Goa’s Guru, architect Sarto Almeida passes away

Sarto designed simple houses for his clients in the most energy-efficient manner, without calling it a green building. (Photo Courtesy: Sarto Almeida’s office)

Bengaluru-based architect Chitra Vishwanath remembers the time she was an intern at Sarto’s office in 1985. As a student of CEPT, Ahmedabad, she had heard stories of Sarto and it was an aspiration for many to work at his studio. “His office was in Elican Building that he had designed in Margao. From him I learnt the doing and redoing of details. I learnt the perfect articulation of sloping roofs, so much so that even today if I see it poorly executed in other projects, it annoys me. There was never any pretence of being an architect. He was always accessible and taught me humility and empathy,” she says. During the four months of her internship with Sarto, she worked on the Partagali Math project. “Just imagine, this was a place where they taught vedic texts, and the priests chose Sarto to design it for them. And he, on his part, learnt every aspect of the elements required for such a place. Sarto was so involved in it. It speaks of how versatile he was, be it a church or a temple, to be able to get into the skin of the people, understand their needs and fulfil that in a project,” says Vishwanath.

Speaking about the time that architects like Charles Correa, Doshi and Sarto practised in Goa, architect-urban designer Dean D’Cruz says that in those days, they were respected for their vision and given the freedom to execute their designs. “It was the time for new identity, not about a Goan style, so buildings didn’t have to conform to traditional cliches. Architects could explore new idioms and create a depth in their work, which didn’t have to conform to popular or political opinion,” he says.

The Carmelite Monastery Church has a sculptural quality on the outside and within has natural light streaming on from the high windows set in the bell tower. (Photo Courtesy: Sarto Almeida’s office)

Doshi recalls his most reliable associate and friend, “who was closer than family”. “Sarto always loved working late into the night when he was in Ahmedabad. I would get his meticulous drawings in the morning, and I always knew there was something exciting in them. I would often wonder how he got there. There was a beautiful spatial quality about his drawings, where he would take you to that space through his sections. It would give me clues for my life when I thought of an architectural drawing as an experiential thing. He was very sensitive to structure, form and discovery of space,” says Doshi.

Sarto’s family was based in Tanzania, and his brother Anthony was a well-known architect there. Sarto chose to study at Sir JJ School of Architecture, Mumbai and had worked with Piloo Mody, before he headed to Ahmedabad. Along the way, he had made numerous friends, including the well-known cartoonist-painter Mario Miranda. This city also helped me meet his wife, Therese. When they moved to Goa finally, they founded the Manovikas School, one of the finest in the State.

Therese and Sarto’s home became the meeting place for family, friends and professionals; everyone knew they were always welcome. Senior urban planner Edgar Ribeiro says, “Much of Goa’s town planning strategies evolved through discussions at Sarto’s office and home in Margao. They later shifted home to Seraulim. There were many discussions on how the planning system should develop, what does Goa need, and how planning systems can formulate rules and regulations.” It was 1964, and with the first Goan government in place under Chief Minister Dayanand Bandodkar, the Government of India wanted to shift planning strategies for states from the colonial rule to an Indian system. Ribeiro was sent on deputation to Goa, his home state, where he would meet with his senior from JJ School – Sarto – and other architects and planners.

The Partagali Math showed Sarto’s incredible understanding of local temple architecture. (Photo Courtesy: Sarto Almeida’s office)

His ingenuity in presenting contemporary forms in verandahs and courtyards, which were inspired by the post-Chalukyan era. (Photo Courtesy: Sarto Almeida’s office)

“If Goa had to build anything, there was Sarto. When the College of Architecture was being planned, from its philosophy to curriculum, Sarto was behind it. When ideas for the Konkan Railways came up, I asked Sarto for inputs and he was there directing that. Heritage conservation is Goa was close to his heart, and he was part of numerous committees,” says Ribeiro.

Sarto was also vocal when he saw things were not done right. When the Archaeological Survey of India (ASI) started its Goa Chapter and wanted a building in Old Goa, Sarto was among those who protested because it was a protected site and he thought it was the wrong thing to do.

A man of integrity and principles, Sarto did numerous projects in Goa, but never took on a project if he knew he personally couldn’t be involved. He also handed a lot of projects to younger architects. “He gave me my first break. It was 1983, and I had come to make Goa home. I met him and we chatted and some five days later, he sent me my first client. After that I began getting many projects,” says Gerard da Cunha, who designed and curates the Houses of Goa Museum.

While his birthday parties were an annual celebration where his students and juniors come to celebrate, Sarto’s friends from all across the country, would find in him a mentor who taught them about life and architecture, who was always up for a game of football or a samba, who loved his music as he did sketching, drawing, planning, and designing, and one who, through it all, lived a modest life.