Hyderabad’s CCMB, once referred to as the “Sheraton of science labs,” had renowned artist M.F. Husain as its artist-in-residence.

Hyderabad’s CCMB, once referred to as the “Sheraton of science labs,” had renowned artist M.F. Husain as its artist-in-residence.

In Beyond Biryani, Dinesh C. Sharma explores Hyderabad’s transformation into a globalized city.

It was the moment Pushpa Mitra Bhargava had waited for nearly two decades. When CSIR Director Y. Nayudamma offered him a large plot of land near the NGRI, Bhargava chose a smaller area within the RRL premises instead, allowing for shared resources like the library and workshops until a new building was constructed. The establishment of the Centre for Cellular and Molecular Biology (CCMB) resolved a long-standing debate about the relevance of cellular and molecular biology in a chemical technology laboratory. This milestone paved the way for other prominent research centers dedicated to modern biology, such as the National Institute of Immunology (NII), led by G.P. Talwar in Delhi in 1981, and the National Centre for Biological Sciences (NCBS), under Obaid Siddiqui in Bangalore in 1991.

Having played an active role in building the Regional Research Laboratory (RRL) under the leadership of its founder, Syed Husain Zaheer, in the 1950s, Bhargava absorbed key values from his mentor regarding the pursuit of scientific research. Both shared a belief in the social function of science, fostering an intellectual and creative environment, nurturing young scientists, and encouraging multidisciplinary collaborations, along with blending science and art. Bhargava firmly believed that “science and art are related, interdependent, and two sides of the same coin—creativity.” He realized this vision by offering opportunities at CCMB for scientists and creative individuals—artists, musicians, social scientists, and writers—to engage in dialogue, explore common ground, and collaborate. This went far beyond occasional acts of patronage, such as hosting art shows or music concerts; it fostered genuine interdisciplinary connections.

Pushpa Mitra Bhargava had long awaited the moment when the Centre for Cellular and Molecular Biology (CCMB) would be established. Although CSIR Director Y. Nayudamma offered him a larger piece of land near the NGRI, Bhargava chose a smaller site within the RRL premises, enabling shared access to facilities like the library and workshops until CCMB’s new building was constructed. This marked a pivotal moment, resolving questions about the relevance of cellular and molecular biology within a chemical technology lab and leading to the creation of more centers for modern biology, such as the National Institute of Immunology (NII) in 1981 and the National Centre for Biological Sciences (NCBS) in 1991.

Having been involved in building the Regional Research Laboratory (RRL) in the 1950s, Bhargava imbibed values of scientific inquiry from its founder, Syed Husain Zaheer. Both saw science as a social endeavor and emphasized creating a nurturing, multidisciplinary environment. Bhargava believed that “science and art are related, interdependent, and two sides of the same coin—creativity.” This belief led him to foster an atmosphere where scientists, artists, musicians, and writers could collaborate and share ideas at CCMB.

At CCMB, Bhargava introduced novel ideas like abolishing rigid work hours and hierarchies, creating spaces for informal discussions, and encouraging the use of shared research facilities. His vision for CCMB’s new building was influenced by architect Frank Lloyd Wright, balancing aesthetics, functionality, and cost-effectiveness. Bhargava retained a tennis practice wall on the site, which later became the canvas for a mural by his friend, renowned artist M.F. Husain, who became an “artist-in-residence” at CCMB. Husain’s involvement marked the beginning of CCMB’s tradition of blending science and art, which continues today with art exhibitions and artist residencies.

The laboratory complex at CCMB was designed with aesthetics and functionality in mind, resembling a queen’s residence with rock gardens, flower pots, color-coordinated curtains, and coffee machines on every floor. A terrace, capable of hosting parties for 1,000 people, and a guesthouse with 32 air-conditioned rooms added to the grandeur. As reported by the Press Trust of India (PTI), it became known for its elegant design, leading some scientists to sarcastically nickname the new building “Pushpa Sheraton,” after the famous international hotel chain. Within scientific circles, CCMB was often referred to as a “five-star” laboratory.

Bhargava viewed science as a creative endeavor, much like art, because both involve pushing boundaries and exploring the unknown. As his longtime associate Chandana Chakrabarti recalled, Bhargava believed that art, like science, was an expression of the internal struggles and thoughts of the creator. The sunken court at CCMB, reminiscent of Room 240 in the RRL building, became a space for informal discussions and cross-disciplinary creative thinking. Bhargava’s emphasis on creating an aesthetically pleasing environment was not only about beauty but also about fostering a sense of belonging and inspiration among researchers, ensuring the lab was a place where creativity thrived.

This excerpt from Beyond Biryani: The Making of a Globalised Hyderabad by Dinesh C. Sharma has been published with permission from Westland Books.