I certainly find encouragement in the re-awakening, on the international scene of a spirit of place—to restore to architecture its primal image. I feel affinity with architects like Reima Pietila, Aldo Rossi, Charles Moore, Venturi and Graves. RK: The modem architectural scene in India has got so many streams running through it that it is extremely difficult to isolate any one as being the predominant one. There are regional style revivals imitating the stone temples (Bangalore has some) at one end and the poured concrete massifs like the New Delhi Civic Centre on Parliament Street on the other. It would be interesting to know about how you relate your work to modem Indian architecture. Do you see your work as part of a continuous link with the past heritage or do you see it as a complete break with this heritage ? SG: As I have asserted earlier while responding to your questions, creative experience is essentially about our reconstructing memories—that is history—I see my work as part of that continuous process—indeed the very act of creation is an effort to see how we fit into the time continuum. This experience of continuity is one of man's basic psychological needs. I find little in common with contemporary Indian architecture. Its ailment is not so much a lack of ideological clarity but an absence of creative sensibility on the part of its adherents. Remember Gideon wrote: "One cannot be an architect these days without going through the needle eye of modem art" We need to develop a generation of architects who choose their vocation with the mentality of which artists are possessed. It is by developing an artistic sensibility that the estrangement and weakening of the sense of identity can be cured. It cannot be attained by attaching conscious additives be they traditional or local. The means by which artists through the ages have created a sense of place in their work is indeed what may be taken as a charted course for architecture that may reach for the roots. 52 April-June, 1984