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In love
with City Beautiful
By
Kuldip Dhiman
HIS love-affair with Chandigarh
began way back in 1963, when he came here as a tourist.
But it was not love at first sight for Pier Giorgio
Sclarandis, the master photographer from Italy. He,
actually, did not like the city then. "I found it
very difficult to understand the pattern of the city.
Most of the buildings were incomplete. My response was
not positive, and I continued with my India trip for
another five months".
When returned to Chandigarh, more
than two decades later, he realised that he had been
wrong about the city and its creator, Le Corbusier. Three
decades later, enriched by his long experience in
photography, design, and publishing, and with more than
30 books on major cities of the world Libya, Iraq,
Qatar, Abu Dhabi, Dubai, Manila, Quito, Venezuela,
Dominican Republic, Petra, Thailand, and many others
Pier returned to Chandigarh in the late eighties.
And this time he was impressed.
"When I was here for
the first time, I felt Chandigarh was a new city designed
by a European architect who was trying to impose his
creativity on a Third World people. But now I realise my
first impression was wrong; it was very superficial. It
was wrong because my knowledge was limited then. I had no
idea about the Chandigarh project. I knew very little
about Le Corbusier and his work. That was a long time
ago; 36 years, to be precise. I was then a 22-year-old
man who wanted to become a photographer".
While Pier has shot almost
all the other cities in colour, it is curious that he
chose to shoot Chandigarh in black and white. "When
I started to photograph Chandigarh, I found it very, very
difficult. I actually started with colour, but I was not
at all happy with the pictures. So I decided to shoot in
black and white using the medium format roll film camera.
I used the Silvestri 6X12 format camera of Italian
design. You could use this camera for any subject, but it
is best suited for architectural work. It takes German
lenses such as Schneider, Rodenstock, and even Nikon
lenses of Japan". And when Pier made the prints, he
was sure that the entire Chandigarh series must be done
in black and white. His wife, Alice Franklin, who is
herself a professional photographer, is an expert in the
darkroom. While Pier was concentrating on shooting part,
she was the one who made those excellent prints.
It is surprising that
while most western tourists seem to be preoccupied with
traditional tourist centres like Jaipur, Udaipur,
Khajuraho, Goa, Kerala, Manali, Srinagar, or Agra, Pier
chose to photograph Chandigarh which is hardly on any
tourists travel itinerary. But that is exactly,
what prompted Pier to come here and capture it on film.
"Taj Mahal has been
shot by almost everybody; there is nothing left to do
there. I like Chandigarh, because Chandigarh for a
photographer is a contradiction. It is Indian, but at the
same time there are many things that are not Indian at
all. I am not talking about its architecture alone. The
way the people move about. The roads are wider; there is
no confusion like we have in the other big cities
no traffic-jams, no pollution. Chandigarh, certainly,
does not conform to the stereotype image that we have
about other Indian cities".
Does this mean that the
architecture and the town-planning has an effect on the
behaviour of the people?
"I think in some
ways, yes", says Pier, "But not to a very great
extent".
He has, after all these
years, changed his opinion not only about the city, but
also about its master architect. "I like Corbusier
because this great architect played with raw cement; very
harsh and yet delightful. I like this interplay of
rawness and delight. I am more interested interaction
between the light and the architecture, rather than the
architecture itself. So you see, my pictures are not
strictly architectural pictures; they are something
more".
Was shooting in Chandigarh
any different from shooting lets say in Iraq, or
Yemen?
"Well, I first of
all, I shot there in colour, and try to get the feel of
the country, but here I am not so much interested in the
culture, because, in my opinion, Chandigarh is not real
India. It is not typically Indian".
Pier uses human figures in
his work to add some life, and some sense of motion, to
break the straight lines and curves of the architecture.
The figures are mainly silhouetted against the sky, as in
the striking photograph of the Open Hand Monument,
or are even blurred in some of the compositions. But when
they are the main element in the composition, they tend
to stare directly into the camera resulting in a picture
that looks posed.
"I asked some people
to pose", Pier explains, "but that didnt
work too well".
In sharp contrast to Le
Corbusiers geometric straight lines and curves, Nek
Chands Rock Garden is like a free-hand drawing. In
this case, it was love at first sight! Pier took to it
immediately. Here again he first shot in colour, and was
not very happy with what he got back. So, just as he did
with his Chandigarh series, he tried black and white. And
it really worked!
"The Rock Garden to
me is a kind of cycle; a cycle of the never-ending life.
Nek Chand used scrap and gave it a new life; but
remember, it will again be turned into crap one day. I
found this concept very interesting, and I started to
develop it. I tried to interpret Nek Chands work as
I see it. He is a very creative person. I find the Rock
Garden very interesting, but I was not very impressed
with the last phase of the Rock Garden: the first, second
and also the third phase were superb".
Does he have any plans to
return to India for some other project? Well, certainly,
but Pier would not like to talk about it. "It is a
sort of superstition. I cannot tell you because if I
disclose my plans beforehand, they may not materialise.
In Italy, we call it scaramanzia".
This
feature was published on February 13, 1999
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