Charles Correa

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Charles Correa. Charles Correa

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To the Ekalavya

in each of us

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The other three façades (which form the base of this ‘stage’) are simple; necessarily so, for they must also provide counterpoint to the façade of the Secretariat next door. And so it is the gargantuan portico which gives the building direction, turning it to face the High Court. One enters under the 50 ft high canopy and through the pivoting door (25 sqft!) and the drama of the interior spaces commences. (Corb certainly knows how to provide an entrance; one thinks of the Mill-Owners’ building in Ahmedabad with its ramp reaching out like a long hand to pick passers-by off the road.)

How can one begin to convey a sense of so complex an interior? Study the sections and plans. Even a cursory glance will illustrate how very cunning and sensitive is Corb’s handling of spaces; e.g., his continuous use of the L-shape (the leg of which forms an escape-valve to what would otherwise be a static square). In other words, Corb, like Frank Lloyd Wright, is keenly aware of the distances that can be seen from any given point. By never defining the limits of this vision (the sections and plans are coordinated so that the eye can always see beyond and around the corner), the spaces remain dynamic and uncontained. As one traverses the ramps and platform levels of the forum, one builds up a series of images which are superimposed on the brain, creating an overall pattern of incredible richness.

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