Satish GujraFs Sketches of the Ambassadors Residence in the Belgian Embassay Complex SG: Whenever I manage to summon up the courage for a hard second look, I am forced to admit the irrelevance of my earlier belief. It was relevant only to the extent that it was related to painting and sculpture. An exposure through a public wall, does not only enlarge the audience for an artist: this also affects his stimulation of experience and the construction of images. The very awareness of the scale to which he could affect brings a radical transformation in the artists perceptions. But the introduction of an art work into architecture does not result in a synthesis of art and architecture, nor does it affect the basic character of the building. The contribution'that art works make to a piece of architecture is no different to what other decorative elements make: creating an environment inside or around an architectural work which is purely formal rather than spatial in character. Architecture that is dependent on these elements for survival only exposes its own short-comings as being nothing more than an empty play of form. A synthesis of art and architecture must take place within the architect himself. A building should breathe with a single man's lungs, projecting each element with a singleness of meaning and purpose. RK: I think your point about formal training divorcing the psychic state from one's creative work is very valid. But I don't think it is the formality that does this. I think it's more to do with the content of that formal training. Let me talk about the architectural educational systems in India which lay too much emphasis on making the student design for functionalism alone. There is also a tremendous effort on the discipline of the T square and set square which, as you know produces Journal of Arts and Ideas 39