IDEAS AND BUILDINGS by Sherban Cantacuzino| Ideas and Buildings tects in India able to influence change ‘more than architects in the West, Charles Correa said after a lecture in London they ‘were not, but that did not stop them from trying. A friend of his maintained that what ‘was nice about living in a Third World country was being able to take a position and shoot on twenty different problems which ate none of one’s business, This friend, an Indian, now lived in Switzerland, where he had no opinion on anything, because the Swiss had no problems. In the twenties and thirties architects might well have been ‘wrong in their ideas, but what was wonder- fal was what they tried 0 do! The story reveals two aspects of the man, the lateral thinker and the pioneer. The architect pioneers of the twenties and thirties in the ‘West, under whose inlence Correa grew up, were intent on influencing change, but their method of thoughe, cast in an analytical, and experimental mould, never matched theie vision. They would have recognised the ‘guru siting under a banyan tree as 2 symbol ‘of enlightenment, but they would not have related his presence thereto schoo! buildings, or reached wide-ranging conclusions about man's relationship with built form in a hot climate. Correa's aptitude for epigrammatic state ments stems from the carly architect pioncersand their manifestos, The content of these statements, however, is entirely of today. They are acceptable to the dis enchanted Western mind precisely because they are not manifestos but insights, often of | the most startling kind. They are acceptable too, because they reveal a new kind of pioneer who is concerned about people. “To find how, where, and when he can be usefil is the only way the architect can stretch the boundaries of his vision beyond the suc cession of middle and upper income com- missions that encapsulate the profesion in I: an answer to the question, ate archi- Asia." Correa can make poetry out of the most prostic of subjects, only to bring one back to earth with 2 jolt. Thus highly copical and prossic heading. he writes: "To crossa desert and enter a house around courtyard isa pleasure beyond mere ‘photogenic image-making: itis the quality of light, and the ambience of moving air, that forms the esence of our experience, Archi- tecture as a mechanism for dealing with the elements ..." Even in his beautiful inter= pretation of che Gothic Cathedral he can't resise the bathos. After examining the effect ‘of climate on architecture and concluding that cold climates have produced the closed box, generally to the detriment of architee- ture, he makes an exception for the Gothic Cathedral. Why, he asks, does this version of the box move one so profoundly. “Pethaps because Gothic architecture deals with light falling from great heights — the same feeling you get in the narrow canyons of the American West, or in the pine forests of Scandinavia. There about Tooking up and seeing light —I chink the tle ‘of your head awakens some primordial instinct. Perhaps it was he fear of Jove Inurling down thunderbolt (or it might be just someone hitting you)..."? ‘Though Correa and his practice never imitate the pas, itis essential to understand the traditional architecture of India in order ‘co understand their work. Ieisan architecture of recession, of indoor and outdoor spaces that merge into one another, the use of whieh is determined by the climate or the seasons, and not by the activity within cher, Tee ar chitecture of horizontal planes — of roofs and platforms, open colonnades, verandahs and ‘courtyards with fountains. Perhaps because of hhis American training, Correa has rarely been tempted to import Western ideas into India Like most architects of his generation he has ‘been influenced by Le Corbusier, but by Le Corbusier's response to the Mediterranean is. something sum with his “greae sculprural decisions (the foverchangs, the double-beights), placed facing the elements" In contrast he believes that Le Corbusier's influence in the colder climates has nar been beneficial because “these heroic gestures had to withdraw into defen sible space, into the mechanically heated (and cooled) interiors of the building’ the outcome of this tendency in the new shopping malls and hotel credible lobbies, despite the spatial pyro- technics, the ambience is somewhat artificial, contrived, stilbom. And for a simple reason: they do not connect with the kind of open= to-sky space which could quicken them to lite" In his essay in this book Correa remarks thae in a warm climate people have a very differene relationship to buile form. He singles out the ctr, an overhead canopy and a traditional Indian form, as an example of the minimal protection required by the climate. He makes use ofthis form in several fis buildings, including what i perhaps his most distinguished early work, the memorial ‘museum of Mahatma Gandhi at Ahmedabad. ‘The unit isa pyramidal tiled roof supported ‘on brick piers. Some units are omitted to form courtyards open to the sky; others with exibitsneeding protection are enclosed with panels or louvres. Ie isan architecture of deep recession and of extreme contrasts of light and shade. “One steps out ofthe ‘box’ to find oneself... ina verandah, from which one moves into a courtyard, and then under a tree, and beyond on to a terrace covered by 4 bamboo pergola, and then perhaps back into a room and out on to a baleony ..."* ‘The Gandhi Memorial Museum i a deeply ‘aditional architecture which wears is pastas easily as 2 woman drapes her sat ‘A more obvious use of the chat i in the even earlier Handloom Pavilion forthe Inter~ national Exhibition in Delhi. Here the roof is 4 wooden structure in the form of inverted He sees “In these ineSse in Uap ‘An upcounry bungatow. Arye illge in Mays Prd, ‘umbrellas covered in translucent handloom cloth, More interesting, however, is the relationship ofthis lighe roof structure to the rest of the building. It is a relationship of ‘which architects in cold climates dream, For it entails almost complete separation, the coluumns supporting the roof seractute rising froin the floor of the building buc otherwise making no contact whatever with the heavy brick and mud substructure. The climate makes it posible to leave a gap above the walls so thar the roof appears to float on air. The Pavilion is a stepped platform contained by walls, Over the platform there is controlled processional movement, and we find many ‘examples in Correa’s work of platforms and steps used to generate such movement. It is ‘once again part ofthe Indian cradition. The ‘monumental Hindu temples of South India, “are experienced not just as a collection of gopurams and shrines, but asa pedestrian pach (a pilgrimage!) through che sacred spaces that lie between”? Correa reminds us that religious ceremonies in Asia have always ‘emphasised movement through open-to-sky spaces and that, Europe ate all variations of the closed-box model, the great Iamic mosques in Delhi and Lahore ate at the other end of the spectrum, consisting mainly of large areas of open space surrounded by just enowgh buile form co make one feel ‘inside’ a piece of substructure of the Handloom while the cathedrals of architecture, (Other examples in Correa's work of the platform eheme are the Kasturba Samadhi in Poona, the unbuilt India Pavilion for Expo "70at Osaka and the Crafts Museum in Delhi, In all these the principle of the chatri is jettioned and instead the architeewure becomes that of a built hill of steps and platforms, which are cut open to admie light tothele which is in the open countryside, Correa achieves a topographical architecture in which the buile form of horizontal planes and Jong lines of seats and parapets plays a twuly complementary part to the landscape. Movement, too, is here majestically por- trayed in a long earth ramp which leads to the terace over the museum and to a commanding view of the sama ise. ‘Topographical form is also found in the Kovalam Beach Resort at Kerala, where the accommodation is built into the hill slopes and the buildings themselves take on the Shape of the hill. Every room has its own, terrace cut into the artifical hill and open to the sky. Indeed central to all Correa’s work is the theme of what he calls open-to-sky space. Ithas a number of variations but it is nearly always present, In the Tara Apart ‘ments at Delhi the terraces project, because in the hot, dry climate of North India deep- sky radiation makes such open terraces the coolest place to sleep out on warm suntmner nights. In Bombay, on the other hand, the high humidity, which causes dew to fill sbelow. In the Kasturba Samadhi, overnight, makes it necessary to have cover, hence the comer terraces of the Kanchan- junga Apartments, recessed within the building, but 6 metres high in order to retain, a feeling of opennes. In his low-income housing in New Bombay Correa uses open= to-sky space asa trade-off against the cost of producing equivalent covered space, for under Indian conditions courtyards have a usability coefficient of about half that of a room and verandahs about three-quarters, n intelligent response to climate lies at the root of all Correa’s work. The response often demonstrates 2 subtle and sophisticated understanding of climatic problems which is derived, one suspects, mainly from observation, since the published scientific literature on the subject is patchy, to say the least observation is of an historical kind. In che administrative offices of the new State Assembly for the Government of Madhya Pradesh at Bhopal he reverts t0 an old co- lonial radition of verandahs overlooking courtyards as the means of circulation and access to the offices (making waiting to cet a goverament official a pleasant experi- cence), instead of the standard double-loaded internal corridor. More often it is observa- tion in the empirical sense — the way the section of a building may control air movements, for instance. In the Kanchan- junga Apartments and inthe Previ Projector Lima, Peru (1969-73) each unit is shaped so Sometimes. thisShading the elements fom the sn The Bald Fst, Bomb, bln he 1920 Tae Palas, Bombo. that the prevailing breeze, which enters at ‘one end, is drawn through the house with the help of double-height volumes. In the Previ Project this draft is increased by means of a louvred airscoop over the double-height volume; and in the Tube Housing at Ahmedabad (1961-62) each house is in addition given a sloping ceiling to help the hhot air rise and escape through a vent at the top. In the Tube Housing and in several other examples doors are always omitted (eisual privacy being achieved by the use of diferent level) to avoid obstructing the air move- iment, Yet another example of the section's controlling the climace is the design for the Cablenagar Township at Kota in Rajasthan, (1967), of which the Parekh House at Almmedabad (1966-68) is the buile model Here the section is stepped, so reducing to a ‘minimum the amount of roof surface which is exposed to the sun, in these examples Correa is seen to cur so mundane a factor as the movement of ait to his advantage by creating spatial variety and contrast within his buildings, he is alo capable to emulating Le Corbusier in “his great sculptural decisions (the overhangs, che ddouble-heights ...)”, Several works designed by his practice make use of a single giant umbrella which protects the building set ‘within it, and defines and gives shade eo the ‘outdoor spaces below it Ie isa kind of urban theatre — a stage for the whole city at city scale. The New India Centre, designed for Lutyens’ Connaught Circle in Delhi, is an all-glass office block 45 metres high, which is famed by a monumental “prosceniuan arch” and protected by a pergola at the top. More energy-conscious is the administrative com- plex for the Bleceonics Corporation of India (ECIL) at Hyderabad (1965-68) in which Correa practices whathe preaches. "In a poor country like India,” he has written, “we simply cannot afford to squander the kind of resources required to air-condition a glass tower under a tropieal sun. And this, of course, is an advantage, for it means chat the building itself must, through its very form, create the ‘controls’ the user needs." ‘The building creates its own micto-climate ‘without airconditioning. It consists of a number of three-storey office units, grouped round 4 courtyard and sheltered by a single roof on giant columas which is partly slatted and partly covered with 2 she reflecting the sunlight back into the sky. The amount of solid surface which absorbs Iheat and transmits it t0 the space below is therefore reduced to a minimum, the spaces themselves consisting of garden courts and balconies as well as indoor rooms. One ‘might add chat this kind of protection nocd not be solely in the vertical dimension, and Correa shows, in his analysis of colonial of water bungalows, how the verandah and utility rooms gave the internal living and sleeping areas 6Wo lines of defence, and how this prin= ple could be applied (o modern apartment. block. Such a protective belt also has impor architectural implications, implies the recession and the deep shadow which is every architec’s dream and which is so much more difficult to achieve in cold climates, Te will be apparent from what has already been said that for Cortea the house is part of the much bigger problem of housing and, in Correa's particular case, of housing in the Third World. In addition to the projects already mentioned and among a good many others, he has designed and built large hhousing schemes for the Life Insurance Corporation of India in Bombay (1969-72) and in Bangalore (1972-74). In a suburb of Bombay a é~acte ste was developed with terraced apartments up to fivestoreys high, but in Bangalore row houses, providing accommodation which was more appropriate to the local climate and life-style, were pre- ferred. In cis context itis interesting to note that for the previously cited low-income hhousing at Ahmedabad the brief required four-storey walk-up apartments, but row hhouses to the same density and with larger living spaces were in fact provided. Correa hhasindeed pointed out repeatedly the need toA view crs the water t he apres oa Mab Hil one € Ban's igh income ar identify the most economic and efficient pattems of housing. These, he maintains, carn ‘out to be mostly low-rise high-density con- figurationsin Third World cities. They make extensive use of terraces, verandahs and courtyards, forin a warm climate space itself js a resource. He identifies a hierarchy of spaces, from the enclosed privacy of the hhouse itself, through che threshold of the house where contact is established with the outside world, co the communal water tap and maidan of the whole city. He comes to che allimportant conclusion that this is the kind of habitat which people have always built, and can continue to build, for them- selves — that its the peopl, in other words, who are the greatest resource ofall. "Further- more,” he continues, relevance to employment. For while money invested in high-rise steel and concrete buildings goes into the hands of the few contracts who ¢an build such structures and the banks which can finance them, thi low= rise pattern of housing is built by small ‘masons and contractors — which of course .generatesa far greater number of jobs exactly ‘where they should be generated: in che bazaar sector of the economy, where ‘migrants are looking for work." ‘Ac Belapur, a housing sector of New Bombay, Correa has built cluster housing on the banks of a small stream, which observes it is of decisive the rural the hierarchy of spaces to which reference has already been made. The basic une isa cluster fof seven houses grouped around a small courtyard. Three of these clusters (21 houses) are then arranged around a larger open space. Next comes the community space, and finally the neighbourhood space where the primary school and other communal services are located. The houses are designed so that they can be enlarged when required, exch house being fieo-standing with its own inde= pendent load-bearing walls, in some of which for the sake of privacy, however, window openings are proscribed. Putting into practice his principle of equity, Correa hhas achieved a variation in plot size which is quite small considering the wide range of income groups for which che houses are designed. House plans are merely indicative and construction is traditional and of the simplest kind — rendered brick walls timber HHoor and roof structures, and pitched roots covered with tiles — so that it can be under taken by local masons and mists, with the help of the people themselves. The result is like a scaled-down version of Kotachi Wadi in Bombay, 2 charming residential quarter of two-storey houses with wooden verandahs and outside staircases built inthe 19th century by East Indians and still inbabited by chem, At Belapur, however, the absence of veran- dahs and the relatively small roof projections leave the walls of the houses rather more exposed to the sun, Just as Correa ses the house as part of the larger problem of housing, so he regards housing as an integral part of town-planning, He has written concisely but eloquenely about New Bombay, (pages 46-51) a city which he among others conceived, and for which he was Chief Architect from 1971 to 1974, From 1975 to 1978 he was also Con- sulting Architect to the Government of Karnataka, working on the structural plan for the city of Bangalore. In all his thinking about town-planning he quickly gets down to the fundamentals. The magnitude of the migration to the cities and, in the case of Bombay, with its industrial and financial centre in the southernmost tip of the island, its strangulating effect; the consequent need to increase Bombay's holding capacity by opening up new growth centres across the harbour; public ownership of land; low-rise high-density housing om a linear pattern; and mass transport system to get people to thei place of work in the shortest time possible, ‘The intention is that che new growth centres across the harbour showld restructure the Whole city, o that the existing north-south linear structure of the island would become a circular poly-centred one. The idea of New Bombay arose in 1964 when the population was about four million. Today it is nine million and by the year 2000 i will be 15 ‘million. Money and the politicians prefer © extend Old Bombay by building higher, so that New Bombay has not progressed as ‘much as it might have. In addition to the two-part holding action which Correa advocates during che next two decades (page 46), holding action which involves simula= ting the economy of existing villages, small towns and middle-size towns, he suggests clsewhere that these should be “new centres of growth, neither rural nor urban, bat kinds of quasirural areas in which you havedensities high enough to have a bus service and a school system, but low enough so that people can keep a buifilo and therefore have another source of incom sees a role for the Third World architect in formulating the programme and design for such centtes. The new National Commission fon Urbanisation, of which he is the Chair= rman, is now actively promoting this idea 0m particular he ‘Correa has heen questioned on a number cof occasions about the propriety of building tower blocks in a country ke India. He ime self has been criticised for his Kanehanjunga Apartments in Bombay, which is just such a tower block, 28 storeys high. His reply is engagingly feank and revealing, and relates to fundamental planning issues. "Tall build ings he says, “reflec high land values... ta the developer, the optimal buile form is a decisive trade-off between the cost of land and the cost of construction. As a building goes higher, the construction component goes up, but the land component diminishes But if instead of looking 2t just a particular site, the developer is responsible for the whole neighbourhood, then this point of tradeoff would be diferent; and if here we Jook atthe city asa whole, then the point of trade-off would change again — because then land would have to be provided not only for that particular building but for all the schools and open spaces that go with it Unforuunately: we live in a society where decisions are made by people looking only at the smallest contex: Le, the individual site They are perfectly logical in what they do, but the resale is myopic. Ie was only when I worked on New Bombay that I began to sce that one had to have an overview of the whole thing to understand what should be done”. For Correa architecture, and by implication, town-planning can be agen of change, indeed must bein a place like India, At great disasters are to be averted, This is not nnecesarily a matter of inventing new idea, ancanjnga apartments in Boebay, unde conaraction, and he gives Mao Zedong and Gandhi as examples of people who did not mind whether an idea was old or new. What rattered was whether it could be made to work in the context of theie own country. Mao's Communism derives from a German Jew who lived a century earlier and much of Gandhi's stems from Emerson and Thoreau. The genius of both these men,” Correa concludes, “was that they could stiteh these ideas ineo an old social fabric and produce a seamless wonder, New ideas making the past work, (And vice versal)" Ithough Correa has lived and worked most of his life in Bombay, he isan Indian ftom Goa, hat small but rich country where 2 Latin European culture stands superimposed on an Oriental fone, and where people today, according, to the author ofa guide book on Goa, are never ina hurry and always ready to give thei time to a stranger,!? a characteristic which cet «ainly applies to him, He as recently built a hotel there in che shape ofa small town and completed the auditorium of the Kala Akademi, both of which reveal his natural wit and high-spirited sense of humour, as well as a more unexpected fascination with decoration as a means of extending and deepening 2 chosen imagery. In the case of the hotel, the Cidade de Goa, the reality is itself unreal and insubstantial like a stage set, an ephemeral guality which is not inappro- priate, it could be argued, to its ephemeral function, The flatness of smooth, painted wall planes is emphasised by bands of com- trasting colours to openings and edges. The extension to this reality in the form of three figures in the round, monochrome and sghost-like, of Vaseo da Gama and his friends, and of tompe Foeil wall paintings of an arcaded seeet and various openings, in one of which stands the dark silhouette of a man, straight out ofa painting by De Chirico. This is not so much illusion in the Barroque sense — the actual and the virtual are both too unreal for illusion co ‘work — as an extension of the architecture through decoration, Brian Brace Taylor has suggested per~ ceptively chat Cortea's use of paint here derives from the clasic relationship of Feeseo to built form, going back to Florence or to Ajanea. "The walls forming open and closed becomes surreal spaces,” he writes, “have been used as a support, a series of virtual sereens, for ewo- dimensional pictorial statements which ‘counter-point and balance the reality of theae so ang "ion and rein, Kala Akademi, Gon actual three-dimensional sequence created by the architecture itself" Ambiguities abound. Isica city or just the image ofa city? Is the person standing there ral or an illusion? ‘And why should illusion not postess the vibrant intensity of the real ching — poetic rather than scientific truth? In the case of the Kala Akademi audi torium the side walls are divided into bays by painted pilasters, between which are trompe Fei boxes with people in them. Buc these are even les illusionistic than the hotel trompe Voeil. They are, first of all, in black and white, and have a linear quality like draw- ings. The academic technique of hatching and crosshatching shadow recalls David Hockney's sets for The Rake's Progrest but, anlike Hockney, the Goan artist Mario de ‘Miranda who carried out this work, uses the technique with irony. The people in the boxes, moreover, are casicitures of eal people. [¢ may be putting too serious an interpretation on the work, but Miranda and Correa seem to be saying “this is what theatre used to be like and here are people of today who would like it to remain as it always has been, But things aren't actually like this, and we don't want those people in the boxes to be real". The purpose of earica- tre, afterall, isto ridicule In the Gymkhana Bar in Bombay there is straight illusion and the wall is painted to Took like windows through which a panoramic view of a cricket match in fall swing on the maidan, actually chere on the other side of the wall, can be enjoyed. The illusion of the real thing as well as the real thing are both there, one behind the other. "Quality in architeccure and planning,” Correa has said, “is the result of under- sanding constraints, not of ignoring, or avoiding them. How well does a building fit into its ste? How intelligently dacs it deal ‘with the hazards of climate? What materials and technology does it use — and how appropriate are they in terms of cast and local availability? What is the scale and ambience of the whole environment — and i consonance with the sensibilities of the people who live there?” These vital ques: tions are a far cry from moder architecture as we have known it, and icis a measure of their recognition that Correa has been awarded the Padma Shei by the President of India, and in 1984 the Royal Gold Medal by Queen Elizabeth I Le Corbusier and Louis Kahn were tuniversal architects, able to absorb a people's culture and tradition to an extraordinary degree, and above all able co give back what they absorbed in the form of magnificent and appropriate architecture. Correa thinks India Gyan Ba, Bombay was lucky to get Le Corbusier and Kahn because they believed in architecture. Correa himself i essentially an Indian architect who is achieving an international reputation as much through his ideas as through is architecture Correa’s interes in planning and housing are symptomatic of his belief in the process rather than in the product of architecture, He is above all a strategist, always seeking to establish the right structure, ask the right questions, create conditions in which the right things can happen. “The problem of housing the vast majority of urban people,” he states, building materials or construction techno- logis; itis primarily a matter of density, of| re-establishing land-use allocations."*© "This strategy gets to the root ofthe matter because itis an essential step in achieving a more equitable distribution of resources, and because it isnot a drain, lke miracle building materials and construction technologies, on the economy of a country This is not to say that Correa is unin= terested in the product — in the specific building which isthe resule of the process. His interest, however, always appears t0 be focused om the prototypical, on a particular solution as a step in the development of an jdea, and on the way the lessons leamt from is not one of finding miracleew ad Bing 4 pursicular solution can be applied to a general problem. This explains his ability 10 tackle a whole range of issues at almost any scale, Even a small job like the beach houses at Mandhwa, or a matter of detail like his ingenious solution forthe house servants who sleep on the pavements of Bombay may illustrate a principle or form part of a wider argument with implications at city or regional scale. And even his visually most seductive buildings, ike the ‘museum of Mahatma Gandhi at Ahmedabad, for the Kala Akademi at Panaji in Goa, are strongly conceptual — conceived inthe ‘mind and in the eye, an idea as much as an image, albeit a memorable one The same will surely be true of the State Assembly for the Government of Madhya Pradesh, which is now under construction in the state capital Bhopal. The site, near a ine group of Muslim monuments and on ehe rest ofa hill, has inspired a mighty plan of nine halls and courtyards contained within a circular wall, above which a variety of domes and other roof forms will emerge. Corres likens i¢ to a city. At one level it is d mandala, at another the deeply mythical Round City of Baghdad which may have provided the source. Esentally inward ‘uming, this “city” isthe complete reverse of, Kahn’s sculprured monument at Dhaka — a series of highly articulated cylinders and cubes, grouped symmetrically around the circular cocoon of the assembly chamber Despite the overall circular form, Correa’s solution is a loose fit and essentially anti- monumental If the Third World context in which Correa works effectively denies him the possibility of indulging in the high- technology architecture of a Norman Foster for in the finely wrought and personal artefacts ofa James Stirling —in architecture as high art and in product as an end in itself — the traditionalist approach which r Sebelp housing New Hornby. interprets the past as pastiche or collage is ‘equally alien to him. An architect is Medi- terranean not because he wes tiled roofs but because the spirit of the Mediterranean runs in his blood, Aako and Le Corbusier were Doth inspired by the past, but they never imitated itor borrowed from it directly inthe way the fashionable post-modemists do, Correa’s admiration for Hasan Fathy in no way blinds him to the dangers of reviving th past or of clinging co tradition, “We mnst hhe declares, “understand oar past well enough to value it — and yer alo well enough to know why (and how) ie must be changed. Architecture is not just a rein forcement of existing values. — social, political, economic. On the contrary. It should open new doors — to new aspira- sions." He admonishes the American post- ‘modernists for looking at Palladio when they should be emulating Frank Lloyd Wright who “invented the future” with his Usonian house, of which so much of American suburbia — the ranch house, che split-level hhouse, ete — isthe consequence. artist, of course, is remembered by his art, not by his ideas, An architect must build beautiful and memorable buildings. Buc there are perhaps ‘wo kinds of beauty in architecture, an inner and an outer beauty. Inner beauty can come from something asintangible asan idea, from the organisation behind the plan and section, from the inherent harmony of the whole, Inner beauty tends to be hidden from the uninitiated. It is not easily perceived except by those who three dimensional relationships. Outer beauty, on the other hand, is superficial and has to do with decoration and with the tactile qualities of the surface. It encompasses exactly those visual qualities which can endear a building to the ordinary person, The Modern Move- ‘ment in architecture at its best has been strong in the former at the expense of the latter Correa’s architecture, t00, is. consistently strong in inner beauty — which is perhaps just as well, for in a country lke India, the tasks are so gigantic, the sense of urgency so great, that the few who understand the way forward must make certain that they do the firs chings first can understand "Afr he 1983 Thoma Cait Lees, °A Pas in he Sit delivered by Chas Coren oo 31 Jamry and publ inthe Jounal of the Repl Satya A May 1 0p. cit. 1988 Thomas Cait Lecare Sop. ae 1983 Thomas Cabie Lore 0p. ct. 1989 Thonss Cab Lest, Op. 1988 Thome Caer Lace Oper-toaky apc’ by Chas Core, Mima 1982 0p. ce 1989 Thomas Cabir Lea 0p. ct. 1989 Thomas Cabie Lert ‘ein an answer fo 4 gueion afer the 183 Thomas ‘tn an smower to guetion afer the WD Thomas 0p ot 1985 Thoma Cube Lete G3 by JM. Richard, Londo, 18 ‘Cores Cidade de Gos" by Brin Brace Tay, Cones Conan rch), Bombs. The Naw Landeage by Chars Cons, The Book Society oft 1985 "The New Lande op.