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Building,Dwelling,Dying:ArchitectureandHistoryinPakistan
ChrisMoffat,[email protected],QueenMaryUniversityofLondonPublishedinModernIntellectualHistory(2020)AbstractThereisalonghistoryofscholarsfindinginarchitecturetoolsforthinking,whetherthisistherelationshipbetweennatureandcultureinSimmel’sruins,industrialcapitalisminBenjamin’sParisianarcades,ortherhythmsoftheprimordialinHeidegger’sBlackForestfarmhouse.Butwhatdoesitmeantotakeseriouslytheconceptsanddispositionsarticulatedbyarchitectsthemselves?Howmightprocessesofdesigningandmakingconstituteparticularformsofthinking?ThisarticleconsidersthewordsandbuildingsofLahore-basedarchitectKamilKhanMumtaz(b.1939)asanentry-pointtosuchquestions.ItoutlineshowprofessionalarchitectureinPakistanhasgrappledwiththeunsettledstatusofthepastinacountryforgedoutoftwopartitions(1947and1971).Mumtaz’sworkandthought–engagingquestionsoftradition,authority,craftandthesacred–demonstrateshowthesepredicamentshavebeenproductiveforconceptualisingtime,labourandthenatureofdwellinginapostcolonialworld.
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MOFFAT|BUILDING,DWELLING,DYING 2
I.ArchitectureandHistory
Pakistanasplaceandideaposessomeprovocativeproblemsforthephilosophy
andanthropologyofhistory.Establishedin1947lessthanadecadeafterits
emergenceasapoliticalgoal,thesovereignstateofPakistanrepresenteda
ruptureinSouthAsianhistory.Premisedonseparatistclaimsto‘nationality’
status,itwasalsoabreakfromhistoricalformsofMuslimpoliticalthoughtand
identityintheregion,whichhadintheearlytwentiethcenturygravitated
towardideasofimperialpluralism,elitestewardshiporthepossibilityof
minoritystatuswithinabroadercommunity.1Thepostcolonialpolitycarvedout
ofcolonialIndiawouldfractureagainin1971,whenamassmovementinthe
country’seasternwingfoughtanindependencewartoestablishBangladesh.The
intellectualhistoryofPakistanhasbeencharacterisedaccordinglybyquestions
ofseparation,lossandmourningbutalsooffuturityandthepossibilities
affordedbyruptureandrenewal.2Thenatureoftherelationshipbetweenpast,
presentandfuturehasbeensubjecttoconsiderablecontestationinPakistan,
exploredbyphilosophers,poets,religiousthinkers,and,asIargueinthisessay,
architects.3Architects,intheirthoughtandpractice,attendtocomplexproblems
oftimeandhistoricity.DesigningandbuildinginPakistannecessitatesa
confrontationwiththeunsettledpotentialofthepastcharacterisingthiscontext.
1FaisalDevji,MuslimZion(London,2013),especiallyChapter2.OnthehistoryofqauminSouth
Asia,seethe‘Introduction’toAliUsmanQasmiandMeganRobb,eds.,MuslimsAgainsttheMuslim
League(Delhi,2017).
2Devji,MuslimZion;NaveedaKhan,MuslimBecoming(Durham,NC,2012).
3SeeChrisMoffat,“HistoryinPakistanandtheWilltoArchitecture”,CSSAAME39:1(2019),171-
83,andJavedMajeed,“EverythingBuiltonMoonshine”(Forthcoming).
MOFFAT|BUILDING,DWELLING,DYING 3
Theprofessionalizationofarchitectureinthemodernworldhasplaced
questionsofhistoryattheheartofbothitstrainingandpractice.4Whatshould
architectslearnfromthepast,ifanything?Whatvalueisthe‘canon’ofgreat
architecture,andwhoistobecountedamongitsprotagonists?Howshouldnew
buildingsandstructuresrelatetoexistingculturalpatternsandlocaltraditions?
Differentschoolsofarchitecturalthoughtcanbedistinguishedbytheirattitude
towardsuchquestions.ThepolarisationprovokedbytheModernMovementwas
inpartduetoitsattempttobreakfromhistory–tocreate“anarchitecturein
whichtheoldcodeshavebeenoverturned”5–withfigureslikeLeCorbusier,
WalterGropiusandMiesvanderRoheapproachingnewmaterialsandnew
technologiesasthemeanstocreateanewworld.6Buteventhisrejectionofthe
pastrequiredmasteryoverthatwhichcamebefore–considerLeCorbusier’s
appealto“thelessonofRome.”7Thearchitect’sawarenessoftheirplaceinthe
historyofarchitectureisanimportantaspectoftheirclaimtoexpertise.Courses
designedtoinculcatehistoricalconsciousness(oftenpairedwithfieldtripsto
historicalsites)remainstandardinarchitecturalschoolsaroundtheworld,and
reflexivityprovidesoneofthewaysprofessionalarchitectsdistinguishtheir
workfromotherformsofbuilding–whetherthepragmaticefficiencyofthe
4SpiroKostof,ed.,TheArchitect(Berkeley,2000);DanaCuff,Architecture:TheStoryofPractice
(Cambridge,Mass.,1992).
5LeCorbusier,TowardsaNewArchitecture(NewYork,1986[1931]),7.
6Foranevocativeassessmentofthismoment,seeReynerBanham,TheoryandDesignintheFirst
MachineAge(London,1960).
7LeCorbusier,Towards…,173.
MOFFAT|BUILDING,DWELLING,DYING 4
temporaryshelter,thedo-it-yourselfinnovationsoftheself-build,orthe
ambitiousstructuralvisionsoftheengineer.
TheconsolidationoftheprofessioninPakistan,whichbeganinearnestin
thelate1950swithgovernmentinvestmentintechnicaleducationandwhich
onlyachievedlegallyregulatedstatusin1982,hasbeendominatedand
enlivenedbysuchdebates.8Whatcouldorshouldnewarchitecturelooklikein
thisfuture-oriented,post-colonialcountry?Howmightarchitecturecontributeto
aprojectofunityinapolityforgedoutofrefugeesandstrangers,internally
fracturedbydivisionsoflanguage,ethnicity,sect,casteandclass?Shoulda
‘national’architectureemergefromorbreakwithhistoricaland‘traditional’
modesandstylesofbuildingevidentatlocalandregionallevels?Towhatextent
shouldtheWesternscriptofarchitecturalhistorybeusedineducationand
training?ShouldastateforMuslimsprivilege‘Islamicarchitecture’,andifso,
howshouldthisbedefined?Whatspecificskill-setdoesitrequire?
TheunresolvedstatusofthesequestionsisreflectedinPakistan’svaried
builtenvironment,wheremonumentalpre-colonialstructuresarejuxtaposed
withmodernistconcreteandcolonialred-brickcomplexesareshadowedbysteel
andglasstowersinspiredbytwenty-firstcenturyGulfaesthetics.Theearly
decadesofthepost-colonialstatesawforeignarchitectsandplanners
commissionedfortheirskillandattendantprestige–famouslywithCADoxiadis’
designforIslamabadorMichelÉcochard’sKarachiUniversity–butbythe1970s
anewgenerationoflocallyorinternationallytrainedPakistaniarchitectswere
makingtheirmark.Privatepracticesestablishedinmajorurbancentres8SeetheOrdinanceforPakistanCouncilArchitectsandTownPlanners,withassociated
documents,inCabinetDivisionFileNo.138/Prog/81,NationalDocumentationWing,Islamabad.
MOFFAT|BUILDING,DWELLING,DYING 5
competedorcollaboratedwiththetriumvirateofbuildingservicesestablished
bythecentralgovernmentin1973:NationalEngineeringServicesPakistan
(NESPAK),PakistanEnvironmentalPlanningandArchitecturalConsultants
(PEPAC),andtheNationalConstructioncompany(NC).Thesprawling,top-down
effortsofsuchbodiesarecontrastedwiththegreatvarietyofunplanned,
informalconstructionsofbrick,cinder-block,corrugatedcladdingortarpthat
pepperPakistanicities,townsandvillages,occasionallywell-establishedbut
oftentemporaryandmerelytolerated,aswhereaclusterofresidences
assemblesinthespacenexttoaconstructionsite,housingitstransientworkers.
Itisestimatedthat35percentofurbanpopulationsinPakistanliveinsuch
makeshift‘katchiabadis’.9
Themannerinwhichindividualarchitectsnavigatethislandscapeintheir
designsandintheirbuildingscanrevealmuchaboutthesignificanceofhistory,
thepossibilitiesaccordedtospace,andvisionsofthefutureincontemporary
Pakistan.TheanthropologistVictorBuchliwritesthat“buildingsareabout
thinkingandworkingthroughthingsthatcannotbeadequatelycognizedand
presencedinthehereandnow:thepast,thefuture,ancestors,resolutionsof
socialconflict,andcontradiction.”Theycanalsobeaboutimaginingwhatisnot
there,or“whatcannotpossiblybephysicallyorconceptuallyrealizedasbeing
there”,fromcommunistutopiatotheidealnuclearfamilytothe‘primitivehut’.10
Thereisindeedalongtraditionofscholarsfindinginarchitecturetoolsfor
thinking,whetherthisbetherelationshipbetweennatureandcultureinGeorg
Simmel’sruins,commodificationandindustrialcapitalisminWalterBenjamin’s9AasimSajjadAkhtar,PoliticsofCommonSense(Delhi,2018),152.
10VictorBuchli,AnAnthropologyofArchitecture(London,2013),167.
MOFFAT|BUILDING,DWELLING,DYING 6
Parisianarcades,ortherhythmsoftheprimordialinMartinHeidegger’sBlack
Forestfarmhouse.11Butitisalsoimportanttotakeseriouslytheconcepts,ideas
anddispositionsarticulatedbyarchitectsthemselves.Thisnecessitatesan
understandingofdesigningandmakingasparticularformsofthinking,a
relationshipbetweenthemindandthehandthatfacilitatesinsightsintothe
matteroftime,work,spaceandbeing.
Thisarticlefocusesonthecareerofoneofthemostthoughtfulnavigators
ofPakistan’sbuiltenvironment,theLahore-basedarchitectKamilKhanMumtaz
(b.1939).WiththehelpofMumtaz’swordsandbuildings,Idemonstratehowthe
predicamentofan‘unsettled’relationshiptothepasthasbeenproductivefor
thinkingabouttime,labourandthenatureofdwellinginPakistan.Inonesense,
Mumtazbelongstoawidergenerationofarchitectsacrossthepostcolonial
worldwhoconfrontedthelimitationsofinternationalmodernisminthe1960s
and70s,attemptingtodevelopastyleandmethodmore‘appropriate’fortheir
particularcontexts.ButthesolutionMumtazarrivedathasbeenmoreradical
thanthatofhispeers,inpartbecauseitseekstodissolvetheauthorityofthe
architectandinvertdominantideasofcreativity,innovationandproduction.
TracingMumtaz’sengagementswithhistoryandthequestionof‘tradition’
withintheterritoryofPakistan,Idescribehisarrivalataparticularapproachto
buildingandhisadvocacyofaspecificdispositiontowardstime,oneinfused
withideasofthesacredbutalsothedignityofworkandthevalueofpatience.I
11GeorgSimmel,‘TwoEssays’,TheHudsonReview11:3(1958),371-85;WalterBenjamin,The
ArcadesProject(Cambridge,MA,1999);MartinHeidegger,‘BuildingDwellingThinking’inPoetry,
Language,Thought(NewYork,2001),141-60;seealsoAdamSharr,Heidegger’sHut(Cambridge,
MA,2017).
MOFFAT|BUILDING,DWELLING,DYING 7
considerwhatthismeansforunderstandingarchitecturalpracticeasamodeof
engagementwithtimeandhistory,connectingthistodebatesaboutthenature
ofbuildinginthemodernworldbutalsounderstandingitasaninterventioninto
thefaultlinesofPakistan’s21stcenturypresent.
InthelargelyunwrittenhistoryofPakistaniarchitecture,Mumtazisone
ofanumberoffiguresdistinguishedbytheirreflexivityonpractice,their
engagementwiththepast,andtheirnavigationofinternationalcurrentsof
architecturalthoughtatatimetheModernMovementwasbeingreassessed
globally.12Thesearchitectsarealsodistinguishedbypositionsofprivilegein
Pakistanisociety.Withfewlocalinstitutionsfortraininginthe1950s,mostwere
educatedabroad.Associatedwithelitecircuitsthroughfamilyconnections,their
fledglingpracticesfoundareadymarketforprivatecommissions.Theplayof
ideasthathascharacterisedMumtaz’sprofessionalpathcannotbeseenoutside
ofthiscontext:hisabilitytodwellontheproblemof‘dwelling’hasbeenenabled
byhisdistancefromtheeconomicpressures,landdisputes,andthediscourseof
‘need’thatinformedlarge-scaledevelopmentprojectselsewhereinthecountry,
evenifheinitiallydesiredtohaveanimpactinsuchdomains,forinstance
throughanearlyinterestinmasshousing.13
12ExtanthistoriesofarchitectureinPakistanarepiecemeal,compiledbyenthusiastsor
architectsthemselvesandreflectingonindividualcitiesorcareers,ratherthanforginga
sustained,disciplinaryconversationaboutcontext,concepts,styleandapproaches.Anexample
oftheconstrained,ifeminentlyreadable,natureofthisliteratureisZahir-udDeenKhwaja’s
MemoirsofanArchitect(Lahore,1998).
13Iamgratefultoananonymousreviewerforencouragingthisreflection.
MOFFAT|BUILDING,DWELLING,DYING 8
WhileacknowledgingthatarchitectslikeMumtaz–orYasmeenLari,
HabibFidaAli,NayyarAliDada,ArifHasanorothersofthisgeneration–arenot
representativeofthemajorityofbuildingdesigninPakistan,mybroader
researchprojectmaintainsthattheirapproachestobuildingandwaysof
thinkingaboutbuildingsconstitutedistinctresponsestovitalquestionsin
Pakistanihistoryandpolitics,whetherthesebethenatureofshelter,the
constitutionofa‘public’,themeaningoftime,theorganisationoflabour,and
beyond.This,then,isnotaprojectabouthowarchitecturebecomesaterrainto
consolidatenationalidentityinPakistan;itisdrawninsteadtobuildingwork
thatopensspaceforreassessmentanddispute.Iaminterestedlessin
monumentaloriconicprojectsthaninunusual,marginalandevenunfinished
buildings,preciselyforthecontestsandobstaclestheymakeclear.14
Thepresentarticledrawstogetherarchivalresearch,interviewsand
ethnographicreflectiontoconstructanintellectualbiographyofMumtaz.Section
IIprovidesbackgroundonMumtazandhistrainingasaprofessionalarchitect.
SectionIIIexploreshowhisapproachtotheproblemof‘dwelling’isinformedby
attemptstoauthoracomprehensivehistoryofarchitectureinPakistan.Section
IVmovestothelabourof‘building’,focusingonMumtaz’sresuscitationofthe
‘masterbuilder’andanethicsofcraftinhisattempttoreorienttheaimsof
architectureinPakistan’spresent.ThethemeofSectionVis‘dying’,orientated
aroundoneimportantbuilding:amausoleumdesignedfortwoSufisaintsin
14Tworecentbooksinformingmyapproachdo,however,takethemonumentalandiconicas
central:MrinaliniRajagopalan,BuildingHistories:TheArchivalandAffectiveLivesofFive
MonumentsinModernDelhi(Chicago,2016);andMichalMurawski,ThePalaceComplex:A
StalinistSkyscraper,CapitalistWarsaw,andaCityTransfixed(Bloomington,IN,2019).
MOFFAT|BUILDING,DWELLING,DYING 9
Lahore.Stillunderconstructionafternearlytwentyyears,thisstructure
providesaspacetoexploreMumtaz’strajectorybutalsotogroundthe
Heideggerianthematicalludedtointhisarticle’stitle:thenotionthatabuilding
isnotautomaticallya‘dwelling’andthat‘todwell’requiresacertainsortof
relationshiptobeing,agatheringofthedivineinbuiltform.15Thisisaposition
debatedinarchitecturalpracticesinceitwasarticulatedinthe1950sbutwhich
Mumtaztakesveryseriouslyindeed.Theslow,sustainedprocessofbuildingthe
mausoleumdemonstratesMumtaz’scommitmenttoa‘recursive’understanding
oftime,whichheplacesagainstthe‘generative’temporalitiesofmodern
architectureandthecompulsiontowardsoriginalitytherein.16Consideringthe
implicationsofthisperspectiveforarchitecturalthoughtandpractice,Iconclude
withsomereflectionsonconstruction,conservationanddevelopmentintwenty-
firstcenturyPakistan.
II.London,Kumasi,Lahore
MumtazwasborninBritishIndiain1939;hisfatherwasacivilengineer,his
motheranartist.HecompletedhisA-levelsattheeliteLahoreboardingschool
15Heidegger,‘BuildingDwellingThinking’.Basedona1951lecturegiveninDarmstadt,Germany,
theessaybecameanimportantreferenceforarchitectsseekingtogroundtheirworkincontext,
againsttheallegedtabularasareductivismoftheModernMovement.Ireturntothereceptionof
Heideggerlaterinthisessay.
16Iborrowthiscontrastbetween‘recursive’and‘generative’temporalitiesfromUriGordon,
‘PrefigurativePoliticsbetweenEthicalPracticeandAbsentPromise’,PoliticalStudies66:2
(2017),521-37.
MOFFAT|BUILDING,DWELLING,DYING 10
AitchisonCollegebeforetravellingtoLondonin1957wherehewouldtrainat
theprestigiousArchitecturalAssociation(AA)SchoolofArchitecture.Here,
Mumtazwouldbeabsorbedbyhistrainingbutalsotheexcitementofstudent
politicsandmetropolitanartworlds:anaccomplishedpainter,hisworkwas
exhibitedinLondon,Cardiff,OxfordandEdinburgh.17Followingthecompletion
ofatermofworkwiththearchitecturalofficeofMessrsQuineandNewberryin
London,MumtazreceivedhisaccreditationfromtheRoyalInstituteofBritish
Architectsin1963.Bythistimehehadalsocompletedapostgraduatecoursein
theAA’sDepartmentofTropicalArchitecture,apathbreakingprogramme
overseenbyOttoKoenigsberger,amajorvoiceinmodernurbandevelopment
andfamousforhisworkon‘climaticarchitecture’.TrainedinBerlinandCairo,
KoenigsbergerhadworkedinIndiaaschiefarchitectandplannertothestateof
Mysorefrom1939andDirectorofHousingforthenewgovernmentofIndiain
1948.In1953,hewasappointedtotheAAandinanewspecialistdepartment
taughtMumtazandawholegenerationofarchitectsfromtheglobalsouth.18
Londonatthistimehasbeendescribedasthe“capitaloftropical
architectureknowledge”–withthatword‘tropical’operatingasapolitically
appropriatesubstitutefor‘colonial’inanageofdecolonisation,evenasit
continuedtomanifestaconcernforupliftandprogressinitsdesiretofacilitate
‘development’.Thenamealsosignalledtheimportanceofclimatological
17Mumtaz’s1966CV,inNationalCollegeofArt(hereafterNCA)Archives279F:(P/FileH-35).
18PatrickWakely,‘OttoKoenigsbergerObituary’,TheGuardian,26January1999.
Koenigsberger’spapersarestoredattheArchitecturalAssociationArchivesinLondon.Anarticle
intheAAJournal(April1963)notesthatMumtazwasjoinedinhiscohortbyarchitectsfrom
India,Indonesia,Iraq,Kenya,Singapore,Trinidadandelsewhere.
MOFFAT|BUILDING,DWELLING,DYING 11
principlesinitstechnicalandtheoreticalapproach.19Tropicalarchitecture
emphasisedregionalparticularityandthenecessityofrefiningthetechnological
andformaladvancesofmodernarchitecturetoadiversityofcontexts,materials
andweatherconditions.TheAAcurriculumincludedsuchtopicsas‘earth’as
buildingmaterial,airmovementand‘shadowconstruction’,diseaseprevention,
theeconomicsofdevelopingcountries,and‘traditionalgrouppatterns’.20The
programmedidnotsimplyassemblearchitectsfrom“tropicalcountries”inthe
metropolisbutalsosentitsteachersandformerstudentsoutintotheworld.21In
1964,MumtazwasrecruitedtojoinanAAdelegation,ledbyMichaelLloyd,
taskedwithrevivingtheSchoolofArchitecture,PlanningandBuildinginthe
KwameNkrumahUniversityofScienceandTechnology,Kumasi,Ghana.22
MumtazleaptatthechanceandacceptedacontractasLecturerandStudio
Master.
Lloyd,acolleagueofKoenigsberger’sandlaterPrincipaloftheAA,recalls
histimeinKumasiasforcinghimtoconfrontthe“tragicomic”irrelevanceof
standardBritisharchitecturalcurriculaintheAfricancontextbutalsothe
paternalistic,colonialrelationshipshesawaspreservedintheactofteaching.23
Adaptationsweremadeswiftly.Thetraditionalcourseonarchitecturalhistory–
19NataliaSolano-Meza,“AgainstaPedagogicalColonization”,Charrette4:2(2017),47;Hannahle
Roux,“TheNetworksofTropicalArchitecture”,JournalofArchitecture8(2003),337-54.
20DepartmentofTropicalArchitecture1957lectureprogrammeand1965programmehandbook
(72:37[42]ARC),AAArchives.
211965programmehandbook,29(72:37[42]ARC),AAArchives.
22MichaelLloyd,‘DesignEducationintheThirdWorld’,HabitatInternational7:5/6(1983),367.
23Lloyd,‘DesignEducationintheThirdWorld’,368;Solano-Meza,‘Against…’.
MOFFAT|BUILDING,DWELLING,DYING 12
movingfrom“EgyptthroughGreecetoBauhaus”–wasreplacedwithacourseon
thecomparativestudyofworldcultureandspecialstudiesofAfrica,which
Mumtazhelpedtoconvene.24Butforthemostpart,theemphasiswason
developingtechnicalskillsand‘scientific’approaches,refinedincollaborative
projectswithGhana’sDepartmentofSocialWelfareandCommunity
Development.MumtazalongwithhisAAcontemporaryPatrickWakely
completedstudiesforruralresettlementprojectsandaschoolsbuilding
programme.TheyworkedalongsidevisitinglecturerslikeJaneDrew(whowrote
theinfluential1956manualTropicalArchitectureintheHumidZoneswith
MaxwellFry),theAmericanarchitectBuckminsterFullerandthehistorianand
artistKeithCritchlow,withKumasiemergingasavibrantspaceof
experimentationinitssearchforanarchitecture‘appropriate’forthispartof
Africa.25
In1966,aftertwoyearsinKumasi,MumtazreturnedtoPakistantotake
upapositionasheadoftheDepartmentofArchitectureattheNationalCollegeof
Arts(NCA)inLahore.Establishedin1875byLockwoodKiplingasthe‘Mayo
SchoolofIndustrialArts’,theinstitutionwashollowedbypartitionbutrevived
astheNCAin1958,withtheAmericanarthistorianMarkRitterSponenburgh
servingasPrincipaluntil1961.Sponenburgh’senergiesweresupportedbythe
WestPakistanGovernment,whichhad“cometorealizethatthecountryisin
24Lloyd,‘Intentions’,Arena:theArchitecturalAssociationJournal82:94(1966)[SpecialNumber
onKumasi],40,56.
25MumtazreflectsonthismomentinhisModernityandTradition:ContemporaryArchitecturein
Pakistan(Karachi,1999),41.
MOFFAT|BUILDING,DWELLING,DYING 13
greatneedofwelltrainedartists,architectanddesigners.”26Sponenburghwas
nottheonlyAmericanonstaff:fundingfromtheUnitedStatesEducational
FoundationandFulbrightProgrammesupportedvisitingProfessorships
throughouttheearly1960s.MumtazwouldbethefirstPakistanitoheadthe
DepartmentofArchitecture,andwoulddosofrom1966to1975.Hearrivedin
Lahorewithstrongsupport–hismotherwasafamilyfriendoftheartistShakir
Ali,Sponenburgh’ssuccessorasPrincipal,andhisapplicationincludeda
referencefromcelebratedPakistanipoetandleftistactivistFaizAhmedFaiz.27
Mumtaz’sexperiencesinLondonandKumasialignedwellwithAli’svisionfor
theSchool–thenuancedapplicationofmodernmethodsofbuildinganddesign,
attunedtoregionalparticularityandthechallengesofa‘developing’context.28
ThiswasFieldMarshalAyubKhan’sPakistan,andtheprojectofdevelopment
hadacquiredhegemonicstatusinstatediscourse–evenif,asMarkusDaechsel
hasshown,itsinstitutions,policiesandimagesweredeployedtoshoreupthe
sovereignstatusofthemilitaryleaderasmuchastoalleviatesufferingor
inequalityinPakistanisociety.29
AsheadofDepartmentatoneofPakistan’smostprestigiouseducational
institutions,theyoungMumtazwasgivenanenviableplatformtoreframe
26NCAArchives259E:SchemefortheDevelopmentofArchitecturalDepartment,1960-61.
27NCAArchives279F:(P/FileH-35).OnMumtaz’sfamilyentanglementswithearlyPakistani
communism,seeKamranAsdarAli,SurkhSalam(Karachi,2015),70-76.
28ThisisevidentinLloyd’sreferenceforMumtaz,dated9Sept1966inNCAArchives279F:
(P/FileH-35).
29MarkusDaechsel,IslamabadandthePoliticsofInternationalDevelopment(Cambridge,2015),
167,260.
MOFFAT|BUILDING,DWELLING,DYING 14
architecturaleducationinthecountry,injectingtherigorouscontextualismhe
hadlearnedfromKoenigsbergerandothersintotheNCAcurriculum.Healso
continuedtoexperimentwithbuilding,establishingtheprivatepracticeBKM
AssociateswiththeAmerica-trainedarchitectFuadAliButt–whohadbeenone-
yearMumtaz’sjunioratAitchison–andtheengineerHashimKhan.Early
projectsincludeschemesforlow-costhousingandthedesignofstructureseasily
constructedwithtraditionalmethodsforpeasantsandfarmers,notablythe1969
KotKaramatproject.KotKaramatdemonstratedhowtropicalarchitecture’s
technocraticassumptionsmightrunupagainstlocalresistance.Theproject
utilisedlocalmaterialsandself-helpmethods,butwasstillpursuedwithwhat
Mumtazlaterdescribedasa‘scientificlogic’andaframeworkofefficiency.Most
damningly,itwasimposedonthecommunityfromabove:Mumtaz’sarchesand
vaultedroofs,whichherationalisedasformsappropriatetobrickandlime
mortar,wererejectedbytheinhabitants.Aflatroof,theyargued,wouldhave
allowedformoreusablespace,forinstancetodrycropsortosleepoutsidein
hotweather.30
Mumtazwouldcontinuetorevisehisassumptionsandapproaches
throughoutthe1970s,becomingincreasinglycriticalofhowimportednotionsof
buildinganddesignwerebeingupheldasthepathto‘progress’,welcomedbyhis
30Archesandvaultedroofswerefamiliarlocally,butassociatedwithwealthierorceremonial
buildingsratherthansimplefarmdwellings.ZarminaeAnsari,“AContemporaryArchitectural
QuestandSynthesis:KamilKhanMumtazinPakistan”(UnpublishedMScThesis,Massachusetts
InstituteofTechnology,1997),48-9,57.AparallelcasemaybeseeninlocalcritiquesofHassan
Fathy’sfamousNewGournaprojectinEgypt.SeePanayiotaPyla.“TheManyLivesofNew
Gourna,”JournalofArchitecture14:6(2009):715–30
MOFFAT|BUILDING,DWELLING,DYING 15
studentsandbypublicandprivateclientsalike,whilelocalpreferencesand
practicesofconstructionwerebranded‘backward’orinefficient.Thecontextfor
thisreassessmentwasaPakistanipoliticalsceneanimatedbytheleftpopulism
ofZulfikarAliBhutto,whosetenureasPresidentandthenPrimeMinister(1971-
77)followedtheoverthrowofAyubKhan’smartialrulein1969andwas
propelledbyarhetoricofanti-imperialism,thirdworldsolidarityandIslamic
socialism,evenifultimatelythegovernmentfellfarshortofitsradicalpromise.31
Inthisfertilepoliticalmoment,eventropicalarchitecture,calibratedtodetect
differenceandresponsivetoamultiplicityofvoices,wouldfallshort–
reproducing,forMumtaz,amodelofknowledgetransferthatprivilegedWestern
centres.ForeignexpertslikeDoxiadismightadvocatesensitivitytocontextand
consultationwiththoseaffectedbydevelopmentplans,butforMumtaztheissue
wasmorefundamental:eveniftheseauthoritiestrytolisten,thereisonlyso
muchtheyareabletohear.32Architectureinthemodernworldisgroundedin
certainpresumptions,certainwaysofthinking.Insteadofsimplyadapting
moderninnovationstoa‘developing’contextortotheparticularityofclimate,
Mumtazbegantothinkaboutaprojectofrecovery,ofrestoringdignitytothat
whichhadbeenlosttotheenormouscondescensionofprofessionalarchitecture
–traditionalwaysofthinkingspaceandstructure,embodiedmostpowerfullyin
thefigureofthemastercraftsman.33
31Akhtar,PoliticsofCommonSense;andSadiaToor,TheStateofIslam(London,2011).
32Daechsel,Islamabad…,46-7.
33Ideploy‘craftsman’withfullawarenessofitsgenderedocclusions.InmaintainingMumtaz’s
usageoftheterm,Imeantounderlineacertainimaginaryoftraditionalbuildingpracticeandits
propersubjectincontemporaryPakistan.
MOFFAT|BUILDING,DWELLING,DYING 16
Thecelebrationofartisanlabouragainstthecorruptionsofindustrial
modernityhasalonghistoryinSouthAsia,asSaloniMathurhasshown.The
craftsmanbecameanationalistcultfigureinthelate19thcentury,informing
20thcenturymobilisationsfromswadeshitoGandhi’sspinningwheel,even
thoughitssymboliccurrencywasconstitutedinpartbythedocumentaryefforts
ofcolonialethnologistsandentrepreneurialorientalists,thelatterprofitingfrom
EuropeanmarketsforIndiandesign.34BasedattheNCA,itisperhaps
unsurprisingthatMumtazwouldbedrawntocraftwork:thoughtheinstitution
hadbeenrestructuredinthe1950s,itstillderivedasenseofidentityand
prestigefromitspredecessor,theMayoSchool,whichKiplinghadpursuedin
parttopreserveartisantraditionsfromthemoredeleteriouseffectsofBritish
rule.35
Butinhiswritingandinterviews,Mumtazattributeshisturntocraft
vernacularstotwofactors:first,hisexperienceofleftistpoliticalactivisminthe
1970s,wherehisworkwithpeasantmovementsasanartistandposter-maker
forcedhimtothinkmoreseriouslyaboutvernacularcultureandpopular
communication;andsecond,hisencounterwithNaderArdalanandLaleh
Bakhtiar’s1974book,TheSenseofUnity:TheSufiTraditioninPersian
Architecture.36
34SaloniMathur,IndiabyDesign(Berkeley,2007),especiallyChapter1.SeealsoAbigail
McGowan,CraftingtheNationinColonialIndia(NewYork,2009)
35Mathur,withanodtoJamesClifford,describesthisastheBritishEmpire’s‘salvageparadigm’:
IndiabyDesign,32.
36InterviewwithKamilKhanMumtaz,Lahore,12February2018.
MOFFAT|BUILDING,DWELLING,DYING 17
ForthearchitectArdalanandIslamicscholarBakhtiar,writinginthe
contextofPahlavi-eraIran,architecturemustgobeyondthemeresensitive
deploymentoflocalmaterialsandtechnologiesbutalsochannelthespiritand
cultureofapeople.InIran–andsotooforMumtazinPakistan–‘traditional’
architecturewasupheldfordemonstratingtherichconnectionnotsimply
between‘man’andhis‘buildings’,butalsoathirdconstitutivenode,thatofthe
divine,ofthecosmosthatstructureanycreation.Drawingontheesoteric
principlesofSufithought,ArdalanandBakhtiararguethatIslamicarchitecture
inPersiaischaracterisedbyitsreflectionofatranscendentsource,ofthe
presenceofGodinman’sactivities,anaspectofculturedeniedbyimported
Westernstylesandmethods.MumtazdescribesArdalanandBakhtiar’sbookas
‘converting’himtothepursuitofanarchitecturethatattendstothe“divine
unity”underlyingthe“apparentphysicalrealityofdiscretephenomenon”.37
Iwilldiscussbelowthisspecificapproachtobuildinganddesign,but
importanttonotehereisthattheconnectionforgedbetweenspiritualinspiration
andthelabourofmakingenablesMumtaz’sturntowardsa‘recursive’
temporality,onethatisinvestedinprocessesofrepetitionandrecurrence,and
whichstandsinstarkcontrasttothe‘generative’timeunderlyingmodern
architectureanditspursuitofcreativeinnovation,orindeedthenovel
contextualadaptationsthatbegintotakeplaceinthissameperiodunderthe
name‘postmodernism’.Asthe1970sunfolds,Mumtazisdrawntoaffirma
conservativepremiseforbuilding,theneedforstabilityandlegibilityinagiven
context,incontrasttothedisruptivenecessityarticulatedbythosearchitects
37Mumtaz,ModernityandTradition,42,30.
MOFFAT|BUILDING,DWELLING,DYING 18
whoseethebuiltenvironmentasforgingnewpathsforthefutureandcrafting
newwaysofliving.
CriticshavenotedthatArdalanandBakhtiar’sprojectof‘tradition’was
facilitatedbythepopulismofthePahlaviregimeanditsattemptstoco-optthose
Iraniansleftoutofthemodernizationprocess.Indeed,ArdalanfledIranforexile
followingthe1979Revolution.HisattachmenttoSufiprinciplescanbereadas
anattempttoprofferanalternativevisionofIslamagainstKhomeini’s
theocracy.38Ardalan’scollaborationwithBakhtiar,forhistorianKathleenJohn-
Alder,reflectsthepersonalstrugglesofanIranianarchitectraisedandtrainedin
theUnitedStatesnavigatinghisplacewithintheregionandamidstaglobal
architecturalcommunity.39Butthesefeatures–aprivilegedupbringingand
foreigntraining,acontextofpopulistpolitics,apreferenceforanesoteric
understandingofIslamagainstincreasinglyprominentorthodoxvisions-
resonatetoowithMumtaz,andthecomplexityandconsequencesoftheLahori
architect’spositionareexploredbelow.
III.BuildingandThinkinginMumtaz’sHistoryofArchitecture
38This,indeed,wastheprojectofArdalanandBakhtiar’smentor,SeyyedHosseinNasr,who
providedaforewordtoTheSenseofUnity:TheSufiTraditioninPersianArchitecture(Chicago,
1973).SeealsohisTraditionalIslamintheModernWorld(London,1987).
39TalinnGrigor,BuildingIran(NewYork,2009),164-5;andKathleenJohn-Alder,“Paradise
Reconsidered”inMohammadGharipour,ed.,ContemporaryUrbanLandscapesoftheMiddleEast
(Abingdon,2016),120-148,137.
MOFFAT|BUILDING,DWELLING,DYING 19
ProfessionalarchitectureinthedecadesaftertheSecondWorldWarbeganto
grapplewithwhatarchitecturalhistorianKennethFramptonhascalled“the
implosionofutopiauponitself.”40Mumtazwasnotaloneamonghisgeneration
ofPakistaniarchitectsincriticisingthefailedpromisesofmodernization,orthe
wayinwhichearlymodernistaspirationsforan‘architectureforthepeople’had
beenappropriatedandcommodifiedtoservicethetastesofthewealthyandthe
powerful.MajorcontemporarieslikeYasmeenLariandNayyarAliDadahave
reflectedsimilarlyontheirattemptsto‘unlearn’whathadonceseemedtheonly
option,thoughneitherhasgoneasfarasMumtazinrethinkingthemethodand
ethicofbuildinginaccordancewithanexplicitlyIslamiccosmology.
MumtazplaceshisreconfiguredpracticeinabroaderSouthAsiancontext,
notingacommoncausewitharchitectswhorefusedtobe“boundbythe
limitationofany‘style’”butrathersoughtanarchitecture“appropriatetoour
ownregions,ourclimateandourmaterials”.HenotesfigureslikeMinnettede
SilvaandLocanaGunaratnainSriLankaorRuslanKhalidinMalaysia.41This
groupisinternallydifferentiated:ifarchitectslikeGeoffreyBawa,theColombo-
basedtropicalmodernist,weremoreconcernedwith“theformalaspectsof
space,constructionmaterialsandbuildingelements”,otherslikeBalkrishna
DoshiandCharlesCorreainIndia,andMumtazhimselfinPakistan,were
workingtoexcavate“thedeeperculturalsignificanceintraditionaldesign
theoriesandbuildingpractices”.Here,“religionandthecraftsensibility”,
40KennethFrampton,ModernArchitecture,ThirdEdition(London,1992),280.
41Mumtaz,ModernityandTradition,34.
MOFFAT|BUILDING,DWELLING,DYING 20
privilegedvectorstothe‘local’,wouldplayamajorroleinshapingnew
architecture.42
Theplayfulnessandironythatcharacterisedaturnto‘vernacular’forms
andstylesinEuropeanandNorthAmericanpostmodernarchitectureisnot
evidenthere;rather,thereisagravityandseriousnessintheconcernforthe
‘authentic’.Theshiftreflectsthespecificcognitive-politicalspaceof
‘postcoloniality’:thedesiretocritiqueEuropeanstructuresofknowledgeand
representation,andtorecoverandasserthistoriesoflocalagencyandresistance
againstastoryofimperialdomination.DavidScottpositsthatpostcolonial
thought,thoughdisplacing‘anticoloniality’,incorporatedandtookforgranted
theaccomplishmentsofthelatter:thatis,itslinesofinquirywerepossibleonly
because“theproblemofthehorizonofpolitics(i.e.,nation-statesovereignty)had
appearedresolved.”43Politicalquestionscouldthusbedeferred,evenifthe
secularpremisesofthemodernstateanditsorganisationalformswerebeing
challenged.Postcoloniality’scritiqueofEurocentricmodernity,situatedwithin
thecontainerofthe‘national’,mightthenmanifestconcernswiththe‘organic’,
the‘spiritual’andthe‘traditional’.44
InPakistan,theconflictsthisproducedforatransformationalpoliticscan
beseeninthecareerofUrduliterarycriticMuhammadHasanAskari(1919-
1978).Asayoungwriter,AskariwasassociatedwiththeProgressiveWriters’
MovementbutlaterbecameavocalcriticoftheleftinPakistan,suggestinginthe
decadesafterPartitionthatcommunistswerealienatedfromlocalcultureand
42Ibid,80-81.
43DavidScott,RefashioningFutures(Princeton,1999),14.
44SeealsoParthaChatterjee,TheNationandItsFragments(Princeton,1993).
MOFFAT|BUILDING,DWELLING,DYING 21
traditionandassuchcouldnotcontributetothenationalprojectofaproperly
‘Pakistani’literature.Inthe1970s,AskaribecameincreasinglydrawntoMuslim
historyandIslamictradition,inspiredbyDeobandischolarslikeAshrafAli
ThanawibutalsotheperennialistthoughtoffigureslikeRenéGuénon.45Askari
evenauthoredashorttreatiseonmodernism,Jadidiyat,designedtofamiliarise
madrasastudentswithitsmainpremisessothattheymightbetterchallengeits
influenceintheIslamicworld.46
Adeparturefromleftistassociations,aninterestinperennialist
philosophyandadeferralofpoliticsaspursuitof‘thenew’structuresMumtaz’s
engagementwiththebuiltenvironmentinPakistan,asIwillnotebelow.Butthe
architect’srelationshipwiththestateishardlystraightforward:indeed,the
1970swereatumultuousperiodforthecountry,andMumtazwasforcedtotake
extendedleavefromtheNCAinJuly1977,thesamemonththatmilitaryleader
GeneralZia-ul-HaqoverthrewZulfikarAliBhuttoinacoup.In1980,heresigned
45The‘Perennialist’or‘Traditionalist’schoolofthought,foundedbytheFrenchphilosopherRené
Guénon(1886-1951),articulatedacritiqueofthemodernworldbasedonanideaofprimordial,
‘inner’truthssharedbyworldreligionsandcapturedvividlyintraditionalformsofknowledge.
AlongwithGuénon,theworkofAnandaCoomaraswamy(1877-1947)–whomMumtazcitesas
animportantinfluence–andFrithjofSchuon(1907-1998)helpedconsolidateaphilosophythat
challengedscientificandsecularknowledgewithnotionsofeternalwisdom.
46MHAskari,Jadidiyat(Rawalpindi,1979).Forcontext,seeMuhammadQasimZaman,Islamin
Pakistan(Princeton,2019),80-82andAli,SurkhSalam,147-49.
MOFFAT|BUILDING,DWELLING,DYING 22
formallyfromtheinstitution–pushedout,asheexpressedtomewithasmilein
a2018interview,onchargesof“corruptingtheyouth”.47
Mumtaz’sturntoIslamicarchitecturewasinpartaresponsetostate-
levelengagementswithreligion–whetherBhutto’sIslamicsocialismorZia’s
policyof‘Islamization’,whichdirectedstatepatronagetothe‘ulamaandledto
newlawsagainstblasphemy,theestablishmentofshariatcourts,revisedschool
curricula,censorshipmeasuresandmanymoreeverydayreforms,from
requiringprayerspacesinofficestobetterfacilitiesforhajj.Ratherthan
critiquingthisgrowingentanglementofstateandreligion,itwasthewayIslam
wasstitchedseamlesslytoprojectsofdevelopmentandmodernizationthatdrew
Mumtaz’sire,obliteratinginhisviewthepotentialforIslamtoilluminateother
waysofbeingwithin,orincontestwith,modernity.Thisflawedconditionwas
reflectedinarchitecturalpractice:thefashionforthecleanlines,glassand
concreteofdevelopmentalmodernismcommoninPakistaninthe1950sand60s
wasreplacedfromthe1970swithwhatMumtazandothershavelabelled
pejorativelyas‘InstantIslamic’,characterisedbytheornamentalinsertingof
domesandarchesintoabuiltenvironmentotherwiseconstructedinaWestern
style.48
47InterviewwithMumtaz,Lahore,12February2018;NCAArchives279F:PersonalFileofKamil
KhanMumtaz,1966-80(P/FileH-35[250]).Hisspecificreasonforleavingisnotgivenbutthere
isrepeatedmentionofMumtaz’sinvolvementin“disturbances”.
48See,forinstance,YasmeenLari’s‘Preface’toTraditionalArchitectureofThatta(Karachi,1989).
Asonereviewerofthisessayobserved,thetransformationofreligiousornamentintomass-
producedmarketcommodityironicallyfulfilsMumtaz’scallfora‘lackoforiginality’indesign–
albeitwithouttheethicofbuildinganddwellingheisprescribing.
MOFFAT|BUILDING,DWELLING,DYING 23
Howtorefutetheseimpatient,top-downexhortationswithamore
nuancedengagementwithIslamanditsmeaningsinPakistan?ForMumtaz,like
ArdalanandBakhtiar,architectsmustattendtohistory.Hisengagementwiththe
pastwouldnotbesomenostalgiclamentforthingslost–aromanticizationof
ruins–butaconcertedattempttorecovertactics,practicesandmethodsof
buildingthatforcenturiesflourishedintheterritoriesnowcalledPakistanbut
whichfindnoplaceinanytechnicaleducationprogrammeorprofessional
architecturaldegree.ForMumtaz,thesearenotlostbut“living”traditionsand
canbeactivatedas‘strategies’forthepresent.SpeakingtotheAsianCongressof
ArchitectsinLahore,October1992,heimpressedthat,“wecancontinueto
ignoreordeliberatelymisrepresentthepastonlyattheriskofformulating
arbitrary,andfaultystrategies,ormovingintothefuturewithoutanystrategyat
all.Intheabsenceofasoundtheorybasedonthecollectiveexperienceofour
ownpastandourownpresent,ourarchitecturecanonlybearbitraryand
irrelevantatbestanddownrightdangerousatworst.”49
Asearchfor‘origins’andaninterestin‘authentic’methodsanimates
Mumtaz’s1985study,ArchitectureinPakistan,stilltheonlynationalsurveyof
buildingpracticesthathasbeenwritten.50Thebookwaspublishedunderthe
Singapore-basedMimarimprint,bestknownforitsinternational‘Architecturein
Development’magazineofthesamenameandsupportedbytheAgaKhanTrust
forCulture.51ItbuildsonworkMumtazhaddoneinthe1970sfortheUNESCO
DivisionofCulturalDevelopment,whichhadcommissionedstudieson“themost
49Mumtaz,ModernityandTradition,48.
50KamilKhanMumtaz,ArchitectureinPakistan(Singapore:Mimar,1985).
51ThedigitizedMimarcatalogueisavailableviaArchNet:https://archnet.org/collections/56.
MOFFAT|BUILDING,DWELLING,DYING 24
importantformsoftraditionalarchitectureinPakistan.”52Weareremindedhere
oftheglobaldynamicsthatcaninformaconcernforthelocalandtheregional,
andindeedthisisdemonstrablytrueofMumtaz’sexperience.
ArchitectureinPakistandemonstratesMumtaz’seffortstoestablisha
senseofchronologyindefianceofcolonialandmodernistruptures.Thebook
travelsacrossthelengthandbreadthofPakistantoprovideacomprehensive
overviewof“buildingactivities”withinitsterritorialborders,fromearliest
evidencetothecontemporarymoment.Mumtazthehistorianisstrongestin
discussingmorerecentperiods,butthetextventuresasfarbackas3200BC,
drawingonarchaeologicalresearchintotheKileGulMohammadsitenearQuetta
cityandthepre-HarappanculturesoftheIndusValley.Writtenoveradecade
aftertheindependenceofBangladesh,Mumtazisonlyinterestedinwhathecalls
the‘newPakistan’ofthefourprovinces–Sindh,Baluchistan,Punjabandwhat
wasthencalledtheNorth-WestFrontierProvince–anddoesn’tdiscussthe
significanceorinfluenceofbuildingactivitiesintheformerEastPakistanatany
point.53Demonstratingthenormativepowerofthenation-stateatthishistorical
moment,Mumtazprojectstheborderedterritoryof(West)Pakistanbackinto
time–sothattheBuddhistcultureofGandharadevelopedoutofthe“fusionof
52SeecorrespondencebetweenUNESCO’sWTochtermannandMumtaz,June1975,inNCA
Archives279F:(P/FileH-35).Tochtermannintroducedtheprojectaspartofanendeavourto
“collectinformationonAsian‘architecturewithoutarchitects’.”
53When,ina2018interview,IaskedMumtazabouttheabsenceofBangladesh,hecounteredthat
therewasindeedalong-standingconversationintermsofmethodsandapproaches,particularly
withMuzharulIslam,aleadingvoicein“regionalmodernism”debateswhoalsotrainedattheAA
inthe1950s.
MOFFAT|BUILDING,DWELLING,DYING 25
Greek,CentralAsian,IndianandPakistanicultures”;ornotingthat,“bythe7th
century,HindurevivalismhadvirtuallyeliminatedBuddhismfromthe
subcontinent,andPakistanwasonceagainasatelliteofIndia.”54
Thislackofreflexivityoverthecategoryof‘Pakistan’meansMumtaz’s
textisconsistentwithformsofofficialimagininginthecountry,whereattempts
tonationalizethepasthavereliedonwhatAyeshaJalalhascalled“an
improbablearrayofconjuringtricks,andsomesomersaultsonthetightropeof
historicalmemory.”55Theoriginalstudywascommissionedbythecivilservant
AltafGauhar,InformationSecretaryunderAyubKhanandlatereditorofmajor
PakistanidailyDawn,indicatingMumtazanticipatedanationalaudience
alongsidetheinternationalreadershipenabledbyMimarandtheAgaKhan
Trust.56Moregenerously,itcouldbesaidthatMumtazendeavourstobreathe
heterogeneityintothiscategory,‘Pakistan’,sincewhatemergesinthisbookis
notasingulartrajectorybutaproliferationofformsandapproaches,whichvary
byregion,climateandmaterialeveniftheyareallgatheredunderonenational
descriptor.ForMumtaz,“thewoodenmosquesofthenorthernregionareas
muchapartofPakistan’straditionalarchitectureastheGopahutsofCholistan
orthewattle-and-daubtownhousesofThatta”.57YettheprimarylessonMumtaz
54Mumtaz,ArchitectureinPakistan,4.
55AyeshaJalal,“ConjuringPakistan:HistoryasOfficialImagining”,InternationalJournalofMiddle
EastStudies27(1995),73-89,74.
56InterviewwithMumtaz,Lahore,12February2018;Mumtaz,ArchitectureinPakistan,2.The
choiceofEnglishaslanguageofcommunicationprivilegesthelatterbutalsoreflectsthelingua
francaofprofessionalarchitecturalpracticeinPakistan.
57Mumtaz,ModernityandTradition,57.
MOFFAT|BUILDING,DWELLING,DYING 26
derivesfromthisresearchisnotoneofdiversitywithinanationalcontainerbut
ratheranethicofcraftthatcanbeseentobindhighlyvariantstructures.His
visionforarchitectureinPakistanisnotcentredonaparticularform,materialor
technologybutratheraspecificapproachtobuilding:thatdemonstratedbythe
traditionalormastercraftsman,afigurewhosuffusestheprocessof
constructionwithapietyderivedfromIslam,andwho,intheirtemporal
dispositionandengagedapproachtomaking,disruptstheauthorityaccordedto
thearchitectandthealienatingnatureofbuildingworkinthemodernage.
Mumtaz’sfundamentalcritiqueofmodernarchitectureisarticulatedin
theseterms:againsttheelevationofthearchitectandtheirrelentlesspursuitof
noveltyororiginality,andfortherecoveryofthemodestcraftsman,the
traditionalbuilder–thediscardedmaster.Hisinterventionisnotprimarilyone
ofspace(i.e.context,localityandwhatis‘appropriate’)butratheroneoftime,a
critiqueofwhatheseesasthearchitect’segotisticpursuitofthefuture,their
obsessionwithinnovation,andtheirdenialofwhattheyhaveinherited,the
slow,repetitiverhythmthatmightattachthemtothepast.Oversubsequent
decades,Mumtazhasworkedtorecalibratehispracticeinlinewithanethicof
craftworkanditsrecursivetemporalities,evenifbridgingthegapbetweenthat
idealcraftsman-heroandthelivedrealityofbuildinghasnotbeena
straightforwardone.ItistothatdisplacedfigureofauthoritythatInowturn.
IV.TheDiscardedMaster
AlamentforthediscardedmasterbuilderrecursthroughoutMumtaz’swritings,
interviewsandpublicaddresses.Theblameforthisfigure’speripheralstatusis
MOFFAT|BUILDING,DWELLING,DYING 27
placedsquarelyonthetransformationsofmodernity–thechangesinbuilding
technologyitbroughtandthesecularvisionofprogressitinstilledinthemindof
thearchitect,aprofessionthatbecameincreasinglyremovedfromthecontexts
ofconstructionandthecollectiveexpertiseoftheworkshoporguild.The
craftsman’swayofthinkingaboutandworkingwiththebuiltenvironmentwas
not,forMumtaz,destroyedbycolonialinterventionsnorbythepost-colonial
ascendancyofdevelopmentalmodernism,butrathermarginalised,sustainedin
animpoverishedstateby“ourhereditarycraftsmen.”58Mumtazparticipatesina
largercritiqueofthesocialandpsychologicalalienationcausedbythe
mechanizationoflabour,onethatstretchesfromKarlMarx’swritingson
nineteenthcenturyindustrialcapitalismtoRichardSennett’srecentcelebration
ofexpressiveandmeaningfulworkagainsttwenty-firstcenturyneoliberalism.59
Buthisprescriptionislessoneofrevolutionthanofrestoration.IntheSouth
Asiancontext,MumtazechoesAnandaCoomaraswamy’searlytwentieth-century
appealtoacknowledgethephysicalaswellasspiritualsuperiorityoftheartisan
totheindustrialfactoryworker;“itistheseskilledcraftsmen…whomweasa
nationmostneedasmembersofourbodypolitic”.60
58Mumtaz,ModernityandTradition,38.ForvariationsonthisthemeinthehistoryofMuslim
societies,seePeterChristensen,ed.,ExpertiseandArchitectureintheModernIslamicWorld
(Bristol,2018).
59OnthisgenreofthinkingseeThomasYarrowandSiânJones,‘“StoneisStone”:Engagement
andDetachmentintheCraftofConservationMasonry’,JournaloftheRoyalAnthropological
Institute20(2014),257;RichardSennett,TheCraftsman(NewHaven,2008).
60AnandaCoomaraswamy,ArtandSwadeshi(Madras,nd[~1912]),22;Mathur,IndiabyDesign,
44-46,49.
MOFFAT|BUILDING,DWELLING,DYING 28
Inthehumilityandmodestscaleofthe“vernacularcrafttradition”
Mumtazlocatesamodelforbuildingpracticethatmightdisruptamodernnotion
ofprogress,its“obsessionwiththecreativeartists,whosehighestambitionisto
beacclaimedandapplaudedasahighpriestofthedeityofinnovation.”61
Traditionalarchitectureisconcernedprimarilywith
function,space,light,protectionagainsttheelementsandstructuralstability,availablematerials,constructiontechniquesetc.[…]Inallofthesecraftsandartsthecriterionofqualityisnevercreativity,inthesenseoforiginalityorinnovation,butthedegreetowhichtheproductconformstopre-existingconventionalforms.62
Thisconsciousembraceofderivation,thepursuitofcontinuitythrough
repetition,isinpartarejectionofmodernity’s‘cultofinventiveness’,butitis
alsojustifiedastruetoPakistan’s“traditionalIslamiccontext”,inwhichitwould
beconsidered“presumptuousofanyindividualtoclaimforhimselfarole[i.e.as
a‘creator’]whichwastheexclusiveprerogativeofGod.”Thecraftsman,in
Mumtaz’saccount,aspiresonly“toreflectorfaithfullyrepresentan‘ideal’which
alreadyexistedintheworldofarchetypes.”63
Mumtazdepartsfromthosecelebrationsofcraftworkfamiliarina
Europeancontext,fromJohnRuskintoWilliamMorris,withtheirdimensionof
anti-capitalistcritiqueandpromiseoflabourwithoutsubmissionorservility.His
clearestinfluenceisinsteadArdalanandBakhtiar,whoinTheSenseofUnity
identifyaprogrammeforbuildingandworkingwhichguarantees“thespiritual
validityofforms”.64ExploringPersianarchitecturalhistory,Ardalanand
61Mumtaz,ModernityandTradition,17.
62Ibid,captiontoPlate8.
63Ibid,63.
64ArdalanandBakhtiar,SenseofUnity,10.
MOFFAT|BUILDING,DWELLING,DYING 29
Bakhtiaremphasisetheimportanceofcraftguildsassitesofknowledge.Eachis
directedbyamaster“whoisbothaSufiandacraftsmanwhopossessesa
consciousknowledgeoftheprinciplesgoverninghisart”;theirworksare“like
artsofnature,atoncefunctional,cosmicandimbuedwithanobilityof
expressionthatseekstheTruththroughtheWay.”65Mumtaznotesthat
craftsmenintheterritorythatisnowPakistanhavehistoricallybeeninducted
intoaSufisilsala(spirituallineage)asprerequisitetotheirbuildingpractice,
connectingthemtoaformofsacredauthority.66InArdalanandBakhtiar’s
reckoning,thespiritualhermeneuticsortaw’ilguidingthisworkoperateonan
alternativemodeloftime:“Eventsarenotimportantaslineardevelopments;
rather,throughthem,oneseeksanorientationtowardsaverticalaxisuniting
earthwiththeheavens.”67BuildingpracticereliesondeferencetoGod,rather
thanthehubristicpositioningofthebuilderasGod.
Thespaceofthecraftguildorworkshopoffersinsightsintotheethicsof
craftworkandtherelationshipsforgedinitsmidst.Theworkshopisasiteof
collectiveagency,ofcollaborationandinterdependence,butremainsstructured
byhierarchicalauthority.Thisauthority,thatofthe‘master’,isdeterminedby
skill,commitment,andaformofjudgmentthatistechnicaland,forMumtaz,also
spiritual.68Theworkshopisheldtogetherbyideasofhonour,thedignityof
obedienceandlegitimacyestablishedbyactions“intheflesh,notinrightsor
65Ibid,5.
66Mumtaz,Modernity&Tradition,66-7.
67ArdalanandBakhtiar,SenseofUnity,5.
68Ontheinstitutionoftheworkshopacrossadiversityofcontexts,seeSennett,TheCraftsman.
MOFFAT|BUILDING,DWELLING,DYING 30
dutiessetdownonpaper.”69Mumtaz’sevocationofcommittedlabourin
contemporaryPakistantransmitsapolemic,especiallywithregardtothislatter
point.Againsttheproliferationof‘specialists’–considerDaechsel’sworkonthe
revolvingdoorofdevelopment‘experts’andforeignconsultantscharacterising
Pakistan’spost-colonialdecades–Mumtazpositionsthedignifiedpursuitsofthe
grounded‘comprehensivist’.70Thediscardedmasterrepresentsamoralityand
modalityofauthoritywhichMumtazseesasrareandundervaluedinPakistan
today–onecharacterisedbydiscipline,humility,andapassionforworkqua
work,approachinglabourasanendinitself,somethingtobedonewithcareand
withnoeyetorewardordesireforpraise.Thisvisionofcraftworkisgendered
andgenerationalinitsfocusonthepresumedphysicalcapacitiesofmalebodies
anditsvalorisationofaccumulatedexperience.Andyetthedispositionit
promotesinrelationtotimeandthenatureofactionisportable:theprimacy
accordedtoengagementcanbemobilisedasabroadercritiqueofalienationin
Pakistan’spoliticalpresent.71Anethicofcraftmight,forinstance,beextendedto
somethinglikecitizenship,themannerinwhichoneunderstandstheir
responsibilitiestosociety.72
69Sennett,TheCraftsman,54;seealsotheemphasison‘unityandequality’amongScottish
masons,alongsideaclearhierarchyintermsofexperience,temperamentandcharacterin
YarrowandJones,‘”StoneisStone”’,261.
70Daechsel,Islamabad…,especiallyChapter2.
71Foraquestioningofthisprimacy,seeYarrowandJones,‘”StoneisStone”’.
72Ontheportabilityofcraftethics,seeFredericoBellini,“CormacMcCarthy’sTheStonemason
andtheEthicofCraftsmanship”,EuropeanJournalofAmericanStudies12:3(2017),1-14.
MOFFAT|BUILDING,DWELLING,DYING 31
Mumtaz’srehabilitationof‘tradition’aspossibilityratherthan
proscriptionisechoedbyotherprojectsacrosstheIslamicworldduringthis
period:besidesArdalanandBakhtiar’sinvestigationsinIran,considerthe
growinginterestinHassanFathy’sexperimentswith‘appropriate’technologyin
Egypt,MuzharulIslam’sdesiretofacilitatetraditionalrelationshipswithnature
inBangladesh,ortheestablishmentoftheAgaKhanAwardforArchitecturein
thelate1970sinparttosupportanarchitecturethatmightembodyIslamic
values.73ButinPakistan,Mumtaz’semphasisonpracticeanddispositionrather
thanformortechnologyappearsasaresponsetotheparticularityofthis
country,itsfragmentedcitizenryanddiversegeography,proposinganethicof
buildingandcultivatingthatmightcreatetheconditionsforharmonious
dwelling.
TheexampleofthemasterbuilderallowsMumtaztoreimaginethe
relationshipbetweenarchitectureandtime,emphasisingthreeaspects:patience,
derivationandduration.Thefirstrelatestothetimeofbuildingitself,which
shouldberemovedfromacapitalistlogicofproductivityandefficiencyand
insteadapproachedasameditativepracticeofrepetitivemovementandevenas
aformofworship.InarecentessayonSufishrines,Mumtazquotesfromthe
accountofa16th-centuryLahorebuilder,UstadBazid,thesonof“anordinary
masonwhoworkedwithmudmortar”andwhowasinvolvedintheconstruction
ofamausoleuminShergarh.
73Indeed,FathywasthefirstwinneroftheAgaKhanChairman’sAwardin1980.Seehis
influentialArchitectureforthePoor(Chicago,1973).Forinsightsintothefunctionoftradition
moregenerallyinPakistan,seeHumeiraIqtidar,“Redefining‘tradition’inpoliticalthought”,
EuropeanJournalofPoliticalTheory15:4(2016),424-44.
MOFFAT|BUILDING,DWELLING,DYING 32
BeforeeverybrickthatweputinplaceIwouldinvokeGod’sblessingsupontheholyProphet,mayAllah’sblessingsandpeacebeuponhim.Virtuousmen,devoteesandseekersofthespiritualpathwouldrecitethechapterIkhlas[Qur’an112]twiceoverastheypassedoneachloadofbricksormortar.Thereweresomanypeopleandsuchacrowdthateachturntohandoverthebrickswouldtakeratheralongwhileandwithgreatdifficulty.Inthismannertheconstructionoftheradianttombwasaccomplishedinfouryears.74
MumtazcommendsBazid’spatientendurance,describingthetombas
“conceivedandbuiltasanactofdevotionbypioussouls.”75Evendiscounting
thisspiritualdimension,theuseoftraditionalmethodsinculcatesadifferent
relationshiptoproductivity:bricklaying,initsrhythmofgradualaccumulation
andrepetitiveaction,accentuatesthepassageoftime.Thedemandsofskilland
qualityinthebuildingprocessencourageMumtaztodismisstheimpatience
facilitatedbyarchitecturalabstraction–thecleanremoveofblueprints,the
rapideaseofCADsoftware–andinsteademphasisepatient,hands-on
engagementasvirtue.76
Thesecondlessoninvertsconventionalrelationshipstoform.Mumtaz’s
understandingofIslamiccrafttraditionsdiscouragesthepursuitoforiginality
andanideaofthenewasbrokenfromtheold.Thearchitectshouldthusnot
pursuethe‘creation’offormsbutratherfacilitatetheir‘realization’.Inhis
forwardtoTheSenseofUnity,IranianphilosopherSeyyedHosseinNasrnotes
that,“thereisnothingmoretimelytodaythanthattruthwhichistimeless,than
themessagethatcomesfromtraditionandisrelevantnowbecauseithasbeen74CitedinMumtaz,“TheArchitectureofSufiShrines”inSaminaQuraeshi,SacredSpaces
(Cambridge,Mass.,2009),42.
75Mumtaz,“ArchitectureofSufiShrines”,43.
76AjibeIheardonfieldworksuggestedthat,ifonecommissionsMumtaztobuildahouse,they
shouldn’texpecttomoveinfortentotwentyyears.
MOFFAT|BUILDING,DWELLING,DYING 33
relevantatalltimes.”77Narrativesofnoveltyaretradedforanarchitecture
whosequalityandpowerismeasuredintermsof“conformitytopre-existing
conventionalforms”.78
RepetitionandreproductionbecomecentraltoMumtaz’spractice.
Copyingasamethodofdesignandinstructioniscentraltotheorganisationof
craftworkshops,structuringtherelationshipbetweenanapprenticeanda
master,butforMumtazthisstrategyhadbeenunthinkableinhisowneducation
andtrainingasanarchitect:“Thecompulsiontobeinnovative,tobecreative,to
beoriginal,theimperativetobe‘expressiveofourtime’hadalwaysstoppedme
shortofwhatcouldbeseenasimitationandcopying.Inthefinalanalysis,myego
simplyrefusedtoletgo,tosurrender.”79Itwasonlythroughtheguidanceofa
spiritualmaster–thefamousperennialistphilosopherAbuBakrSiraj-ed-Din,
bornMartinLings–thatMumtazclaimsthathehasbeenabletocrossthis
barrier,andIwillnotetheresultsinthenextsection.80Anemphasison
repetitionandimitationdoesnotmeanstasis:traditionalcraftsmenareexpected
toadapttheirpracticetothevagariesofcontextandthematerialsavailable,
respondingsensitivelytotheirenvironment.Thepointisthatchangesare
motivatedbysuchspecificobstaclesorpromptedbydivineguidance,rather
thanby“anindividual’spersonalvanity”.81
77ForewordbyNasrinArdalanandBakhtiar,SenseofUnity,xi.BakhtiarwasNasr’sstudentat
TehranUniversityinthe1960s.
78Mumtaz,ModernityandTradition,Plate8.
79Mumtaz,“ArchitectureofSufiShrines”,54.
80InterviewwithMumtaz,Lahore,12February2018.LingswasastudentofFrithjofSchuon.
81ArdalanandBhaktiar,SenseofUnity,10.
MOFFAT|BUILDING,DWELLING,DYING 34
Thirdandfinally,theworkofthediscardedmasterallowsMumtazto
emphasisetheobduratequalityoftraditionalarchitecture–itsdesignand
constructionasastructurethatwillsurvivethepassageoftime.Returningto
UstadBazid’ssixteenth-centuryshrineinShergarh,Mumtaznotesaninscription
whichreads,“ThispuretombofHadratDawood,MayGodforeverspreadits
shadowwide”.82Ifbuildingsarecreatedthroughactsofdevotion,and‘realize’in
theirformaspiritualtruth–theteachingsofasaint,perhaps,orageneralideaof
divineunity–thenitfollowsthattheyshouldbedesignedtofacilitatealonglife,
aheavyshadow.Thiscanbeensuredthroughthequalityofbuildingbutalsothe
respectaccordedtothestructuresbythosewhodwellinthemoraroundthem.
AsHeideggertooreflected,to‘dwell’isalsoto‘cultivate’,toacknowledgeone’s
responsibilitytoplace;otherwiseabuildingismerelyacontainer.83Thislesson
manifestsacritiqueofthedisposabilityofcontemporaryarchitectureinPakistan
–thedevelopmentgoalsorprofitmotivesthatinspiretherapiderectionof
structuresbutnottheirlong-termmaintenance–butalsoapleatodepartfrom
thetemptationsoffashioninfavourofaculturally-embedded‘timeless’quality
thatcanendure.Toassignvaluetoqualitiesofdurationandabuilding’s
groundednaturehasotherimplicationsinPakistan’spoliticalpresent,
contrastingstarklywithatwenty-firstcenturyrealityofmobilepopulations,the
transnationalflowsofmigrantsandtheshiftingaffiliationsofmixedand
heterogeneouscommunities.ItisperhapsunsurprisingthatMumtazhasmade
hislifeinLahore,acitynotedforitspalimpsesticnature,theobduracyofthat
whichcamebefore–anditsassociationwithacertainparochialismasaresult–82Mumtaz,“ArchitectureofSufiShrines”,43.
83Heidegger,‘BuildingDwellingThinking’.
MOFFAT|BUILDING,DWELLING,DYING 35
incomparisonwithacitylikeKarachi,aplaceshapedbymigrationandongoing
rhythmsoferasureandrenewal.84
Mumtazdescribeshiscareerasalongprocessoflearning,andhehas
beenabletotesthisideasinthespaceprovidedbytheLahore-basedAnjuman
Mimaran(‘SocietyofArchitects’),agrouphehelpedfoundandwhichformany
yearscollectedandspreadknowledgeabouttraditionalbuildingpracticesin
Pakistan.ButMumtaz’sownarchitecturalwork–hisprofessionalpractice,
establishedinhisownnameafterasplitwithBKMAssociatesin1984–has
facedconsiderableconstraints,dueinparttothenarrownessofhisclientele
base.Mumtazhasaspottyrecordoflarge-scalepublicbuildingwork,hisdesigns
forhigh-profileprojectsliketheDataDarbarshrineexpansioninLahoreorthe
Quaid-i-AzamMemorialMosqueinKarachirejectedbyjuries,whichMumtaz
blamesvariouslyoninternalcorruption,selectioncommitteesstackedwith
tastelessGenerals,oramisguidedpreferencefortheglamourofforeign
architects.Asaresult,mostofMumtaz’sportfolioconsistsofwork
commissionedbywealthy,privateclients,andmuchofitdomestic.Indeed,the
architecthasbenefitedfromawider,elitemarketfor‘traditional’artandculture
inPakistan,afashionthatismirroredprominentlyinthepopularityof‘Sufi’
musicandwhichalsobelongstoahistoricalmoment,acceleratingafter9/11,
84IamgratefultoVaziraZamindarforencouragingmetothinkaboutthisaspectofMumtaz’s
biography.OnLahoreaspalimpsest,seeWilliamGlover,MakingLahoreModern(Minneapolis,
2008).
MOFFAT|BUILDING,DWELLING,DYING 36
whenotherwaysof‘beingIslamic’aresalvagedbycertainclassestocontest
risingIslamisttendencies.85
Inthebuiltformofthehouse,Mumtazrecounts,hehashadthe
opportunitytoexplorealternativebuildingpractices,usingmaterials,patterns
andsurfacedecorationtoencouragetheresidentorvisitor“tobecomeawareof
arealitybeyondtheimmediatematerialityofabrickwall,amarblefloor,ora
steelgrille.”86Eventhishasbeenimperfect.Referring,forinstance,tohisinterest
intheIslamicdesigntechniqueofproportionalsubdivision,amethodusedto
determinethesizeandshapeofbuildings,Mumtaznotesthat“suchmundane
obstaclesasbuildingregulationshadproved,inpractice,tobeinsurmountable.”
AndwhileclientsofMumtaz’sprivatepracticearegenerally“supportiveofour
ideas”,untilveryrecentlythey“hadnotfoundanyonewillingtorealizethem
fullyintermsofdesignprinciples,buildingmaterials,andconstruction
techniques.”87
Intheearly2000s,Mumtazwascommissionedtodesignandconstruct
twodifferentbuildings,witheachclientencouraginghimtofollowhisprinciples
completely.ThefirstbuildingwasamosqueatPakWigah,apilgrimagesitein
thedistrictofMandiBahauddin,150kilometreswestofLahore.Hisclient,Dr
SahibzadaMohammedFarakhHafeez,wasaneyesurgeonbutalsoashaikhin
theNaushahiSufiorder,rootedinthisarea.Thesecondbuildingwas
commissionedbytwoengineersinLahore,whoaskedMumtaztocreatea
85Foranaccountofthisterrain,seeAmmaraMaqsood,TheNewPakistaniMiddleClass
(Cambridge,Mass.,2017).
86Mumtaz,ModernityandTradition,42-45.
87Mumtaz,“ArchitectureofSufiShrines”,54.
MOFFAT|BUILDING,DWELLING,DYING 37
mausoleumfortheirlocalsaint,HafizIqbal,andhismasterBabaHassanDinin
thecity’sBaghbanpuraneighbourhood.Iwanttodiscussthislatterprojectin
detailasawaytobringtogethersomethoughtsonbuilding,makingandtime.
V.TheTombofBabaHassanDin
MyexplorationofMumtaz’scareerasanarchitecthasreliedheavilyonhis
wordsthusfar,andthisfortworeasons:one,thatprofessionalarchitectsare
primarilyengagedinprocessesofconceptualisationanddesignratherthanthe
directmanipulationofmaterialforms–theirworkinvolvesthetranslationof
ideasanddatacollectedfromsitesurveystothepageviatheblueprint,theplan,
theillustration;88andsecond,becausemuchofMumtaz’sideasaboutworkand
crafthavebeenunrealisableinbuiltformforthereasonsdiscussedabove.But
themosqueatPakWigahandthemausoleuminLahoreprovidetheopportunity
toconsiderthematerialrealityorganisedbyMumtaz’sthinking.Thelatter
building,whichIvisitedregularlyduringfieldworkperiodsinLahoreacross
2018-19,revealsmuch,notleastinitsincompletestatus,theslownessofits
continuingconstruction.ThebuildingpracticeMumtazespousesisaminority
one–inurbanspacesespeciallyandinrelationtonewsacredarchitecture
generally–butitsuncommonqualityunderlinesitspolemicalforce.Thissection
willintroducethetombbeforelinkingMumtaz’sprocessesofmakingtothoseof
preserving,touchingonthearchitect’sworkasaheritageactivist.
88KostofinTheArchitect,xvii,describesarchitectsas“conceiversofbuildings”,whomediate
betweenclientsandbuilders.
MOFFAT|BUILDING,DWELLING,DYING 38
HassanDin’stombandshrinecomplexislocatedinthedenselypopulated
neighbourhoodofBaghbanpura,eastofLahore’swalledcityandadjacentto
ShalimarBagh,aMughal-eragardenrecognisedasaUNESCOWorldHeritage
site.ItisalsoashortwalkfromDarbarMadhuLalHussain,themausoleumof
sixteenthcenturySufipoetShahHussainandhiscompanion,Madhu,theHindu
boyheissaidtohaveloved.Forcenturiesthishasbeenanimportantanchorin
Lahore’sspiritualgeography,remainingasiteofpopulardevotiontothisday–
aswellasasiteforsubversionofnormsaroundgender,sexualityanddruguse.89
ThecaretakerofHassanDin’sshrine–anelderlymanwhohaslivedonthesite
sincehewasaboyandthroughoutthelongperiodofconstruction–proudly
pointedoutthedomeofthefamoussitefromthefrontstepsofMumtaz’s
buildingononeofmyvisits.
Approachingthetombonnarrowstreets,itisdifficulttogetafull
perspectiveonthestructure,thoughtwotallminaretssignalthesitefromafar.
Ahand-paintedgreensignannouncesthesitetopassersby,whileavault
decoratedwithmuqarnasandacypresstreerelief–asymbolofgraveyardsin
theMuslimworld–guidesthevisitortowardstheentranceway.Startedin2001,
themausoleumis,atthetimeofpublication,stillunderconstruction.Themain
structureisfinished,asaredecorationsintheroomsthatholdthesaints’
remains,andthebuildingisopentodevoteesandothervisitors.Custodiansof
thetombhaveamplespacetohostanannualurs,thecustomarydeath
anniversarycelebrationsforaSufisaintwhichisintendedtopublicisetheir
teachings.Certainareasremainclosedoff;partsawaitornamentation–onthe89AmenJaffer,‘InhabitingthePoweroftheSacred:LegitimacyandAffectinPunjabiShrines’
(PhDDissertation,NewSchoolforSocialResearch,2016).
MOFFAT|BUILDING,DWELLING,DYING 39
externalfaçade,forinstance,Mumtazplanstodeploythepracticeofkashikari,
“theuniqueLahoriartofglazedtilemosaics,whoselastrecognizedmasterdied
somefiftyyearsago”.90OnmyfirstvisitinFebruary2018Imetaglassartisan
whowasassemblingasheeshmahal(palaceofmirrors)inoneareaofthe
mausoleum.Hehadbeenworkingforoneyearandestimateditwouldtake
anotherfourorfivetofinishlayingtheintricatepatternsofsmall,blownglass
pieces.Theartisanlearnedsheeshakarifromhisfather,thesecraftskillspassed
downthefamilyline.HenotedthatwhileMumtazdecidesonthegeneralsortof
worktobedone,hedeferstothecraftsman’sexpertisefordetailsandthe
specificitiesofmaking.
‘Appropriate’materialshavebeenprivileged,withthemausoleumbuilt
entirelyoflocalclaybricksandboundbylimemortarpreparedonsiteusing
traditionaltools.Craftsmenhavebeencommissionedfordecorativeschemes
includingstonecarving,stoneinlay,plasterrelief(thobaandghalibkari),fresco
(naqqashi)andwoodcarving,aswellascalligraphy.ButMumtaz’sengagement
withthe‘vernacular’isnotsostraightforwardastheevolutionof‘appropriate’
formsfromthelogicofthelocalsite.InfacttheclientsrequestedthatMumtaz
usethefamousshrineofImamAliinNajaf,Iraq,asinspirationforhisdesign.
Thisshrine,theholysiteforShiaMuslimswhoregardAliasrightfulsuccessorto
ProphetMuhammad,firstappearedinthe8thcentury;itscurrentformowes
moretoextensionsandrestorationspursuedinthe17thand18thcenturies.
Mumtazagreedtoadaptthismodeltothesignificantlysmallersitein
Baghbanpura,analysingimagesandplansfromNajaf“todecodetheunderlying
90Mumtaz,“ArchitectureofSufiShrines”,60.
MOFFAT|BUILDING,DWELLING,DYING 40
proportioningsystemsandgeometries”,whichwerethenusedtoestablishbasic
structuralandplanninggrids.91Thearchitectnotesthat,earlierinhiscareer,
suchanexhortationtoimitationwouldhavebeenimpossibletoaccept.Butnow,
heexplains,workingfromprescribedmodelsis
never,inpractice,simplyamechanicalprocessofreproduction.Itinvolvesintelligentinterpretation,adaptation,andapplicationofcriticaljudgmentanddiscernmentateverystepoftheway.AsPakistanimastermasonUstadHajiAbdulAzizwouldputit,‘Icangiveyoualltheformulas,theratios,andtheproportionsforeveryelement,buttherealwayscomesapointwhenthecraftsmanhastoexercisehisimagination.Itisaquestionofhawa[lit.‘air’;indesignthetermreferstothesubtletiesofform]...Itcannotbedefined.Youhavetoletyoureyeandyourheartguideyou.’92
AframedimageoftheNajafshrineleansagainstthewallinthecaretaker’ssmall
room,balancedoverthebedwhereHafizIqbalhimselfsleptfordecadesbefore
hisdeath.
AcceptingNajafasamodelfor‘appropriate’architectureinLahore
demonstrateshowsignificantlyideasofthe‘local’intheIslamicworldhavebeen
restructuredbytransnationalconnectionsandsacredgeographies.Butsuch
troublingofthevernacularseemsjustifiedforthedomesticationofBabaHassan
Din,whowasinfactanEnglishmanborninBirminghamasAlfredVictor.Victor
workedasamechanicalengineerforBritishRailwaysbeforebeingvisitedbythe
11thcenturymysticAliHajveri–veneratedasDataGanjBaksh,patronsaintof
Lahore–whoexhortedhimtoleavehiscountryinthe1950s.Hedisappearedto
theforestsofKenyabeforesettlinginasmallbrickdwellinginLahore’s
Baghbanpura,whereheadoptedashisdiscipleapoorlocalboynamedHafiz
Iqbal,whomheeducatedbutwhocontinuedtoworkasastreetsweeperinthe91Ibid,55.
92Ibid,58.
MOFFAT|BUILDING,DWELLING,DYING 41
area.HassanDindiedin1968,whileIqbalremainedaprominentlocalpir
(spiritualguide)untilhisowndeathin2001.93Thecaretakerexplainedthat
HassanDin’steachingsstressedmodestyandhumility,andwereinfactcriticalof
theauthorityofthemaulvi(Islamicreligiousscholar),arguinginsteadthat
“everyoneofuswritestheirownholybook.”
ThebuiltformofHassanDin’stombandshrinestandsinstarkcontrastto
otherSufimazaarsinthecity.Thoughthemostimportantofthesesurvivein
placeovercenturies,theirstructurescanchangedramatically.Inrecentyears,
manyshrineshavebecomeincreasinglyostentatious,deployingglitzandbright
lightstocreateaspectaculareffectandattractdevotees,reproducingalogicof
‘marketing’thatpervadesthemanagementcultureofshrinesinanincreasingly
commercialisedPakistanisociety.94HassanDin’smausoleumisbeing
constructedtoprovokeadifferentsortofmoodinthevisitor.Butwhatdoesthis
insertionofaseventeenthcenturybuildingintoLahore’sbustling,twenty-first
centurymetropolitanrealitymean?Thereisundoubtedlyapolemicalaspectto
thebuilding–intheslownessofthework,againstcommercialimperativesof
productivity,andindeedintheveryfactofcreatingwithsuchdevotiona
structureforthevenerationoftwoSufisaints.Shrinesorganiseheterodox
devotionalpracticesinPakistan:ecstaticdancingandsinging,thesolicitationof
miraclesandthedistributionofamulets(ta’wiz)towardoffevil.Thefamous
shrineofAliHajveriinLahore,DataDarbar,isrenownedasaplacewherethe
saintwillanswerprayersorprovideguidance.Forthesesamereasonsshrines
93DeclanWalsh,‘OfSaintsandSinners’,TheEconomist(18December2008).
94IamgratefultoUmberbinIbadforconversationonthispoint.SeealsohisSufiShrinesandthe
PakistaniState(London,2018).
MOFFAT|BUILDING,DWELLING,DYING 42
drawthewrathoforthodoxIslamicgroups,andonoccasionhavebeenviolently
attackedbygroupslikethePakistaniTaliban,DataDarbarincluded.As
MuhammadQasimZamannotes,itisoftenthebuiltformthatistargetedas
muchasthepeoplegatheredthere.95Mumtaz’sbuildingshouldthusbe
understoodasaripostenotmerelytomodernarchitecturebutalsotoIslamist
understandingsofreligiousexpression.
TheshrineinBaghbanpuraisintendedtodemonstrateanalternativeway
ofinhabitingtheworldandtheslow,ongoingprocessofconstructioniscentral
tothis.Themausoleumisanimatedbythatvitallinkbetweenthecraftsmen,the
communitytheybelongto,andtheplacewheretheyworkanddwell.Mumtaz,
echoingHeidegger’sapproachtocraft,contraststhiscomplexofrelationships
withserialproductionormassmanufacture,whichbreaksfromcontextand
communitytoproduceinterchangeable‘objects’,alienatedlabourand“imagesof
theselfwhichareillusions”.96ThereareclearsimilaritiesbetweenMumtaz’s
thoughtandHeidegger’sdiagnosisofthe‘crisisofdwelling’inmodernity.Thisis
unsurprising,consideringtheinfluenceHeidegger’swritingshadon
architecturaltheoryandeducationinthe1970sand80s,astheprofession
reorientedpracticearoundideasofcontext,atmosphereandthespiritofplace.97
WhileMumtaztoldmethatheneverengagedwithHeidegger’swritingsdirectly,
hiscareertookforminaninternationalcircuitdeeplyaffectedbythem.The
Germanphilosopher’santi-technocraticstancehasfoundsympatheticadvocates
95Zaman,IslaminPakistan,223-24.
96Mumtaz,Modernity,35;andseeMartinHeidegger,BremenandFreiburgLectures,trans.
AndrewJMitchell(Bloomington,2012),34-5.
97AdamSharr,HeideggerforArchitects(London:Routledge,2007).
MOFFAT|BUILDING,DWELLING,DYING 43
amongliberalsandconservativesalike,hisentanglementswithNazism
notwithstanding.Butindrawingthesecomparisonsitisimportanttosituate
Mumtazamidstageneration’sdisillusionmentwithorganisedleftpoliticsin
Pakistan,theirsearchforanalternativeaftersustaineddomesticrepressionand
achanginginternationalorder.Manyofthearchitect’scontemporariesturnedto
questionsofculture,poetryandliteraturetoexplorethemesofresistance,
freedomandthedignityofwork.Mumtaz’sturntocraftcanbeseeninsimilar
terms.Whileacritiqueofcapitalismremainstangibleinhispublicinterventions,
thepossibilityofradicalchangeisdefusedbyaperennialistconcernforbalance
andharmony:aretreatfrompoliticsastheideaofinnovationtoonethatis
aboutmitigatingexcessanddeferringtothewisdomoftraditionalorder.
InMumtaz’sdeferencetoSufispiritualprinciples,hisunderstandingthat
successarrivesonlyasthe“fulfillmentofpureintentions”,thearchitectallowsa
placeforGodintheprocessofmakingandbuilding.98Thisisexplicitinastoryhe
tellsofthemosqueprojectinPakWigah.Ahugeamountofmarblecarvingwas
requiredforthedesign,butproblemswiththeon-sitemasonryworkshopwere
causingsignificantdisruption.Atamomentofdesperation,Mumtazdescribes,“a
miraclehappened”:
Onehundredstonecarversmaterializedoutofnowheretotakeupthework.Twiceaweek,theyappearafterdarkandworkthroughthenight.Thesiteisablazewithpowerfullights.Themusicofhymnsandchantsplayingovertheloudspeakersallbutdrownsthedinofmorethanfortypowertools.Theairisfilledwithmarbledustthatturnseverythingchalkywhite–whitehair,whitefaceswithcut-outliquideyesandtracksofjoyfultearsrunningdownthecheeks.Atthebreakofdawn,theworkstops,thecarverssaytheirmorningprayersincongregation,andthendisperse.Washedandchanged,theystepintothedayasordinary
98SaminaQuraeshi’s‘Introduction’toSacredSpaces,xi-xii.
MOFFAT|BUILDING,DWELLING,DYING 44
teachers,lawyers,paramedics,andshopkeepersandgoabouttheirdailyroutines.99
Acceptingthisspacefordivineinterventionrisksunderplayinghumanagency,
butwhileMumtazisopentoserendipityhedoesnotrelyonthemiraculous,and
hasfrequentlyassumedthepositionofcampaignerandadvocateinhiscareer.I
wanttoconcludenowbyturningtohisheritageactivisminLahore,andits
relationtosomeoftheideasofdisposability,historyandrecursivetemporality
discussedabove.
ThemiraculousenergymusteredatPakWigahisnotableforitsabsence
otherwiseinpopularinteractionswithPakistan’sbuiltenvironment,according
toMumtaz.Theethicsofacrafttradition–patience,durability,care–arerarely
observed,marginalisedbyaresilientappetiteforthenewwhichisreflectedin
twenty-firstcenturyLahore’sglasstowers,concreteviaductsandsprawling
shoppingmalls.Hispessimismabouttheprotectionofhistoricarchitecturein
thecountryispalpableinconversation.Alongcareeroforganisingconservation
campaignsandconsciousness-raisinginitiativeshasprovidedlittlefuelforhope.
MumtaziscurrentlyPresidentoftheLahoreBachaoTehreek(Lahore
ConservationSociety,lit.‘SaveLahoreMovement’),anorganisationestablished
inthe1980swiththemissionto“undertakeandpromote…theprotection,
conservation,andimprovementofthephysicalenvironmentofLahore”100.This
groupof“concernedcitizens”looksparticularlytofillagapleftbythe
99Mumtaz,“ArchitectureofSufiShrines”,60.
100‘OurMission’,http://www.lcs.org.pk.TheLCSwasinitiatedin1984bythearchitectZahir-ud
DeenKhawaja,supportedbyothersincludingthearchitectNayyarAliDadaandhumanrights
advocateIARehman.
MOFFAT|BUILDING,DWELLING,DYING 45
governmentintheirdisinterestinproblemsofhistoricalpreservation–or,in
caseswheretheyareinterested,topreventrushjobs,‘overrestoring’,andthe
useofincorrectmaterials.TheAnjumanMimaran,similarly,wasinvolvedin
restorationworkinLahore’sWalledCity,attheHaveliSayyidaMubarakBegum
andelsewhere.ThecarefulandpreciseworkofrestorationalignswithMumtaz’s
ideasoflearningthroughcopying,‘realizing’formsthathadpreviouslyexisted.It
isapracticethatinstillsknowledgethroughwork,ratherthanthroughmere
observation.Heritageconsciousness,forMumtaz,requiresachangeinvalue
systems–itisaquestionofhumanityandofenvironment,“nottheacademic’s
needforauthenticity,nottheaesthete’senjoymentofbeauty,notthetourist’s
demandforthequaintandpicturesque,notthenationalist’sneedforglory,not
thezealot’scravingforaplaceinheaven,andleastofallnotthesatiationofthe
market’shungerforprofit.”101
In2014,thevalueofLahore’sbuiltheritagewassubjecttounprecedented
publicdebate,promptedbyconstructionworkforanewrapidmasstransit
system.TheOrangeLineMetroproject,fundedbysoftloansfromtheChinese
governmentandbuiltincollaborationwithChinesecontractors,cutsthroughthe
heartofthecity,requiringthedestructionofseveralbuildingsandevenentire
neighborhoodsinitspath.Theschemeattractedcontroversynotsimplyfor
theseevictionsbutalsoforanideathatthecompletedMetrowillspoilthescenic
vistasofoldLahore:thatitwillcompromiseandthereforecondemn“theentire
culturallandscape”ofthecity.102Activistshighlightedelevenhistoricalsites
101KamilKhanMumtaz,“SustainableCulturalTourism”,TheFridayTimes(25July2004)
102“UNurgesPakistantohaltconstructionofOrangeMetroTrain”,DailyTimes(25January
2016).
MOFFAT|BUILDING,DWELLING,DYING 46
threatenedbyproximitytothepath,stretchingfromtheShalimarBaghtothe
tombofZeb-un-Nisa.
OppositiontotheOrangeLinehasbeencriticisedforreflecting‘elite’
viewsofwhatisculturallyvaluable,foregroundingquestionsofheritageover
humanlivesandwellbeing–thenecessityofbetterpublictransportprovisionin
oneofPakistan’slargestcities–buttheissueisnotsoclearcut.Inthefirstplace,
itpresumesanappreciationofhistoricarchitectureisrestrictedtocertainsocial
groups,andasShailaBhatti’sethnographyoftheLahoreMuseumhasshown,
heritageassetsdrawinterestacrossPakistan’ssocialspectrum.103More
specifically,Mumtaz,asspokespersonforanallianceofcitizensgroups,has
consistentlycentredtherelationshipbetweenheritageandthewelfareof
communities.AnAugust2016petitiontoLahoreHighCourt–whichwas
successfulintemporarilysuspendingconstructionoftheOrangeLine–didnot
focussimplyonaestheticimplicationsoftheMetrobutconnectedtheheritage
argumenttothewell-beingofLahore’svulnerableormarginalisedcommunities,
criticisingthegovernment’sacquisitionoflandfromcitizensby“hookorby
crook”,andthepursuitofa“whiteelephant”for“cheappublicity”.104Mumtaz
hereanimateshislong-standingcritiqueofthestate’spursuitofdevelopment,
understoodlessasanattemptto‘improve’Pakistanisocietythanasameansto
accumulateprestigeanddemonstratesovereignpower.
Thefailureofcampaignslike#RastaBadlo(‘ChangetheRoute’)hastaken
atollonMumtaz.Thestateappearsashiskeyantagonist,sohypnotisedbythe
103ShailaBhatti,TranslatingMuseums(WalnutCreek,CA,2012).
104“ConstructiononLahore’sOrangeLineMetroTraintobesuspended:LHC,”Dawn,August19
2016.
MOFFAT|BUILDING,DWELLING,DYING 47
desiretoemulateShanghaiorDubaithatitisreadytodestroythatwhichmakes
Lahoredistinctive–unlessofcoursethosedistinctionscanbemobilisedfor
tourismandeconomicgrowth.In2018,hecommunicatedthisvisionofa
benightedpoliticalelitetomewithajoke.TheOrangeLinedebaclecouldbe
summarised,hesaid,inastatementattributedtoPunjab’sthen-ChiefMinister
ShehbazSharif,expressinghisfrustrationwiththeprotestsofheritage
campaigners:“Whataretheseguysgoingonabout,elevenhistoricsites?Wewill
makehundredsofhistoricsites!TheChinesewillhelpus–Chinaisverygoodat
it!”105ForMumtaz,thecorruptionofthedevelopmentalmindsetishere
complete:‘heritage’issimplyanotherformofentertainmentorcommoditythat
canbemassproducedandevenimported.
Butallisnotlost.Mumtazseestheseedsofapopularheritage
consciousnessinthewaythatpeopleinteractwithtombsandparticularlySufi
mazaars.Incontrasttomosques,whicharenot‘consecrated’inthemannerof
Christianchurchesandassuchcanberestructuredorremovedentirely
dependingonneed,tombsaretied–viathepresenceofthedead–tothe
significanceofplace.Mumtaztellsmethatinfacttheymay“sufferfromtoomuch
love”,referringtothedecorationofpopularsiteswithlightsandother
ornaments,glorifyingthespiritdwellingwithin.Butthebuildingisappreciated
asanobjectofpermanenceandsingularsignificance.Itorientatestheworld
105InterviewwithMumtaz,Lahore,12February2018.Thejokederivesfromaspoofnewssite:
see‘ShahbazvowstoconstructnewheritagesitesalongOMLTroute’,TheDailyKhabaristan(20
August2016),accessedonlineathttps://dailytimes.com.pk/62454/satire-shahbaz-vows-to-
construct-new-heritage-sites-along-olmt-route/.IamgratefultoTimothyCooperforthis
reference.
MOFFAT|BUILDING,DWELLING,DYING 48
aroundit.Thetombthusdemonstratesanethicofcultivation,upholding
continuityagainstdisposability,imaginingstructuresasvitaltoacommunity
andacknowledgingthat,thoughpeopledwellinbuildings,somustthespiritsof
thedead,withallthehistoriestheycarry.
IbeganthisarticlebynotinghowthecreationofPakistanin1947posed
somecompellingproblemsforthinkingabouttimeandhistory.Myinterestwas
notinattemptstoforgenationalidentityoutofavacuum,butinwhatconceptual
innovationsthisconditionofan‘uncertainhistoricity’mightprovoke,specifically
intherealmofprofessionalarchitecture.ForKamilKhanMumtaz,who
navigatedaperiodinwhichbothmodernistsandIslamistsadvocatedarupture
withthepast,towardsthecreationofanewworld,theprospectofabuilding
practicegroundedinregionalcodesandsensitivetoculturalcontextspromiseda
wayoutofthetwentieth-century’scrisisofdwelling.Butratherthansimply
deployingtraditionalformsorusinglocalmaterialsandtechnologies,Mumtaz
departedfromthetropicalmodernists,criticalregionalistsandvernacular
ornamentalistsofhisgenerationtoplaceanemphasisonthecraftandprocessof
buildingitself,andinparticulartherelationshipofthisprocesstotime,
productivityandspirituality.Ihavenotedhowthispathwasinformedbothby
disillusionmentwithleftistpoliticsinPakistanandbyaninterestintheesoteric
dimensionsofIslam,filteredthroughareadingofperennialistphilosophy.The
ethicofdwellingthatemergesfromMumtaz’shistoricalresearchandbuilding
workisapowerfulone,butonethatremainsmarginalisedincontemporary
Pakistanandwhich,initscommitmenttooldorderandhiddenharmonies,
cannotallyeasilywithprojectsforaradicalrealignmentofthesocietythat
promptedit.Inourtwenty-firstcenturypresent,clutteredwiththedebrisof
MOFFAT|BUILDING,DWELLING,DYING 49
divisivebutintenselyfelthistories,facingfuturesofscarcityandtheincreased
mobilityofpopulations,problemsofcultivationandpreservationhavebecome
evermorepressing.Mumtaz’srecursivereasoningmirrorsglobalcallsfororder,
balanceand‘slowness’inatimeofecologicalcrisis.Butwhetherornotsuch
practicescanwithstandthemountingpressuresofthepresentwithoutan
experimental,generativedimensionremainsacrucialdebateforourtimes.