a delegation comprising Congress leaders and artistes visited the Kala Academy on Sunday, questioning the authorities over the recurring technical failures at Goa’s premier cultural institution and calling for the resignation of Art and Culture Minister Govind Gaude.

The delegation also demanded that Minister Gaude publicly apologise to veteran actor Sharad Ponkshe and the wider artistic community for derogatorily labelling Ponkshe a ‘Suparibaaz’ following the disruption of his performance last week due to lighting issues at the Academy.

They further claimed that the renovation of the iconic institution—designed by renowned architect Charles Correa—had tarnished Goa’s reputation in the cultural domain.

Read the full article here Congress Demands Minister Gaude’s Resignation Over Kala Academy Failures

RESEARCH FELLOW 2025-2026

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The Charles Correa Foundation (CCF) announces the 2025-2026 cycle of the Research Fellowship, a residency program based in Fontainhas, Panaji, Goa.

Apply by 10 May 2025 for a year-long position opening June 2025 with the following qualifications:

  • Proficiency in using the following software – InDesign, Photoshop, Illustrator, AutoCad + SketchUp.
  • Academic Architectural Portfolio.
  • Essay – 500 words (max). Choose any one of the following prompts:
    • Illustrate how any one of Correa’s mid-20th century built structures influenced subsequent proliferation of similar typologies, and how they affected the urban public dynamic of a city.
    • “Cities are not just buildings and streets. A city is also about events, people, communities and spaces for synergy where people can meet. To register protest. To celebrate. It is synergy that makes a city come to life.” – Correa, The New Indian Express, Dec 1st, 2014. Referencing this excerpt, take any one of his built structures as an example and illustrate how it fosters kinship in the urbanscape. 
  • Writing sample – from an earlier academic paper.

During the Fellowship, you will be required to:

  • Work on the documentation of drawings and photographs of Charles Correa’s built and unbuilt projects, sketches and essays.
  • Reference archival material to redraft drawings for publications/exhibitions. Assist in creatively designing and scheduling of the events related to the activities of the Foundation.
  • Organise and work on outreach programs of the Foundation through publications, conferences, exhibitions and workshops.
  • Assist in work related to acquiring funding for projects or events related to the activities of the Foundation such as preparation of dockets, posters, invitations, etc. Work on writing up about concerns and issues related to architecture and urbanism, and represent them through essays, blogs, etc.
  • Creatively communicate outputs and learnings from past and on-going projects to increase the Foundation’s engagement across various social media platforms and our website.
  • Make presentations on the Charles Correa Archives, on his philosophy and works, to keen visitors coming to the Foundation, ranging from travellers, student groups and professionals.
  • Assist in preparation of project proposals, surveys and documentation, mapping and analysis, graphics, essays and presentations related to the research project, including coordination with agencies (government or private) for permissions, status, fees, etc.
  • Fellows will receive a monthly stipend of ₹22,000/- as well as rent-free accommodation in an apartment leased by the Foundation. 

APPLICATIONS ARE NOW CLOSED.

After Rs 50 cr ‘renovation’, why is Kala Academy still in the dark?

Posted on Posted in CCA Projects, Exhibitions and Museums, Media Coverage, News, Events & Press Release, Save Kala Academy

OHeraldo I Published on: Apr 18, 2025

Minister Govind Gaude blames ‘technical glitch’, not human error

Even after a Rs 50 crore renovation, the Kala Academy — Goa’s premier cultural venue — is facing basic operational failures, with no one willing to take responsibility. The recent light malfunction during a Marathi play has exposed not only technical flaws but also the absence of accountability among the agencies involved.

Art and Culture Minister Govind Gaude on Thursday termed the incident — where stage lights flickered and halted the performance for 10 minutes — as “unfortunate,” but was quick to dismiss it as a technical fault rather than human error.

Read the full article here After Rs 50 cr ‘renovation’, why is Kala Academy still in the dark?