INTRODUCTION - PERCEPTION OF THE CITY

A metropolis of diversity, vibrancy and segregation, Mumbai has both sculpted become a chaotic urban landscape with socially bipolar characteristics. As the fourth most populous conurbation in the world with over 12 million people, (Census data 2011) Mumbai is an overcrowded, yet capable modern city. Perceived through its own systems and mainstream representation, Mumbai offers the the opportunity to study complex layers of social, domestic and public spheres. The dialect between political, territorial and, social identities is frequently conflicting, abrupt, parallel, even overlapping. This can be seen through the self-built, turbulent slum territory juxtaposed against the modern skyline and formal housing; a backdrop of investment and development. With this comes the idea of the public, private and perceived social spheres, and the key roles of housing and gender within. As one of 10 countries to recognise ‘the third gender’, male, female and transgender identity shape the city and define social use of space in the home and public realm.

Formerly Bombay, Mumbai was renamed in 1995 after the goddess Mumbadevi of the Kolis people,indigenous fisher folk, who consider her as their mother (aii meaning mother in Marathi) (The British Library Board, 2019).

A city of two worlds, segregation is prevalent in such abrupt extremes when considering the housing typologies throughout the urban footprint. Slums are defined as “a contiguous settlement where the inhabitants are characterized as having inadequate housing and basic services.” (UN-Habitat, 2010). These self-built developments are home to 41.3% of the Mumbaikar population compared to the Indian national average of 9% (World Population Review, 2019).

Such immediate transition between these territories is visible across Mumbai with formal housing and slum developments existing almost conterminously, both approaching the constructed boundary as if in a standoff. To understand this stark division in Mumbai living, it is essential to draw upon geographical and historical factors resulting in or challenging the facilitation of housing.

EXPLAINING MUMBAI'S HOUSING CRISIS

Mumbai, geographically, is on a peninsula. The room for urban sprawl is limited and constrained, وthus the growing population is directed further from the area of formal housing in a linear fashion rather than other cities which can spread more radially.
Challenging topogrpahy towards the north of the city further reduces the amount of developable land. Other large cities have more negotiable terrain while Mumbai is pressured into a smaller inhabitable area.

FSI (Floor Space Index), governed by the municipal body, dictate the density restriction in a city (Bertraud, 2004). As Mumbai’s FSI is so low, the city has spread outward, reaching beyond the extremities of improvement schemes nearer the CBD. This low restraint has lead to an array of vernacular housing typologies across Mumbai ranging from deprived makeshift dewllings to formal housing.



BRINGING HOUSING AND WOMEN INTO THE CITY 

Mumbai’s mass housing emerged following the textile industry under the East India Trading Company, which ultimately led to “one of the most interesting developments of the modern era” for women (Robb, 2002, p238). Mass immigration of workers to the city provoked the Bombay Development Dictoriate, formed in 1920 to build over 200 four or five storey chawls for workers in the textile precinct in central Mumbai (Dwivedi, 2001. pp199). Defined as a “large building divided into many separate tenements” chawls offered “cheap, basic accommodation to labourers”. (Oxford Dictionary)


Architect Sir Claud Bately describes these chawls as “cheerless, architect less, gardenless” (Dwivedi S. 2001, p210). Despite external appearances, the functionality and convenience of these chawls are a practical way of providing social housing; close proximity to suburban railway stations and housing 20-25 workers in a 10x12ft single room tenement (made possible by the variation in working hours in the mill throughout the 24 hour period). The chawls made efficient use of space and offered affordable housing close to work. Semi-public spaces, corridors, were wider in comparison to the contemporary equivalent self-build and offered a playground and community hall. By the turn of the 20th century, these chawls began to have an effect on women in Indian society. It became important to move the family closer to work, bringing the site of production and reproduction closer. This was a step towards changing the role of women as part of a movement of equality in the public sphere, more out of financial necessity than active gender reconditioning. Nevertheless, this urbanisation and housing transition allowed women to exploit their potential socially, politically and economically (Koppikar, 2017).

Upon the industry’s collapse, the southern seafront territories of Cuffe Parade,Worli and Marine Drive were occupied by the rich mill owners. The housing typology consistent of “large apartments in the art deco buildings, with long balconies over-looking the sea fronts” reflecting the contemporary rich (Adarkar, 2003, 4531). Meanwhile migrant labour began to reclaim to marshy lands adopting a self- build lifestyle and grew to form todays slums. This visible divide of housing through Mumbai’s urban fabric can be superimposed on a less visible, but prevalent social division of gender. The south of the city is perceived as a “forbidden” area for slum dwellers and for women (Adarkar 2003 p 4531). Gender, therefore, can be seen on the city scale with housing to form an identity and perception of an individual socially, dictating the usable spatial territory in the public sphere.

SLUMS IN THE CITY

Today, labourers in Mumbai chose to live in similar sharing conditions to chawls, often with even smaller public spaces. For those looking to avoid the cumbersome commute across the city, workers opt to live in self-build slum dwellings to be close to work. For some it is not an option but either a condition from birth, or an unavoidable eventuality.

Dharavi is the shadow city within Mumbai. As the largest slum in India, the former fishing settlement now has an uncertain population with estimates ranging from 300,000 to 1 million residents in a 557 acre territory (Lewis, 2011). Dharavi is a self-built, self-supported housing development. With 15,000 single room factories, 5,000 businesses, schools and shops, it has a population density 10 times that of the city average. As one of the most popular and recent portrayals of life in Mumbai slums, Danny Boyle’s Slumdog Millionaire - while met with some reviews of ‘romancing the slum’ (Eggebrecht, 2015) - depicts Dharavi as a chaotic scene. It portrays a dense fabric of built form, tight, claustrophobic spatial qualities and a destitute atmosphere, and overcrowded homes and streets. A study by Guggenheim lab when regarding private spheres, describes how 26% of respondents feel they need privacy from neighbours, while 24% wanted privacy from family (Dasgupta, 2012, p10). Indian tradition mentions the importance of family, and seen as a female role in society. This research into privacy in slum areas suggests overcrowded is to such extremes that privacy is near non-existent. 

Typically, these slum dwellings are a single 10 square meter room, housing 8 people. The crowded conditions give an average of 48 square feet per person, less than the minimum requirement for an American prison cell; drastically different from the provision of privacy from formal housing typologies. As such, inhabitants make efforts to increase the area of usable space, using limited space multifunctionally 

USING GENDER TO EVALUATE SLUM HOUSING 

Aarti Grover describes the construct of ‘gender’ as “socially-learned behaviour and the expectations from society”. Taking this approach on how people use domestic and public spheres, the self-defined idea of gender identity is constrained to the “expectations of women and men, in relation to their social role and duties” (Grover, 2015). While Grover argues this is a constructed phenomenon and societal perceptions of ‘the individual’ philosophically could consider a more self-determined nature, adopting this ideological method as a lens allows us to better distinguish the gender among housing and society in Indian culture.

Guggenheim, describing itself as ‘part urban think tank, part community centre, part public gathering space’ (Guggenheim, 2019), is a forward thinking project-based research lab in Mumbai, Berlin and New York. In the case of Mumbai, researcher Christine McLaren claims “women act, in some respects, as a sort of indicator species for the health of various city systems” (McLaren, 2013). Health statistics in slums in Maharashtra (province) 2006 provide an insight to the conditions in these settlements.

When interpreting these figures it must be addressed that the female gender is inherently characterised in the nature of Indian culture as “[belonging] in or near the dwelling” (Grover, 2015), and so will spend more time in the slum settlement. The correlation between the poor condition of slums and ill health of inhabitants are reflected when considering this gender-based occupancy of the city. In the domestic sphere, women are often tasked with obtaining, transporting, purifying and using water, requiring more privacy in sanitation and lavatory use. An Indian article states one Dharavi toilet can serve 1,440 slum dwellers (Sinha, 2006). Women are the gender associated with the need to speak to children privately and are “naturally the most vulnerable” in dangerous spaces (McLaren, 2013). While formed from cultural constructs and the social sphere, these gender roles reveal slum housing as an unfit means on living, further embedding the inferior position of women in Mumbai.

Through the lens of National Geographic photographer Jonas Bendiksen, we see the relationship of people and the dwelling. As men use the home as a refuge from an external societal role, the woman provides domesticity in the kitchen and between family, fulfiling her societal role within the home.

GENDERING THE HOME

The gender perception and delegation of the home can be seen as one of the most intrinsic elements in urban Indian culture. Just as class division may determine the situation of the home, wealth may determine the size. Social influence and personal taste may affect the presentation of the home. Yet gender remains a prevalent feature throughout.

Housing in Mumbai, and on a greater scale - the globe, tends to compartmentalise the dwelling based on gender. Studying an abstracted home in the Indian subcontinent, Leslie Wiesman, in Discrimination by Design, describes how these spatial structures are arranged. Taking this “territorial dichotomy” in a domestic sense, Wiesman describes “the home as a metaphor for society” (Wiesman, 1994, p86).

The dwelling is organised into two spatial relations; the upper rooms, exterior and east in are associated with ideas of “above” “male”, “heaven”, “worldly”, “sunrise” while the interior, lower levels and west are “below”, “female” “downward”, “behind”, “sunset”. (Wiesman, 1994, p12). In gendering the home, parallels can be drawn on the societal composition and perceptions of gender in the city, dictating female inferiority. In mentioning this hierarchy, the idea of the female at the centre of the home is forgotten. Referring to Wiesman’s critique, the hearth and ritual centre, while less outwardly presented to the public realm, is the foundation and basis of the dwelling. In some respects, this could be congenial to the role of women within the household and society.

The rise of the ‘nuclear family’ in the mid 20th century became central to urban domestic culture of the formal housing sector in Mumbai (Adarkar, 2003, p4532). New exclusive properties catalysed a change in the middle class image of modernity, with new gadgets such as the fridge as a staple of the home and, in turn, womens’ role in Indian cultural aspirations. In leaving the chawls, there became a demand for private housing to fit this western ideal.

The satirical Femme/Maison, Louise Bourgeois, 1947, depicts themes of the woman contained in a domestic role, her identity taken by her position in the home and nude vulnerability or weakness in society. With the ideal of the nuclear family in an exclusive dwelling, and the gendering of the home, this graphic depicts the social/domestic position women were confined to in the private sphere.

Between 1965 and 1985 Mumbai saw higher urban growth than that of the rest of India and the global average. Houses got smaller in the booming 1970s with real estate making the most of the FSI. It was the ‘women’s spaces’ in the home that saw a reduction in size. The smaller kitchen and lavatory spaces debilitated the potential for cooking and participatory activities, confining and isolating women to the inherent social stereotype of the kitchen. The quality of these ‘women’s spaces’ suffered further as ventilation and light subsequently became derived from ‘chowkes’ (Indian marketplace area). New regulations called the replacement of what once was an indispensable feature of mid century minimalism of urban Mumbai; the balcony. While for men the image of gender in public and private spheres is not drastically dissimilar, for women, the balcony forms an intermediate. As in Wiesman’s analogy of gendering the home, the balcony is seen as ‘external’ and ‘male’, forming a spatial interface between the two realms, and hence, the societal roles of gender. A space often seen to be enjoyed as “one of the few pleasures home bound women enjoyed” (Adarkar 2003 p4532).

1960s plotted developments with floor size 204m2 per tenement and large balcony. p63 LEFT

1970s apartments with floor size 86m2 per tenement, smaller balcony and denser construction. p69 MIDDLE

1980s Public sector and employee housing with floor size 49m2 per tenement and loss of balcony. p75 RIGHT

The home, and women, are often seen in Mumbai to be as one; women lack identity without the home, and likewise the home could not exist without women. In viewing women as the ‘hearth’ in the home they are the foundation element without which the home would not exist. An alternative perspective on Wiesman’s gender critique of domestic space as a “metaphor” for society, this too is the case for women in all social spheres.

“If by strength is meant moral power, then woman is immeasurably man's superior” - (Mahatma Gandhi, 1930)

Gandhi regarded women as a force of regeneration, intuition and endurance. He believed women were exemplars of courage and self-sacrifice at the heart of the family. In Gandhi’s paradoxical philosophies, because of the woman’s dependency and perceived stature of social weakness, she is strong. As with Vienna’s gender mainstreaming as a feature of housing construction, progressive movements and individuals in Mumbai look to redefine the private and domestic spheres with equity.

TRANSGENDER IDENTITY, HOUSING AND COMMUNITY

Although India is one of the few countries to legally recognise the ‘third gender’, and have been acknowldged in ancient literature, Mumbai’s transgender community still face with social challenges and met with discrimination. Hijras (female transgenders), appear in the ancient Kama Sutra, Mahabharata and the Ramayana texts. They are celebrated in Mumbai society, yet are still one of the “most marginalised groups within the country” (Delliswararao, 2018 p12). Hijras are forced to look for housing more so than males or females as result of being disowned by a parent in fear of bringing ‘disgrace’ upon the family. As with the construct of gender in the public sphere, this perception reduces the third gender below men and women. A report of a hijra finalising a flat was upon viewing personal documents when the broker “told [her] they did not have a flat for [her]” (Rakesh 2018). Fellow tenants “would not be able to adjust or be comfortable around her” (Sarkar, 2018) in another instance. Landlords will use economic deterrents to discourage members of thecommunity finding a home, charging 50% higher rates (Laha 2015). While hijras seem to have few additional difficulties finding eployment compared to males and females (Shah, 2015 Black Sheep), there is no enacted law for specifically providing protection third gender property interests. As recent as January 19th 2019, 77 new homes have been provided in Raipur for transgenders, the first step in a potential new development in housing for the third gender.

Photographer Anita Khemka documents the life of Mumbai hijra Laxi Narayan Tripathi, a transgender rights activist. The hijra group, presumably through discrimination, have found community and live as a family would. Identifying as female, the members of the community perform domestic roles as women would in the private spheres. In the film/documentary Black Sheep, 2015, Reshel Shah explores the lives of members of the hijra community living in slums. In the private sphere, the hijras fulfil the role of women. They see the romance and beauty in the image of providing. The community in the sense of the public sphere, while isolated by external perceptions, does not form its own gender limitations as much of the city does, but instead builds from mutual identity and spirit forming a sense of resilience, unity and belonging. Referring to Gandhi’s statement, it is perhaps these hijras who give the most fitting qualities of strength in Mumbai.

WOMEN IN THE PUBLIC SPHERE

Housing is the base of the social community we call the urban world. Weisman describes “the streets as an extension of the domestic environment” (Weisman, 1994 p 67). In reference to the city, the same way we affect and influence our own private domain, together we can form a collective in the public sphere. To think of Mumbai is more to imagine a streetscape - how might women interact with the public sphere or be the subject thereof? The image below maps a streetcape in Dharavi by gender by observation of the users in the space. Bridging from the woman’s supposed ‘comfort’ zone in the home, the public sphere, or external environment remains true to Weismans interpretation; male dominated. Of 339 female respondents in Guggenheim’s investigation ‘Your Space, My Space, or Our Public Space?’ in Mumbai, only 23% of women felt public space was accessible, with 80% giving a gender related reason (safety, harassment, perception, men)

“Women have a relationship of fear with their own public space” - (Jasmeen Patheja, 2017) 
In viewing the public sphere as an extension of the home, and therefore reflective of society, women appear in a place of social disadvantage in the context of the city. Jasmeen Patheja, an inspiring human rights activist in Mumbai, explains in a moving TED talk that “many social spaces in Mumbai are designated, formally or informally, as exclusively for men; far fewer exist exclusively for women” and how women are beginning to challenge the male dominance in their urban spaces. As part of Meet to Sleep programme, women are actively sleeping in public parks, reclaiming the public sphere. As a follow on scheme, there have been efforts to make a safe green space for women in the city with ‘pop up’ gardens. As a community space for women, it is somewhat exclusive, further defining gender barriers in the cityscape; however, this is not to say unnecessary. The gardens “helped develop a workable model that caters to the specific needs of communities throughout the city” (McLaren, 2013). Upon contacting the Guggenheim lab, the project curator no longer works for the team, and under policy cannot release records. However, a European member of the Mumbai group, Neville Mars, may allow insight towards an understanding of these gender equivalent spaces from an international perspective. As part of the ongoing Wien 2025 urban development scheme, Vienna has seen gender mainstreaming in the city since the 1990s. The forward approach to planning makes public spheres safer for women; improving visibility and surveillance, illuminating and redesigning boundaries and networks of public space along safer routes (City of Vienna, 2013, p82-83).
CONCLUSION
Through the lens of gender and housing in Mumbai, the city establishes a matrix of socially constructed segregation in both the public and private spheres.
“Housing is more than mere possession. It facilitates or restricts access to employment, family, leisure, and the community at large”  - (King 2004, p20)
Taking Wiesman’s gender critique and King’s housing ideology, the complexity of Mumbai’s social system can be derived from these narratives, as a drastic identity contrast in the social, public and private spheres. This is not always inherently stipulated; as Mumbai looks to a future of activism and reform Vienna could act as a precedent city. Through urban reform in slum development schemes, pioneering media topics and gender equity, the World’s most unequal city* (Gordon, 2016) can become a more united urban world.
*by lowest income inequality, 2016
List of Illustrations
Title Image - Booth T., n.d. < https://www.nationsencyclopedia.com/Asia-and-Oceania/India-MIGRATION.html>
Introduction Image - Anon., 2018 <https://unequalscenes.com/mumbai>
Figure 1 - Booth T., n.d. <Unequal Scenes, Mumbai https://unequalscenes.com/mumbai>
Figure 2 - Author’s Image, 2019
Figure 3 - Author’s Image, 2019
Figure 4 - Adapted from Bertraud, A., 2004 <https://www.researchgate.net/figure/Comparison-between-Mumbai-Jakarta-and-Seoul_fig1_228886373>
Figure 5a - Adapted from screenshots of Skyscrapers and Slums: What’s Driving Mumbai’s Housing Crisis? instructed by Alex Tabarrok, George Mason University, 2018 <https://www.youtube.com/watch?v=lWg2bgJPakM&t=95s> Screenshots taken at 2:24, 2:33, 2:36, 2:39.
Figure 5b - Author’s Image 2019
Figure 6a - Morales N., 2014 <https://medium.com/education-posts/the-slum-way-of-life-139a0eef4f21>
Figure 6b - Cohn, A., 2015 < https://www.flickr.com/photos/adamcohn/16355379043>
Figure 6c - Siddiqui, D., 2015 < http://avax.news/pictures/141001>
Figure 7 -  Nyooz, 2016 <https://www.nyoooz.com/news/mumbai/334590/bdd-chawl-redevelopment-shiv-sena-bjp-spar-over-size-of-flats/>
Figure 8 a - Singh V., 2017 https://www.dnaindia.com/mumbai/report-new-proposal-to-ease-residents-shift-from-old-buildings-2564146
Figure 8 b,c - Apadted from Shetty, P., 2007<https://critmumbai.files.wordpress.com/2011/10/house-types-in-mumbai-final.pdf> p 24-25
Figure 9 a,b - Mahajan A., 2010 <http://trivialmatters.blogspot.com/2008/10/lallubhai-compound-mumbais-own-projects.html>
Figure  10a - Chamontin M., 2013 <https://issuu.com/marionflorie/docs/an_other_way_-_alternative_social_h_a3d4616752ed4a/46> p 45
Figure 10b - Author’s Image, 2019
Figure 11 - Anon., n.d. < https://www.quikr.com/homes/listing/3-bhk-apartment-of-1500sqft-for-sale-andheri-west-mumbai-by-broker-310893787>
Figure 12 - Shetty, P. <https://critmumbai.files.wordpress.com/2011/10/house-types-in-mumbai-final.pdf>  p24-25
Figure 13 - Own image, 2019
Figure 14 - Screenshot from Slumdog Milionaire, Danny Boyle, 48:12min.
Figure 15 - Own Image, 2019,
Figure 16a - Stephen Zirwe, n.d., <https://www.pinterest.co.uk/pin/116812184056261149/?lp=true>
Figure 16b - Author’s Image, 2019
Figure 17 - Author’s Image, 2019
Figure 19 - Author’s Image, 2019
Figures 20a - Jonas Bendiksen, National Geographic, 2006  - <https://www.jonasbendiksen.com/National-Geographic/Dharavi/33>
Figures 20b - ibid. < https://www.jonasbendiksen.com/National-Geographic/Dharavi/7 >
Figures 20c - ibid. < https://www.jonasbendiksen.com/National-Geographic/Dharavi/17/caption>
Figures 20d - ibid. < https://www.jonasbendiksen.com/National-Geographic/Dharavi/5>
Figure 21 -  Weisman L., 1994, Discrimination by Design, p12
Figure 22 - Bourgeois L., 1947. Courtesy of Leslie Kanes Weisman, 1994, Discrimination by Design, p18
Figure 23a - Anon., 2011 <from http://oldphotosbombay.blogspot.com/2011/09/shaikhs-describe-their-three-bedroom.html>
Figure 23b - Anon., n.d. <http://3.bp.blogspot.com/-Jdh8V3p_EVo/VPScZsPRVKI/AAAAAAAAAAc/ic0xJ-ErnYo/s1600/>dharavi-india-kristian-bertel-04.png >
Figure 24 - Author’s image, 2019
Figure 25 - Shetty P.,  Gupte R., Patil R., Parikh A., Sabnis N., Menezes B., 2007. < https://critmumbai.files.wordpress.com/2011/10/house-types-in-mumbai-final.pdf> p63, 69, 75
Figure 26 - Seoane L, 2016 <https://www.alamy.com/stock-photo-woman-in-her-balcony-in-bandra-west-mumbai-india-97172918.html>
Figure 27 - Khemka A., 2004, <http://www.photoink.net/artist/editionprintsdetail/88/109#13>
Figure 28a - Khemka A., 2004 <http://www.photoink.net/artist/editionprintsdetail/88/109#12>
Figure 28b - Khemka A., 2004, <http://www.photoink.net/artist/editionprintsdetail/88/109#19>
Figure 29 - Khandelwal S., 2017. <https://theculturetrip.com/asia/india/articles/dharavi-more-than-asias-largest-slum/> Edited by author, 2019
Figure 30 - Author’s Image, 2019
Figure 31 - Patheja J., 2017 <https://www.facebook.com/JasPatheja/>
Figure 32a,b - McLaren C., 2013, <https://www.guggenheim.org/blogs/lablog/making-a-safe-and-green-space-for-women-in-mumbai>
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