Lincoln Center for the Performing Arts is the largest performing arts complex in theUnited States. It is situated on the West side of Manhattan between Central Park and Husdon river, bounded by 66th Street, and Amsterdam Avenue (Jackson 1995, 677). Clive Barnes describes Lincoln Center in 1968 as “The biggest and most brutish conglomeration devoted to culture, culture and still more culture, that the world has ever seen” (Dimendberg 2013, 174). The groundbreaking ceremony was held on May 14th, 1959 with the participation of President Dwight Eisenhower. The plans for the center began around 1954 under the idea of Urban Renewal by Robert Moses and the financial backing was provided by John D. Rockefeller Jr., John D. Rockefeller III and several others with architect Wallace Harrison of the firm Harrison and Abramovitz (Zipp 2010, 185).

As an architect who has made significant contributions to both architectural practice and written discourse, Prof. Jaimini Mehta provides a unique perspective on the intersection of verbal articulation and architectural realization. In contrast to the widespread recognition of Western architects such as Rem Koolhaas, Patrick Schumacher, and Le Corbusier, figures within the Indian architectural scene who have actively engaged in both writing and designing are relatively scarce. In this context, Prof. Mehta stands out as a pivotal figure, with a prolific portfolio of written works, built projects, and an extensive collection of drawings.

The motivation behind this research stems from a desire to explore the intricate relationship between Prof. Mehta’s written discourse and his architectural creations. By examining the thematic content of his writings and analyzing select built works, this study aims to discern whether a clear connection exists between his verbal and architectural expressions. The inquiry further seeks to uncover how, if at all, Prof. Mehta’s written work has influenced the design principles embedded in his architectural projects. Ultimately, this research aspires to offer valuable insights into the nuanced dialogue between words and drawings in the field of architecture.

The essay looks at works of architecture in the region of India and Bangladesh that are funded and designed by NGOs and architects from Global North. It looks at the works in India and Bangladesh from architects like Louis Kahn and Le Corbusier from 1950s-60s to present day works of Diana Kellogg Architects and Anna Heringer. The essay also showcases different intentions with which architects of Global North practiced in the region of Global South. It tries to question the need and impact of architecture aid from Global North in today’s time and what they portray to the rest of the world. The essay does not try to enforce a certain boundary in architecture but rather dwells on the aid of kind.

Looking at the history of diseases right from Tuberculosis in 1851, Cholera (1854), Bombay Plague (1896), Bubonic Plague (1914), Spanish Flu (1918) to the current Covid-19 (2019) pandemic, it is quite evident that they have impacted the built environment in which we live. Whether it's Alvar and Aino Alto’s Paimio Sanatorium to tackle Tuberculosis, Ellis Chesbrough’s lifting the Chicago city for proper sewage lines during the Cholera outbreak or the Tenement Housing Act of 1867, were part of the outcome of tackling the disease in its appropriate manner. (Jayaprakash et al., 2021)